02. Lytham Windmill 2017 by Anthony D. Padgett (after Le Moulin De La Galette Van Gogh Paris 1886)

The windmill (light cylinder with pivoting blue sails) dominates the right side of the composition, anchored by a lower-value red brick building on the left. The sky fills roughly two-thirds of the canvas, rendered entirely in swirling, directional brushstrokes of varying blues and whites that create a turbulent, energetic atmosphere. The eye enters at the windmill's cylindrical form (brightest shape), then flows upward through the churning sky. A horizontal band of bright yellow-green field grounds the composition below, compressed in depth to emphasize the sky's dominance. Light falls from above-left, creating sharp shadows on the windmill cap and building roofs.

The darkest darks are concentrated in the windmill's cap and roof, and scattered throughout the buildings as shadows. The lightest values occupy the sky (whites and pale blues) and the windmill's cylindrical body. The foreground field sits in medium-dark green and yellow-green. When squinting, three distinct value groups separate clearly: light sky, mid-value windmill and building forms, and darker-value field. The red building reads as a mid-dark warm accent against the cool-dominated palette.

• #c4d1e5

  Titanium white + touch of ultramarine blue

  Brightest sky passages and highlights, particularly in upper-left and center-right clouds

• #91bddf

  Ultramarine blue + titanium white (more blue)

  Mid-value sky throughout, establishing primary sky tonality

• #70a1ca

  Ultramarine blue + touch of black + white

  Darker blue passages in sky, the windmill sails, and blue structural elements

• #427399

  Ultramarine blue + black + touch of white

  Dark shadows within sky formations, windmill sails' gridlines, building shadows

• #3d3d2c

  Black + ultramarine blue

  Darkest shadows on windmill cap, building roofs, window openings

• #677970

  Titanium white + ultramarine blue + touch of yellow ochre

  The windmill cylinder's greenish-gray body tone, subtle shadow planes

This painting is entirely built on visible, directional impasto—no blending. The sky showcases energetic, curved brushstrokes that follow swirling patterns, creating rhythm and movement. Edges of the buildings and windmill read as deliberate shape boundaries rather than soft transitions. The foreground field employs strong linear strokes that follow ground contours. The windmill sails feature crisp blue outlines defining the gridded structure, set against a lighter interior, creating clear graphic definition.

1. 01

   Sky foundation and directional underpainting

   Block in the entire upper two-thirds with ultramarine blue and titanium white, working loosely and wet-on-wet. Allow colors to mingle naturally—don't overwork. Establish a range from deeper blues (center-right, lower in the sky) to lighter whites (upper-left and scattered highlights). Leave areas around where the windmill and building will sit slightly lighter. Notice the strokes already begin to show directional energy—don't resist this.

2. 02

   Major architectural silhouettes

   While sky is still workable, block in the dark windmill cap and building roof shadows using ultramarine blue + black. Establish the light gray-green cylinder of the windmill using white + touches of blue and yellow ochre mixed on the canvas. Place the red building mass (cadmium red with darker reds mixed from red + black for shaded areas). These shapes should read clearly against the sky but remain somewhat simplified—detail comes later.

3. 03

   Sky texture and swirl

   Layer additional sky strokes over the foundation, building up the impasto. Use a variety of blues and whites, allowing the strokes to follow swirling, curved paths—particularly notice how they radiate outward from around the windmill area. Add small touches of warmer tones (reds mixed with blues) in some shadow areas to break up monotony. The sky should feel dynamic and turbulent; work with confident, visible strokes.

4. 04

   Windmill cylinder and sails

   Refine the windmill body with horizontal modeling strokes to suggest its cylindrical form, using white and the gray-green mixture. Add dark rectangular window openings. Paint the two sails with white as the base, then apply crisp blue outlines that define the grid pattern—these outlines are crucial for readability. The sails should feel graphic and structured against the softer sky.

5. 05

   Building refinement and details

   Model the red building with warmer reds in lit areas and darker reds (red + black) in shadows. Add the dark roof with ultramarine blue and black. Indicate the small windows and openings, and paint the blue stair/railing structure that connects the building to the windmill base—this blue echoes the sail color and creates visual unity. Keep edges relatively crisp but textured.

6. 06

   Foreground field and ground plane

   Layer the field with strong directional brushstrokes in yellow ochre, yellow-green, and deeper greens. Vary values significantly—some areas bright yellow, others deeper green, creating visual texture and ground depth. Allow reds and darker accents to appear throughout for richness. Strokes should follow the ground's implied contours, creating movement that grounds the composition.

7. 07

   Final integration and reinforcement

   Stand back and assess value relationships. Reinforce the darkest shadows where needed. Add final textural touches and any small details (additional window divisions, structural edges). The painting should feel resolved with clear value separation between sky, buildings, and field, while maintaining the energy of visible brushwork throughout. No areas should feel overblended or dead.

• Over-smoothing or blending the sky—this work lives by its directional, visible strokes; resist the urge to create seamless transitions. Each stroke should remain readable.
• Making the field too uniformly green—the foreground contains substantial yellow ochre and yellow-green variation plus unexpected warm accents; squint to see the value patchwork.
• Under-modeling the buildings—even though they're simplified shapes, shadows and plane changes within the red building and windmill need to suggest three-dimensional form.
• Neglecting or softening the blue sails' outlines—these crisp, graphic lines are essential to the windmill's readability and visual impact; they should remain distinct.
• Making the windmill body too white or too blue—the cylinder reads as a complex gray-green where light, yellow ochre, and blue coexist; get this tone right or the windmill loses presence.

beginner friendliness

value contrast

palette complexity

compositional simplicity

brushwork visibility