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home·artworks·In the Forest
In the Forest by William Holbrook Beard

plate no. 8925

In the Forest

William Holbrook Beard

oilRomanticismanimal paintingforesttreesanimalsfoliagelightlandscape
some experience helpful

Recreating this painting will help students develop skills in atmospheric perspective and creating depth through layering and color variation. It will also provide practice in rendering realistic textures of trees and foliage.

technical profile

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

study guide

est. 15 hrs

approach — 8 steps

  1. step 01

    Sketch the basic composition, focusing on the placement of the trees and animals.

  2. step 02

    Establish the overall value structure with a thin wash of burnt umber or a similar earth tone.

  3. step 03

    Block in the main areas of color, starting with the darkest shadows and working towards the lighter areas.

  4. step 04

    Begin layering in more detail, focusing on the textures of the trees and foliage.

  5. step 05

    Pay close attention to the atmospheric perspective, making the background elements lighter and less detailed.

  6. step 06

    Add the animals, paying attention to their anatomy and how they interact with the light.

  7. step 07

    Refine the details and add highlights to create a sense of depth and realism.

  8. step 08

    Glaze with thin layers of color to unify the painting and create a sense of atmosphere.

color palette

primary · sap green · burnt umber · raw sienna · titanium white

secondary · ultramarine blue · yellow ochre · cadmium yellow light

Achieve the various greens by mixing sap green with yellow ochre and titanium white. Use ultramarine blue to cool down the greens and create shadows. Mix burnt umber and raw sienna with white for the tree trunks and earth tones.

techniques

  • ·layering
  • ·glazing
  • ·dry brushing
  • ·atmospheric perspective
  • ·scumbling

common pitfalls

  • →Overworking the details and losing the overall sense of atmosphere.
  • →Not paying enough attention to the value structure and creating a flat painting.
  • →Using too much detail in the background, which will flatten the perspective.
  • →Failing to create a sense of depth by not using atmospheric perspective.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·oil paints
  • ·turpentine or odorless mineral spirits
  • ·linseed oil
  • ·round brushes
  • ·flat brushes
  • ·palette
  • ·palette knife

optional

  • ·medium gloss
  • ·easel
  • ·mahl stick

Use a medium-tooth canvas to allow for good paint adhesion and texture. Consider using a toned canvas to establish a base color.

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