apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·Cos Cob
Cos Cob by John Henry Twachtman

plate no. 8919

Cos Cob

John Henry Twachtman, 1899

oil, canvasImpressionismlandscapebuildingswaterboatsreflectionslandscapetrees
some experience helpful

Recreating this painting will help students develop skills in capturing reflections and using broken color to create a sense of light and atmosphere. It also provides practice in simplifying complex scenes into basic shapes and color blocks.

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

    Begin with a light sketch to establish the basic shapes of the buildings, boats, and horizon line.

  2. step 02

    Block in the large areas of color for the sky, water, and buildings using thin washes.

  3. step 03

    Start layering colors to build up the reflections in the water, paying attention to the vertical strokes.

  4. step 04

    Add details to the buildings, such as windows and roof lines, using small, broken brushstrokes.

  5. step 05

    Refine the shapes of the boats and add highlights to create a sense of form.

  6. step 06

    Use short, choppy strokes to create texture in the trees and foliage.

  7. step 07

    Adjust the values and colors throughout the painting to create a sense of depth and atmosphere.

  8. step 08

    Add final details and highlights to complete the painting.

color palette

primary · yellow ochre · viridian green · titanium white

secondary · burnt sienna · ultramarine blue

Mix yellow ochre with small amounts of burnt sienna to create the warm tones of the buildings. Use viridian green and ultramarine blue to create the cool tones of the water and sky. Add titanium white to lighten colors and create highlights.

techniques

  • ·broken color
  • ·wet-on-wet blending
  • ·scumbling
  • ·layering
  • ·alla prima

common pitfalls

  • →overworking the painting
  • →making the reflections too literal
  • →not simplifying the shapes enough
  • →using colors straight from the tube without mixing

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·oil paints
  • ·palette
  • ·palette knife
  • ·#4 round brush
  • ·#6 flat brush
  • ·linseed oil
  • ·odorless mineral spirits

optional

  • ·medium gloss
  • ·easel
  • ·painting rags

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