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home·artworks·Nina in San Pau
Nina in San Pau by Dmitri Zhilinsky

plate no. 0777

Nina in San Pau

Dmitri Zhilinsky, 1990

oilContemporary Realismcityscapebuildingstowermountainsfigurestreetsky
some experience helpful

Recreating this painting will help students develop skills in perspective, color mixing for natural light, and capturing architectural details with simplified forms. It also introduces the concept of creating depth using atmospheric perspective.

technical profile

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

study guide

est. 12 hrs

approach — 8 steps

  1. step 01

    Lightly sketch the main shapes and perspective lines of the buildings, tower, and mountains.

  2. step 02

    Establish the horizon line and vanishing points to guide the perspective.

  3. step 03

    Block in the large areas of color for the sky, mountains, and buildings using thin washes.

  4. step 04

    Mix and apply the base colors for the buildings, paying attention to the light and shadow.

  5. step 05

    Add details to the buildings, such as windows, doors, and roof tiles, using thicker paint.

  6. step 06

    Paint the figures in the scene, simplifying their forms and focusing on their gestures.

  7. step 07

    Refine the details of the landscape, adding highlights and shadows to create depth.

  8. step 08

    Add final touches and adjust the colors and values as needed to create a cohesive composition.

color palette

primary · raw umber · titanium white · cadmium red light

secondary · cerulean blue · yellow ochre · burnt sienna

Mix various shades of gray and brown by combining raw umber, titanium white, and small amounts of other colors. Achieve the sky color by mixing cerulean blue with white and a touch of yellow ochre. Create the mountain color by mixing cerulean blue, yellow ochre, and raw umber.

techniques

  • ·blocking in
  • ·color mixing
  • ·perspective drawing
  • ·atmospheric perspective
  • ·simplified forms

common pitfalls

  • →Incorrect perspective leading to distorted buildings.
  • →Overly detailed rendering of architectural elements.
  • →Muddy color mixing resulting in dull tones.
  • →Ignoring the effect of light and shadow on the forms.
  • →Failing to simplify the figures and landscape elements.

materials

surface · stretched canvas

required

  • ·stretched canvas 16x20
  • ·raw umber oil paint
  • ·titanium white oil paint
  • ·cadmium red light oil paint
  • ·cerulean blue oil paint
  • ·yellow ochre oil paint
  • ·burnt sienna oil paint
  • ·#4 round brush

optional

  • ·palette knife
  • ·linseed oil
  • ·odorless mineral spirits
  • ·easel

Use a medium-grit canvas for better texture. Consider using a limited palette to simplify color mixing.

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oil painting for beginners →how to learn by studying the masters →
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