apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·On Hampstead Heath
On Hampstead Heath by James Hamilton

plate no. 0582

On Hampstead Heath

James Hamilton, 1856

oilRomanticismmarinaskycloudslandscapefiguresfieldbuildings
some experience helpful

Recreating this painting will help students develop skills in creating atmospheric perspective and using a limited palette to achieve tonal harmony. It's also a good exercise in capturing the mood of a landscape through expressive brushwork.

technical profile

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

study guide

est. 8 hrs

approach — 8 steps

  1. step 01

    Lightly sketch the basic composition: horizon line, the large hill, and the placement of figures.

  2. step 02

    Block in the sky with light gray washes, varying the tones to suggest clouds.

  3. step 03

    Establish the dark mass of the hill using a dark gray/black mix, leaving some areas lighter to suggest form.

  4. step 04

    Paint the foreground with horizontal strokes, varying the tones to create a sense of depth and texture.

  5. step 05

    Add the distant buildings with very light gray washes, keeping them soft and indistinct.

  6. step 06

    Define the figures with small, dark strokes, paying attention to their relative scale.

  7. step 07

    Refine the cloud formations with subtle variations in tone and texture.

  8. step 08

    Add final details and highlights to the foreground and hill to enhance the sense of depth and realism.

color palette

primary · ivory black · titanium white

secondary · raw umber · payne's gray

Mix varying shades of gray by combining black and white. Use raw umber to warm the grays slightly for the foreground. Payne's gray can be used to deepen the shadows in the sky and hill.

techniques

  • ·dry brushing
  • ·scumbling
  • ·tonal painting
  • ·atmospheric perspective
  • ·grisaille

common pitfalls

  • →Overworking the painting and losing the loose, expressive quality.
  • →Creating too much contrast in the sky, making it look unnatural.
  • →Making the distant buildings too sharp and defined.
  • →Not varying the tones enough in the foreground, resulting in a flat, uninteresting area.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·ivory black oil paint
  • ·titanium white oil paint
  • ·raw umber oil paint
  • ·payne's gray oil paint
  • ·linseed oil
  • ·turpentine
  • ·assorted brushes (round and flat)

optional

  • ·palette knife
  • ·painting medium
  • ·varnish

A toned canvas (light gray or raw umber) can be helpful for establishing the overall tonal range of the painting.

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