apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·Jerusalem, Looking to Mount Scopus
Jerusalem, Looking to Mount Scopus by David Bomberg

plate no. 1698

Jerusalem, Looking to Mount Scopus

David Bomberg, 1925

oil, canvasRealismcityscapecityscapebuildingsskyhillsarchitecturerooftops
some experience helpful

This painting provides an opportunity to practice perspective and color mixing to create a sense of depth. Students can also learn to simplify complex scenes by focusing on basic shapes and values.

technical profile

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

study guide

est. 12 hrs

approach — 8 steps

  1. step 01

    Lightly sketch the main shapes and perspective lines of the buildings and landscape.

  2. step 02

    Block in the sky with a thin wash of color, establishing the overall tone.

  3. step 03

    Establish the main value blocks for the rooftops and buildings, focusing on light and shadow.

  4. step 04

    Begin adding details to the buildings, such as windows and architectural features, using smaller brushes.

  5. step 05

    Mix subtle color variations to create depth and dimension in the buildings and landscape.

  6. step 06

    Add highlights and shadows to enhance the form of the buildings and rooftops.

  7. step 07

    Refine the details and edges, paying attention to the overall composition.

  8. step 08

    Add final touches and adjust colors as needed to achieve a cohesive and harmonious painting.

color palette

primary · yellow ochre · titanium white · burnt sienna

secondary · ultramarine blue · raw umber · cadmium orange

Mix various shades of ochre and sienna with white to create the warm tones of the buildings. Add small amounts of blue and umber to create cooler shadows and grays.

techniques

  • ·blocking in
  • ·layering
  • ·dry brushing
  • ·color mixing
  • ·atmospheric perspective

common pitfalls

  • →Getting lost in the details too early.
  • →Not establishing a strong value structure.
  • →Using colors that are too saturated.
  • →Ignoring the effects of atmospheric perspective.

materials

surface · stretched canvas

required

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

optional

  • ·medium gloss
  • ·easel
  • ·viewfinder

Use a medium-grain canvas for best results. Consider using a limited palette to simplify color mixing.

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

Portrait of James Wright

Portrait of James Wright

Thomas Eakins

Portrait of a lady

Portrait of a lady

Karl Gussow

Sisters

Sisters

Émile Auguste Hublin

Catching Up on the News

Catching Up on the News

Eastman Johnson

At the porter's room

At the porter's room

Vladimir Makovsky

Flowers and Fruit

Flowers and Fruit

Henri Fantin-Latour

Valle de México desde el Molino del Rey

Valle de México desde el Molino del Rey

Jose Maria Velasco

Self-Portrait II

Self-Portrait II

Mihaly Munkacsy