Tonight's idea is plot your large abstract design and impose the drawing from nature on that.
If you are in the early stages of learning to paint the landscape, I think you should paint as closely what you see as you can. That is the root skill. You have to be able to reproduce whatever scene is before you, dispassionately and accurately.When you have learned to do that, the next step is to learn to impose a geometric order beneath the surface of representation and detail. There is an abstract painting beneath a good landscape painting. The painting is a set of lines and colors that set one another off. It is an arrangement of varied shapes with rhythm and movement.
TRY TO CREATE A PATTERN OF INTERESTING SHAPES. PRESENTATION IS MORE VALUABLE THAN INFORMATION. THE ART LIVES IN THE PRESENTATION AND NOT IN THE NARRATION OF THE PARTICULARS OF THE STUFF OUT IN FRONT OF YOUR EASEL.
In order to get this to happen I would remind you of last night's post on pixel size. If you lay the design in using large chunks or shapes, those can be manipulated to relate in a beautiful way with one another. They might be linked into chains of attractive shapes. They might be balanced across the picture plane from one another, or they could be strung across the middle of the painting like a string of pearls.
There must be infinite groupings of large shapes that are possible. Nature before you will suggest the main masses, but the abstract geometry is something you install into those shapes you have first recorded. A little extra time spent perfecting those big abstract shapes now is likely to make or break your painting. It is easy to make a strong design look good with a minimum of "finishing" but a poor design can be tricked up or have detail pasted all over it and still not really make a pleasing painting. It is the subterranean geometry hidden just behind the facade of realism that makes a painting work.
Once you have the big design in a few masses worked out you can install all the drawing you feel you need from nature onto this armature. In a landscape you can push things around a lot.You can bend things to fit onto your abstract design. A tree can just as easily be a little further to the left or a house can be further away, etc. The real elements of the picture can be subordinated to the abstract arrangement without the viewer being aware that you have done so.
The abstract arrangement IS the painting. Try to value the design over the representation. This will help you to make artful interesting pictures rather than matter of fact descriptions of the scene before you. Aim for poetry, not journalism. There are plenty of accurate paintings out there, not so many well designed ones. The longer I paint the more it is about design.