apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·Autumn-Mists
Autumn-Mists by John Henry Twachtman

plate no. 9211

Autumn-Mists

John Henry Twachtman, 1902

oil, canvasImpressionismlandscapelaketreeslandscapereflectionhillfoliage
some experience helpful

Recreating this painting will help students develop skills in layering colors to create depth and atmosphere, as well as capturing reflections in water using broken brushstrokes.

technical profile

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

study guide

est. 8 hrs

approach — 8 steps

  1. step 01

    Sketch the basic composition, indicating the horizon line, the shape of the hill, and the placement of the trees.

  2. step 02

    Apply a thin wash of diluted burnt umber or raw sienna to tone the canvas.

  3. step 03

    Block in the large areas of color: the sky, the hill, the water, and the foreground.

  4. step 04

    Begin layering colors to create the texture of the foliage and the reflections in the water.

  5. step 05

    Use short, broken brushstrokes to suggest the movement of light and shadow.

  6. step 06

    Add details to the trees and foreground, using a smaller brush.

  7. step 07

    Refine the colors and values, paying attention to the overall harmony of the painting.

  8. step 08

    Add final highlights and details to complete the painting.

color palette

primary · viridian green · ultramarine blue · burnt sienna · yellow ochre

secondary · titanium white · raw umber · cadmium yellow light

Mix greens by combining blues and yellows, and create muted tones by adding small amounts of complementary colors. Use white to lighten values and create atmospheric effects.

techniques

  • ·broken color
  • ·wet-on-wet blending
  • ·scumbling
  • ·layering
  • ·color mixing

common pitfalls

  • →over-blending colors
  • →creating mud
  • →losing the sense of light and atmosphere
  • →making the reflections too literal

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·oil paints
  • ·palette
  • ·palette knife
  • ·assorted brushes (round and flat)
  • ·linseed oil
  • ·turpentine

optional

  • ·painting medium
  • ·easel
  • ·rags
  • ·odorless mineral spirits

Use a medium-tooth canvas to allow for better paint adhesion and 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 →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