apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·In the Forest
In the Forest by Arkady Rylov

plate no. 6174

In the Forest

Arkady Rylov, 1905

oilSymbolismlandscapetreesforesthorsefigurelandscapecarriage
some experience helpful

Recreating this painting will help students practice layering techniques and color mixing to achieve realistic light and shadow effects in a complex scene. It also provides experience in depicting organic forms and textures, such as tree bark and foliage.

technical profile

palette complexity
4
brushwork visibility
4
value contrast
3
compositional simplicity
2

study guide

est. 15 hrs

approach — 8 steps

  1. step 01

    Sketch the basic composition, focusing on the placement of the horse, figure, and the overall arrangement of the trees.

  2. step 02

    Establish the background by painting the distant trees with lighter, cooler tones to create depth.

  3. step 03

    Block in the main shapes of the horse and foal with broad strokes, paying attention to their proportions and anatomy.

  4. step 04

    Begin layering the foliage and ground cover, using a variety of greens and browns to create texture and depth.

  5. step 05

    Add details to the trees, including the characteristic markings of the birch bark.

  6. step 06

    Refine the figures of the horse, foal and the person, adding details to their forms and clothing.

  7. step 07

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

  8. step 08

    Add final details, such as small flowers and highlights, to complete the painting.

color palette

primary · titanium white · viridian green · raw umber

secondary · cadmium yellow · alizarin crimson · ultramarine blue

Achieve the subtle greens by mixing viridian green with cadmium yellow and titanium white. Create the browns by mixing raw umber with alizarin crimson and ultramarine blue.

techniques

  • ·layering
  • ·scumbling
  • ·broken color
  • ·alla prima
  • ·color mixing

common pitfalls

  • →Overworking the details too early in the process.
  • →Failing to establish a strong value structure.
  • →Using colors straight from the tube without mixing.
  • →Losing the sense of depth and atmosphere.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·oil paints
  • ·palette
  • ·palette knife
  • ·assorted brushes
  • ·linseed oil
  • ·turpentine
  • ·rags

optional

  • ·painting medium
  • ·easel
  • ·varnish

Use high-quality oil paints for best results. A medium-sized canvas (e.g., 16x20 inches) is recommended.

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

Satan Addressing his Potentates

Satan Addressing his Potentates

William Blake

Self-portrait in studio

Self-portrait in studio

Franz Stuck

Tajik

Tajik

Kuzmá Petrov-Vodkin

View from the studio in Eerbeek

View from the studio in Eerbeek

Jan Mankes

Harlequin's garden

Harlequin's garden

Serge Sudeikin

Incantation

Incantation

Felicien Rops

Anzac, the Landing

Anzac, the Landing

George Washington Lambert

Paisatge

Paisatge

Joan Brull