apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·Glasgow High Street, Looking towards the Cathedral
Glasgow High Street, Looking towards the Cathedral by Thomas Girtin

plate no. 9675

Glasgow High Street, Looking towards the Cathedral

Thomas Girtin, 1797

oilRomanticismcityscapecityscapearchitecturebuildingfiguresskystreet
some experience helpful

Recreating this painting will help students develop skills in atmospheric perspective and rendering architectural details with loose, expressive brushstrokes. It also introduces the concept of creating depth through subtle value changes.

technical profile

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

study guide

est. 8 hrs

approach — 8 steps

  1. step 01

    Lightly sketch the main shapes: the tower, cathedral, and building on the right.

  2. step 02

    Establish the horizon line and the perspective of the street.

  3. step 03

    Apply a thin wash of diluted raw sienna and burnt umber for the underpainting of the buildings and street.

  4. step 04

    Add a light blue wash for the sky, leaving some areas lighter to suggest clouds.

  5. step 05

    Begin building up the details of the tower and cathedral with darker washes of burnt umber and Payne's gray, focusing on the shadows.

  6. step 06

    Use a fine brush to add details like windows and architectural features.

  7. step 07

    Paint the figures with small, quick strokes, using a mix of blue and brown.

  8. step 08

    Add final details and highlights with a dry brush technique, using lighter shades of the existing colors.

color palette

primary · raw sienna · burnt umber · Payne's gray

secondary · light blue · white

Mix raw sienna and burnt umber for the warm tones of the buildings. Use Payne's gray to create shadows and architectural details. Dilute colors with water to achieve different values.

techniques

  • ·atmospheric perspective
  • ·dry brush
  • ·layering washes
  • ·rendering architectural details
  • ·limited palette

common pitfalls

  • →Overworking the details and losing the loose, expressive quality.
  • →Making the colors too saturated.
  • →Not establishing a clear sense of perspective.
  • →Ignoring the subtle value changes that create depth.

materials

surface · watercolor paper 140lb

required

  • ·Watercolor paper 140lb
  • ·Watercolor paints (raw sienna, burnt umber, Payne's gray, light blue, white)
  • ·Round watercolor brushes (sizes 2, 4, 6)
  • ·Palette
  • ·Water container
  • ·Paper towels
  • ·Pencil
  • ·Eraser

optional

  • ·Masking fluid
  • ·Palette knife
  • ·Ruler

Use high-quality watercolor paper to prevent buckling. Experiment with different brush sizes to achieve various effects.

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