apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·A Welsh Valley
A Welsh Valley by John Varley

plate no. 4745

A Welsh Valley

John Varley

oilRomanticismlandscapemountainslaketreesfigureskyrocks
some experience helpful

Recreating this painting will help students develop skills in atmospheric perspective and color mixing to create depth. It will also improve their ability to render realistic textures in rocks and foliage.

technical profile

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

study guide

est. 10 hrs

approach — 8 steps

  1. step 01

    Sketch the basic composition, focusing on the placement of the mountains, lake, and foreground elements.

  2. step 02

    Block in the sky with light blues and yellows, blending softly.

  3. step 03

    Establish the mountain masses with varying shades of gray and green, paying attention to light and shadow.

  4. step 04

    Paint the distant mountains with lighter, cooler tones to create atmospheric perspective.

  5. step 05

    Add the foliage using a mix of greens, browns, and yellows, varying the brushstrokes to create texture.

  6. step 06

    Define the rocks in the foreground with darker values and textured brushwork.

  7. step 07

    Paint the lake with reflections of the sky and surrounding landscape.

  8. step 08

    Add the figure and any small details, such as birds, to complete the scene.

color palette

primary · cerulean blue · yellow ochre · raw umber · titanium white

secondary · sap green · burnt sienna

Achieve the muted greens by mixing yellow ochre, cerulean blue, and a touch of raw umber. Create atmospheric perspective by lightening colors with white and adding a touch of blue as objects recede into the distance.

techniques

  • ·atmospheric perspective
  • ·color blending
  • ·dry brush texture
  • ·layering
  • ·scumbling

common pitfalls

  • →Overworking the details in the foreground
  • →Failing to create a sense of depth
  • →Using too much pure color without mixing
  • →Ignoring the subtle value changes in the mountains

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·cerulean blue oil paint
  • ·yellow ochre oil paint
  • ·raw umber oil paint
  • ·titanium white oil paint
  • ·#4 round brush
  • ·#8 flat brush

optional

  • ·palette knife
  • ·linseed oil
  • ·turpentine
  • ·medium gloss

Use a medium-grain canvas for better texture. Consider using a limited palette to simplify color mixing.

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