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home·artworks·Deer on the Prairie
Deer on the Prairie by William Holbrook Beard

plate no. 8010

Deer on the Prairie

William Holbrook Beard

oilRomanticismanimal paintingdeerprairiewaterskygrasslandscape
some experience helpful

Recreating this painting will help students develop skills in layering colors to create depth and atmosphere, as well as practicing accurate animal anatomy and rendering realistic textures.

technical profile

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

study guide

est. 12 hrs

approach — 8 steps

  1. step 01

    Sketch the basic composition, including the horizon line, the placement of the deer, and the main areas of the landscape.

  2. step 02

    Block in the sky with light blues and grays, creating a sense of depth and atmospheric perspective.

  3. step 03

    Establish the basic colors of the prairie and water, using broad strokes to define the main areas of color.

  4. step 04

    Begin to refine the shapes of the deer, paying attention to their anatomy and proportions. Use a limited palette of browns and grays to create a sense of unity.

  5. step 05

    Add details to the foreground, including the grass, lily pads, and reflections in the water.

  6. step 06

    Refine the details of the deer, adding highlights and shadows to create a sense of form and volume.

  7. step 07

    Add the distant herd of deer, simplifying their forms and using a lighter value to create a sense of distance.

  8. step 08

    Make final adjustments to the colors and values, ensuring that the painting has a sense of unity and harmony.

color palette

primary · raw umber · titanium white · ultramarine blue

secondary · yellow ochre · burnt sienna · sap green

Mix browns and grays by combining umber, blue, and white. Use yellow ochre and burnt sienna to create warm highlights on the deer and grass. Mix greens for the grass and lily pads by combining blue, yellow, and a touch of brown.

techniques

  • ·layering
  • ·blending
  • ·scumbling
  • ·dry brushing

common pitfalls

  • →Overworking the details too early in the process.
  • →Failing to establish a clear value structure.
  • →Using colors that are too saturated or intense.
  • →Ignoring the importance of atmospheric perspective.

materials

surface · stretched canvas

required

  • ·stretched canvas 18x24
  • ·raw umber oil paint
  • ·titanium white oil paint
  • ·ultramarine blue oil paint
  • ·yellow ochre oil paint
  • ·burnt sienna oil paint
  • ·sap green oil paint
  • ·#4 round brush

optional

  • ·palette knife
  • ·linseed oil
  • ·odorless mineral spirits

Use a medium-tooth canvas for best results. Consider using a limited palette to simplify the color mixing process.

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