apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·A solitary ramble
A solitary ramble by Julian Ashton

plate no. 5443

A solitary ramble

Julian Ashton, 1888

oilImpressionismgenre paintingfigureumbrellalandscapefieldskyfence
some experience helpful

Recreating this painting will help students develop skills in watercolor layering and creating atmospheric perspective. It also provides practice in rendering figures in a landscape setting.

technical profile

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

study guide

est. 8 hrs

approach — 8 steps

  1. step 01

    Lightly sketch the main elements: figure, path, fence, and distant landscape.

  2. step 02

    Apply a light wash of diluted yellow ochre and burnt sienna for the field, leaving some areas white for highlights.

  3. step 03

    Paint the sky with diluted blues and grays, creating soft, blended clouds.

  4. step 04

    Add the figure, starting with light washes of blue for the dress and darker tones for the coat.

  5. step 05

    Paint the umbrella with varying shades of gray and black, suggesting its form and texture.

  6. step 06

    Add details to the fence and distant landscape, using lighter values for elements further away.

  7. step 07

    Introduce details to the foreground, such as individual blades of grass and small plants.

  8. step 08

    Refine the painting by adding shadows and highlights to create depth and dimension.

color palette

primary · yellow ochre · burnt sienna · ultramarine blue

secondary · raw umber · payne's gray · alizarin crimson

Mix blues and grays for the sky and umbrella. Use yellow ochre and burnt sienna for the field, varying the ratios for different tones. Add a touch of alizarin crimson to the browns for warmth.

techniques

  • ·wet-on-wet blending
  • ·dry brush texture
  • ·layering
  • ·atmospheric perspective
  • ·glazing

common pitfalls

  • →Overworking the details in the foreground, losing the overall atmospheric effect.
  • →Using colors that are too saturated, resulting in a less naturalistic look.
  • →Not allowing layers to dry completely before applying the next, leading to muddy colors.
  • →Failing to establish a clear value structure, resulting in a flat and lifeless painting.

materials

surface · watercolor paper 140lb

required

  • ·Watercolor paints (yellow ochre, burnt sienna, ultramarine blue, raw umber, payne's gray, alizarin crimson)
  • ·Watercolor brushes (round and flat, various sizes)
  • ·Watercolor paper (140lb cold press)
  • ·Palette
  • ·Water container
  • ·Paper towels
  • ·Pencil
  • ·Eraser

optional

  • ·Masking fluid
  • ·Palette knife
  • ·Spray bottle

Use high-quality watercolor paints for best results. Experiment with different brush sizes to achieve various effects.

tips & new artworks in your inbox

no spam — unsubscribe anytime.

or to save artworks, chat, and track progress

related guides

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

in this vein

related artworks

View of the Bosphorus and Rumeli Hisarı

View of the Bosphorus and Rumeli Hisarı

Sevket Dag

Paysage du Midi

Paysage du Midi

Armand Guillaumin

Self-Portrait

Self-Portrait

Frederic Bazille

Tip of the Bay

Tip of the Bay

Max Kurzweil

Long Stemmed Lovelies

Long Stemmed Lovelies

Pino Daeni

At Rosetta, Lower Egypt

At Rosetta, Lower Egypt

John Varley II

House from Oltenia

House from Oltenia

Theodor Pallady

Jewish quarter in Amsterdam

Jewish quarter in Amsterdam

Max Liebermann