Horses in the storm

A turbulent sky occupies the upper two-thirds, dominated by swirling clouds in deep blues and greens with dramatic light breaks—warm yellows and creams—on the left and right edges. The foreground anchors the drama with three distinct tree masses silhouetted against the luminous sky: a large grouping on the center-left with bright green wind-caught foliage, smaller trees on the far left, and a tall grove on the right side. Horses with riders in the middle ground appear small and urgent against this landscape, positioned on a warm-toned earth plane. The eye enters through the sky's turbulence, lands on the central tree mass, then settles on the horses' dramatic silhouettes.

The painting operates on dramatic value contrast: nearly black trees and shadows (the darkest darks) thrust against a luminous sky ranging from pale cream in breaks to deep ultramarine in storm clouds (the lightest lights). When squinted, three clear value zones emerge—dark foreground trees, mid-value atmospheric sky, and bright highlights where light penetrates. The strongest value relationship is tree silhouette against sky; secondary contrast appears in warm earth tones against cool greens.

• #122422

  ultramarine blue + viridian green + burnt sienna (very dark, almost black)

  deepest storm shadows in upper-left and upper-center clouds; shadow bases of trees

• #32514f

  viridian green + ultramarine blue + touch of burnt sienna

  primary tree silhouettes—the large center-left mass, far-left trees, and right-side grove

• #1d4864

  ultramarine blue dominant, possibly with alizarin or burnt sienna for depth

  deep swirling storm clouds, particularly upper-left and upper-center

• #4b797a

  ultramarine blue + viridian green + titanium white (mid-value cool)

  atmospheric sky transitions throughout; mid-value cloud formations

• #79a990

  viridian green + titanium white + touch of burnt sienna

  bright green foliage highlights in tree crowns; lighter warm-green ground plane

• #bec3a1

  titanium white + ultramarine blue + touch of viridian (pale, cool-leaning cream)

  brightest cloud breaks on left and right; highest highlights catching the storm light

The sky is handled with loose, directional brushwork—visible strokes follow the wind and cloud movement, creating energy without precision. Edges throughout are predominantly soft and blended, especially where cool sky meets cool clouds. Tree silhouettes hold harder edges against the sky for clarity, but foliage is suggested with gestural dabbing and dryish marks rather than rendered. The overall technique prioritizes atmospheric effect over detail; paint is often applied thin and worked wet-into-wet.

1. 01

   Tone and establish light breaks

   Begin with a thin wash of ultramarine + viridian across the entire sky area. While loose and wet, identify where warm light breaks through—primarily the left edge and right-center area—and rough in pale cream and soft yellow tones. This temperature map guides everything that follows. Don't render clouds yet; just establish the general warm-cool zones.

2. 02

   Block the darkest storm formations

   Paint the deepest storm clouds in the upper-left and upper-center with rich ultramarine + burnt sienna, kept very dark. Use visible, directional brushstrokes that suggest turbulent movement—swirls and streaks following the wind's energy. Leave lighter sky showing through in places. The drama depends on this deep, unsettled mass dominating the center-top.

3. 03

   Establish tree silhouettes

   Paint the large tree grouping in the center-left and the tall trees on the right side as nearly black silhouettes (viridian + ultramarine + burnt sienna, very dark). These shapes should be bold and clear against the lighter sky—they're your primary value anchor. The foreground earth where trees meet ground can be roughed in with a warm tan (burnt sienna + viridian + white).

4. 04

   Add green foliage highlights and wind texture

   While tree paint is still workable, dab in bright green highlights (viridian + white, slightly warm-leaning) to suggest leaves catching light in the wind. These marks should be loose and directional, following the apparent wind direction pushing left. Concentrate this bright green in the center-left tree mass and scattered touches on the right grove. The highlights transform the trees from flat silhouettes to luminous masses.

5. 05

   Define ground plane and position horses

   Paint the immediate foreground earth with warm tone (burnt sienna + viridian + white), cooler toward the horizon. This grounds the composition. Position the horses with riders as dark silhouettes (same dark tree mix) in the middle ground, slightly left of center. Keep their rendering loose—suggest saddles and posture just enough to read their panic, but they should not compete with the landscape.

6. 06

   Develop sky depth and atmospheric transitions

   Return to the sky with mid-value blues and greens (#4b797a territory). Soften harsh edges between cloud shapes; add subtle transitions that create the sense of atmosphere and depth. The darkest clouds should feel closest; lighter areas recede. Blend some edges in the center sky while keeping the bright breaks sharp.

7. 07

   Add warm light accents and pierce the storm

   Punch in warm yellow-orange light on the left edge and pale cream light on the right, especially along cloud edges and on the ground plane where light reflects. Add warm touches to the tree-tops and grass to show light skimming across the landscape. These accents should feel like light breaking through the storm, not applied on top—keep them subtle and atmospheric.

8. 08

   Refine horses and small figures

   Return to the horses and riders with slightly warmer tones (burnt sienna with touches of lighter hue) to distinguish them from pure shadow. Add small human figures on the far left ground with minimal marks—just enough warm color and silhouette to suggest activity. Keep all foreground figures secondary to the landscape drama.

9. 09

   Final softening, sharpening, and highlights

   Soften sky transitions one more time with dry brush, blending where the painting feels too hard. Sharpen tree silhouettes against the sky for clarity. Add final bright highlights—pure titanium white with the tiniest touch of warm tone—on upper cloud edges and ground catches where light is brightest. Step back frequently. The finished painting should read as atmospheric and suggested, not overworked.

• The sky is easy to overwork into mud—the power lies in its luminosity and soft, atmospheric transitions. Resist rendering individual cloud shapes; suggest them with value and loose brushwork instead.
• The trees must stay dark enough to silhouette strongly, but the green foliage highlights are non-negotiable—without them, the trees read as flat black paper rather than wind-battered trees catching light.
• The warm light breaks (yellows, pale creams) can look artificial or dirty if mixed incorrectly or applied too heavily. These are accents against a cool-dominant palette—they should feel like light, not paint added on top.
• The horses and riders can easily steal focus if you render them with the same care as the trees—resist this. They should remain secondary silhouettes that suggest drama without demanding the viewer's full attention.

beginner friendliness

value contrast

palette complexity

compositional simplicity

brushwork visibility