apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·A Lane In Headingley, Leeds
A Lane In Headingley, Leeds by John Atkinson Grimshaw

plate no. 5652

A Lane In Headingley, Leeds

John Atkinson Grimshaw, 1881

oilRomanticismlandscapestreetbuildingmoontreesnightsky
some experience helpful

Recreating this painting will help students develop skills in atmospheric perspective and creating a sense of depth using subtle value changes. It also provides practice in rendering intricate details like bare tree branches.

technical profile

palette complexity
3
brushwork visibility
3
value contrast
4
compositional simplicity
3

study guide

est. 12 hrs

approach — 8 steps

  1. step 01

    Sketch the basic composition, including the building, street, wall, and tree placement.

  2. step 02

    Establish the overall value structure with a thin wash of a neutral color like burnt umber.

  3. step 03

    Block in the sky with a mix of greens, grays, and white, focusing on the moon's glow.

  4. step 04

    Paint the building and wall, paying attention to the subtle variations in tone and texture.

  5. step 05

    Add the bare tree branches, using a fine brush and varying the thickness of the lines.

  6. step 06

    Develop the street with darker values in the foreground and lighter values in the distance to create depth.

  7. step 07

    Add the light emanating from the doorway and windows, blending it softly into the surrounding areas.

  8. step 08

    Refine details and adjust values to create a cohesive and atmospheric effect.

color palette

primary · ivory black · yellow ochre · viridian

secondary · burnt umber · titanium white · cadmium yellow

Achieve the muted tones by mixing black with small amounts of yellow ochre and viridian. Use white to lighten values and create atmospheric haze.

techniques

  • ·glazing
  • ·dry brushing
  • ·atmospheric perspective
  • ·scumbling
  • ·layering

common pitfalls

  • →Overworking the details and losing the overall atmospheric effect.
  • →Creating too much contrast, which can flatten the image.
  • →Making the tree branches too uniform and unnatural.
  • →Ignoring the subtle color variations in the shadows.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·ivory black oil paint
  • ·yellow ochre oil paint
  • ·viridian oil paint
  • ·burnt umber oil paint
  • ·titanium white oil paint
  • ·round brushes (sizes 2, 4, 6)
  • ·linseed oil

optional

  • ·palette knife
  • ·painting medium
  • ·varnish

Use a canvas with a smooth surface to allow for subtle blending and glazing.

tips & new artworks in your inbox

no spam — unsubscribe anytime.

or to save artworks, chat, and track progress

related guides

oil painting for beginners →how to learn by studying the masters →
chat about this artwork

in this vein

related artworks

Romantic Landscape

Romantic Landscape

Karl Lessing

Self-portrait with his brother Francesco

Self-portrait with his brother Francesco

Giuseppe Tominz

Oenone Refuse de Secourir Pâris au Siège de Troie

Oenone Refuse de Secourir Pâris au Siège de Troie

Léon Cogniet

Duke of Alba

Duke of Alba

Francisco Goya

Blick Aus Dem Wald Ins Tal

Blick Aus Dem Wald Ins Tal

Andreas Achenbach

Young Girl Fixing Her Hair

Young Girl Fixing Her Hair

Sophie Gengembre Anderson

The Plough Inn

The Plough Inn

William Shayer

Hudson River Landscape

Hudson River Landscape

Johann Hermann Carmiencke