Old Quarter, Yerevan

Light pours from the upper left, casting long shadows across a sunlit courtyard of ochre and cream buildings. The composition is anchored by a prominent yellow-walled structure in the middle ground with a small dark window, while a figure in white with a dark shadow occupies the immediate foreground—this contrast draws the eye first. Lush green foliage clusters in the upper corners frame the scene, and the cool blue passages (water or shadow) create visual breaks against the dominant warm tones. The eye moves from that bright foreground figure back through the angular rooflines and building planes into deeper shadow.

The darkest darks are concentrated in the black outlines and the figure's shadow in the foreground, plus the deep green foliage masses at top. Mid-tones dominate—ochres and warm grays fill most of the building planes. The lightest lights are the pale cream/white walls and the bright yellow sunlit facades. Squint and you'll see three clear zones: dark frame (top), light architectural middle (yellows and creams), and a lighter ground plane with strong dark accents.

• #a18247

  yellow ochre + burnt sienna (warm, earthen mid-tone)

  primary building walls, roofs, and warm shadows throughout the composition

• #c5b08e

  yellow ochre + white (pale, sunlit wall planes)

  bright facades catching light, cream-colored courtyard surfaces

• #72532d

  burnt sienna + ivory black (deep brown)

  architectural edges, window frames, shadow definition on building corners

• #303631

  ivory black + ultramarine blue (nearly black with cool undertone)

  figure's shadow, foliage silhouettes, expressive dark outlines

• #1a181d

  ivory black (pure or nearly pure)

  sharpest linear accents—window openings, figure outline, defining shadows

Malayan uses bold, gestural black outlines to define major shapes and architectural edges, creating a semi-cubist structure. Warm washes are applied transparently in flat, angular areas with hard edges where they meet cool passages. Brushwork is visible in directional strokes that follow building planes and foliage mass—no blending or softening; instead, color shifts abruptly and overlaps create depth. The small figure is rendered with minimal detail but maximum impact through silhouette and shadow.

1. 01

   Establish the composition skeleton

   Lightly sketch the major building shapes using pencil, establishing the angular rooflines and the two-story structure in the upper center. Mark the position of the foreground figure (it sits lower-left of center) and the main courtyard ground plane. This geometric scaffolding will guide all value placement.

2. 02

   Lay in the dominant warm wash

   Apply a thin, transparent yellow ochre + burnt sienna mix across the majority of the building facades and ground. Work quickly and leave gaps where cooler passages (sky, water, shadows) will go. This warm underpainting unifies the scene and establishes your base tone—you'll darken it selectively later.

3. 03

   Block in cool passages and foliage masses

   While the warm wash is still damp or after it dries, apply ultramarine blue to the upper corners where dense green foliage sits, and to the water or shadowed areas visible in the middle ground. Don't blend; let the colors sit adjacent. The foliage should be a darker, more saturated blue-green; the water or shadow passages slightly lighter and more blue.

4. 04

   Define building geometry with burnt sienna shadows

   Using burnt sienna + a touch of ultramarine, paint the shadow sides of the main buildings—particularly the large yellow structure's corner edges and the roof planes. These medium-dark passages show the three-dimensional form and also separate one building from another. Follow the angular geometry you sketched; don't soften.

5. 05

   Strengthen foliage and darken the frame

   Deepen the upper-left and upper-right foliage with a mix of sap green + ivory black, making them nearly black silhouettes. This darkens the frame and pushes the lighter courtyard forward. The foliage should feel dense and graphic, not naturalistic.

6. 06

   Paint the foreground figure and its shadow

   Render the small figure in pale cream or off-white, then paint its dark shadow cast across the ground using ivory black + a hint of ultramarine. Make the shadow shape strong and deliberate—it's a focal point. The shadow should appear to fall toward the lower left, consistent with upper-left light.

7. 07

   Add architectural detail and window openings

   Using ivory black or black + ultramarine, paint the small window rectangles on the buildings and define the major edges of roofs and corners with bold outlines. These linear marks give the scene its expressive, semi-cubist character. Don't hesitate—apply them with confidence to mimic Malayan's gestural approach.

8. 08

   Refine values and add final accents

   Step back and assess. Brighten the brightest yellow walls by applying a pure or nearly pure yellow ochre glaze if needed. Darken any shadow passages that read too light. Add thin burnt sienna or ultramarine lines to reinforce architectural edges and spatial recession. A few strategic dark accents in the foreground (near the figure) will anchor the composition.

• Overblending the warm and cool passages—this painting's strength lies in its abrupt color shifts and graphic clarity. Keep edges mostly hard and let colors sit adjacent rather than gradating smoothly.
• Making the foliage look too leafy or naturalistic; it should read as dark, angular, simplified masses that frame the scene. Treat it as architectural shape, not botanical detail.
• Underestimating the darkness of the black outlines and shadows. Malayan's expressionism relies on bold, confident dark lines to define form. Timid outlines will flatten the work.
• Placing the figure's shadow too soft or diffuse. This shadow is a sharp, dark accent that grounds the composition—paint it decisively and let it cast a long, clear shape.

beginner friendliness

value contrast

palette complexity

compositional simplicity

brushwork visibility