plate no. 0121

Altai. Biya

Andrey Shishkin, 2016

oilRealismlandscapelandscapetreesriverfoliagehillsky

some experience helpful

Recreating this painting will help students understand atmospheric perspective and how to create depth using color and value. It also provides practice in rendering foliage with loose, expressive brushstrokes.

technical profile

palette complexity

brushwork visibility

value contrast

compositional simplicity

study guide

est. 8 hrs

approach — 8 steps

step 01
Lightly sketch the basic composition, focusing on the horizon line and the placement of the major elements (hill, trees, river).
step 02
Establish the overall color scheme by blocking in the large areas of color with thin washes. Start with the sky and the distant hill.
step 03
Develop the mid-ground trees, paying attention to the variations in color and value. Use darker greens and blues for the shadows and lighter yellows and greens for the highlights.
step 04
Paint the riverbed, mixing browns, grays, and creams to create a sense of texture and depth.
step 05
Add the foreground bushes, using thicker paint and more visible brushstrokes to create a sense of proximity.
step 06
Refine the details, such as the individual trees and the highlights on the foliage.
step 07
Add final touches to the sky and the distant hill to enhance the atmospheric perspective.
step 08
Let dry and varnish.

color palette

primary · ultramarine blue · yellow ochre · burnt umber · titanium white

secondary · cadmium yellow · sap green · raw sienna

Mix greens by combining ultramarine blue and cadmium yellow, and adjust the value with titanium white or burnt umber. Create atmospheric perspective by adding more blue and white to the colors of the distant hill.

techniques

·dry brush texture
·scumbling
·atmospheric perspective
·broken color
·layering

common pitfalls

→Overworking the details, resulting in a stiff and unnatural look.
→Failing to create a sense of depth by not using atmospheric perspective effectively.
→Using colors that are too saturated, resulting in a painting that looks artificial.
→Ignoring the subtle variations in color and value, resulting in a flat and lifeless painting.

materials

surface · stretched canvas

required

·stretched canvas 12x16
·oil paints (ultramarine blue, yellow ochre, burnt umber, titanium white, cadmium yellow, sap green, raw sienna)
·palette
·palette knife
·linseed oil
·turpentine
·assorted brushes (round and flat)
·rags