apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·Buildings in Naples with the North-East Side
Buildings in Naples with the North-East Side by Thomas Jones

plate no. 9956

Buildings in Naples with the North-East Side

Thomas Jones, 1782

oilRomanticismcityscapebuildingscityscapeskyarchitecturewallsclouds
some experience helpful

Recreating this painting will help students develop skills in atmospheric perspective and rendering subtle tonal variations in architectural forms. It also provides practice in creating a sense of depth through layering and color temperature.

technical profile

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

study guide

est. 8 hrs

approach — 8 steps

  1. step 01

    Lightly sketch the main shapes and perspective lines of the buildings.

  2. step 02

    Block in the sky with a thin wash of blue, leaving space for the clouds.

  3. step 03

    Establish the basic tones of the buildings with a mid-tone gray or beige.

  4. step 04

    Begin layering darker values to define shadows and architectural details.

  5. step 05

    Add lighter values to indicate highlights and sunlit areas.

  6. step 06

    Paint the distant buildings and trees with muted colors to create atmospheric perspective.

  7. step 07

    Refine the details of the foreground buildings, including windows and textures.

  8. step 08

    Add the final touches, such as the laundry and subtle color variations.

color palette

primary · ultramarine blue · raw umber · titanium white

secondary · yellow ochre · burnt sienna

Mix various shades of gray by combining raw umber and white, adjusting the ratio for lighter or darker tones. Use ultramarine blue and white for the sky, adding a touch of yellow ochre for warmth near the horizon. Achieve the building colors by mixing raw umber, yellow ochre, and white.

techniques

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

common pitfalls

  • →Overworking the details too early
  • →Failing to establish a strong value structure
  • →Using colors that are too saturated
  • →Ignoring the effects of atmospheric perspective

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·ultramarine blue oil paint
  • ·raw umber oil paint
  • ·titanium white oil paint
  • ·yellow ochre oil paint
  • ·round brushes
  • ·flat brushes

optional

  • ·palette knife
  • ·linseed oil
  • ·turpentine

Use a medium-grain canvas for a slightly textured surface. Consider using a limited palette to simplify the color mixing process.

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