Namur. France.

Sunlight from the upper left illuminates a white church spire that rises vertically from the center, immediately drawing the eye as the brightest form against surrounding buildings. The composition builds downward and outward: the church dominates the middle ground, surrounded by tan and rust-colored rooftops in warm, varied strokes; a distinctive teal-green water feature or riverbed sits in the lower-middle, marked with dark directional strokes; and in the far distance, deep blue-purple cliffs or hillside recede across the horizon. The foreground masses in deep brown and black anchor the lower edge, creating strong depth.

The white church reads as the absolute lightest light, supported by the equally bright teal water. The darkest darks anchor the immediate foreground (browns and near-blacks in rooftops) and the distant hills (deep purple-blue). Mid-tones—warm ochres, grays, and tan buildings—fill the middle, creating a visual sandwich. Squinting reveals three distinct tonal planes: dark foreground buildings, medium-light church and surrounding architecture, and cooler distant hills.

• #404549

  Ultramarine blue + Alizarin crimson + touch of black; used for distant hills and sky shadows

  Far background hills and upper sky

• #605d56

  Burnt sienna + Ultramarine blue + Raw umber for dark rooftops

  Foreground rooftops and dark building shadows

• #68797b

  Cerulean blue + Raw umber + White for grayed shadows

  Building shadow areas and middle-tone walls

• #96a397

  Yellow ochre + Cadmium red + White, adding touches of Raw umber for variation

  Warm tan and cream building walls throughout

• #c0d3cb

  Viridian + Cadmium yellow light + White with dabs of Alizarin for the teal

  Water feature with directional green-teal platform markings

• #e8dcc8

  Titanium white + tiny touch of Yellow ochre for luminosity

  Church body and brightest highlights

Brushwork is bold and gestural throughout—thick, directional strokes that suggest form rather than describe it. Edges are mostly hard where forms meet, but never sharp or photographic; the church maintains slightly crisper definition at its core, while surrounding buildings dissolve into more rapid, chunky marks. The water platform is articulated with deliberate horizontal and diagonal strokes that convey structure and movement; the distant hills use primarily vertical strokes that contrast with the varied directions of the foreground buildings.

1. 01

   Establish horizon and water

   Lightly map the horizon line where distant hills meet sky. Block in the water feature in the lower-middle with its distinct teal-green. Note that the water occupies a significant horizontal band and runs roughly level; this anchors the entire composition. Don't overwork—just establish position and rough color.

2. 02

   Build the church anchor

   Paint the white church as your central focal point, working from light. Establish its vertical tower rising above surrounding rooftops. The church is not pure white—add tiny warm touches to suggest form and keep it luminous rather than stark. The church's position, roughly center-right in the middle ground, is critical to the composition's balance.

3. 03

   Block surrounding warm buildings

   Use warm ochres, tans, and rust tones to mass in the buildings clustered around and below the church. Work broadly in large strokes following the roofline and wall planes. Allow colors to vary—some buildings lean warmer orange-brown, others cooler tan-gray. These warm mid-tones will create the visual 'body' that frames the white church.

4. 04

   Establish the dark foreground

   Paint the immediate foreground—the closest rooftops and building masses—in deep browns and blacks. These darks are essential for pushing the composition back. Use a mix of burnt sienna, ultramarine, and raw umber. The foreground should read as clearly darker than the church and surrounding buildings, creating immediate spatial depth.

5. 05

   Paint sky and distant hills

   Work the upper portion with a cool blue sky, shifting to deeper purple-blue where the distant cliffs rise. The hills behind the city should feel atmospheric and recessive—use less detail and cooler colors than the foreground. This cool background makes the warm buildings and white church advance visually.

6. 06

   Define water structure with directional marks

   Return to the teal-green water and add dark horizontal and diagonal strokes suggesting a platform, pathway, or ledge structure. These marks should be deliberate and directional, not random. The water's bright teal-green is one of the painting's signature colors—ensure it reads distinctly between the dark foreground and lighter buildings.

7. 07

   Darken and refine key transitions

   Add deeper darks where buildings meet sky, along the church's shadow side, and in recessed areas. Refine where warm foreground buildings meet cool distant hills. Add a few sharp accent strokes to clarify the church's tower and main building edges without overworking the surrounding architecture.

8. 08

   Integrate and express final touches

   Step back and assess value balance—the church should still read as brightest, water as distinctly teal-green, foreground as darkest. Add final expressive touches: quick directional marks that suggest texture in rooftops, a few warm highlights on lit building surfaces, and any color notes that strengthen the composition's vibration. Less is more here; the painting's energy comes from bold strokes, not detail.

• The white church loses its luminosity if painted too yellow or too blue—it needs warmth but must remain the brightest form. Test your white mix on a scrap before committing.
• The teal-green water is easy to muddy into gray-blue if not mixed decisively. Mix Viridian or Cerulean with warm yellow first, then adjust; this ensures clarity and avoids the common trap of over-mixing on the canvas.
• The composition's balance depends entirely on the church's vertical emphasis and central position; if it shifts or shrinks, the whole arrangement collapses into chaos. Establish its placement early and commit.
• Distant hills can easily become as detailed and warm as foreground buildings, killing depth. Keep them cooler, less detailed, and use broader strokes than the foreground complexity.

beginner friendliness

value contrast

palette complexity

compositional simplicity

brushwork visibility