apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·Naples. Buildings on a Cliff Top
Naples. Buildings on a Cliff Top by Thomas Jones

plate no. 2662

Naples. Buildings on a Cliff Top

Thomas Jones, 1782

oilRomanticismlandscapebuildingsclifftreesskylandscapearchitecture
some experience helpful

Recreating this painting will help students develop skills in layering colors to create depth and modeling form with subtle value changes. It also provides practice in depicting architectural details within a natural landscape.

technical profile

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

study guide

est. 12 hrs

approach — 8 steps

  1. step 01

    Sketch the basic composition, focusing on the placement of the buildings, cliff face, and trees.

  2. step 02

    Establish the sky color with a thin, even wash.

  3. step 03

    Block in the general shapes of the cliff and buildings with light, neutral tones.

  4. step 04

    Begin layering darker tones to define shadows and create depth on the cliff face and in the foliage.

  5. step 05

    Add details to the buildings, such as windows and architectural features.

  6. step 06

    Refine the foliage by adding highlights and variations in green tones.

  7. step 07

    Work on the foreground wall, adding texture and variations in color.

  8. step 08

    Add final highlights and details to complete the painting.

color palette

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

secondary · sap green · burnt sienna

Mix various shades of green by combining yellow ochre, ultramarine blue, and a touch of burnt sienna. Create the cliff face colors by mixing raw umber, yellow ochre, and titanium white in varying proportions.

techniques

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

common pitfalls

  • →Overworking the details too early in the process.
  • →Creating overly saturated colors that detract from the muted palette.
  • →Failing to establish a strong sense of depth through value changes.
  • →Ignoring the subtle color variations in the cliff face and foliage.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·ultramarine blue oil paint
  • ·raw umber oil paint
  • ·titanium white oil paint
  • ·yellow ochre oil paint
  • ·sap green oil paint
  • ·round brushes (sizes 2, 4, 6)
  • ·linseed oil

optional

  • ·palette knife
  • ·medium gloss
  • ·burnt sienna oil paint

Use a canvas with a smooth texture to facilitate blending and layering. Consider using a toned canvas to establish a base color.

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

Romantic Landscape

Romantic Landscape

Karl Lessing

Self-portrait with his brother Francesco

Self-portrait with his brother Francesco

Giuseppe Tominz

Oenone Refuse de Secourir Pâris au Siège de Troie

Oenone Refuse de Secourir Pâris au Siège de Troie

Léon Cogniet

Duke of Alba

Duke of Alba

Francisco Goya

Blick Aus Dem Wald Ins Tal

Blick Aus Dem Wald Ins Tal

Andreas Achenbach

Young Girl Fixing Her Hair

Young Girl Fixing Her Hair

Sophie Gengembre Anderson

The Plough Inn

The Plough Inn

William Shayer

Hudson River Landscape

Hudson River Landscape

Johann Hermann Carmiencke