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home·artworks·In The New Forest
In The New Forest by William Shayer

plate no. 9408

In The New Forest

William Shayer

oil, canvasRomanticismgenre paintingtreesforesthorsescartfigurespath
some experience helpful

Recreating this painting will help students develop skills in atmospheric perspective, creating depth through layering, and rendering realistic textures of foliage and figures. It also provides practice in capturing the effects of light filtering through trees.

technical profile

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

study guide

est. 15 hrs

approach — 8 steps

  1. step 01

    Sketch the basic composition, focusing on the placement of the path, trees, figures, and cart.

  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 major shapes of the trees and foliage, paying attention to the light and shadow patterns.

  4. step 04

    Begin layering colors, starting with the darker areas and gradually adding highlights.

  5. step 05

    Refine the details of the figures, horses, and cart, using smaller brushes.

  6. step 06

    Add texture to the foliage and ground with dry brushing and stippling techniques.

  7. step 07

    Glaze thin layers of color to unify the painting and enhance the atmospheric perspective.

  8. step 08

    Add final highlights and details to create a sense of depth and realism.

color palette

primary · burnt umber · yellow ochre · titanium white · ultramarine blue

secondary · raw sienna · cadmium yellow · alizarin crimson · sap green

Achieve the warm, earthy tones by mixing burnt umber with yellow ochre and white. Create the greens by mixing ultramarine blue with cadmium yellow and a touch of burnt umber to mute the color. Use glazes of alizarin crimson and burnt umber to create depth in the shadows.

techniques

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

common pitfalls

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

materials

surface · stretched canvas

required

  • ·stretched canvas (18x24 inches)
  • ·oil paints (burnt umber, yellow ochre, titanium white, ultramarine blue)
  • ·round brushes (sizes 2, 4, 6)
  • ·flat brushes (sizes 4, 8)
  • ·linseed oil
  • ·turpentine or odorless mineral spirits
  • ·palette
  • ·palette knife

optional

  • ·medium gloss
  • ·retouch varnish
  • ·easel

Use a canvas with a medium texture to allow for better paint adhesion and blending. Consider using a toned canvas to establish a base color and simplify the initial stages of painting.

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