plate no. 1765
Outskirts of Lausanne
Felix Vallotton, 1893
some experience helpful
This painting offers practice in layering colors to create depth and atmospheric perspective. Students can learn to simplify complex forms into basic shapes and use subtle color variations to suggest texture.
technical profile
palette complexity
3
brushwork visibility
3
value contrast
3
compositional simplicity
3
study guide
est. 8 hrsapproach — 8 steps
- step 01
Sketch the basic composition, focusing on the horizon line and the placement of the main trees.
- step 02
Block in the sky with light blue and white, blending softly.
- step 03
Establish the distant mountains with a muted purple-gray tone.
- step 04
Paint the lake using varying shades of blue, reflecting the sky.
- step 05
Block in the fields with a base of yellow ochre and raw sienna.
- step 06
Add details to the trees, using a mix of greens and browns, varying the values to create depth.
- step 07
Paint the foreground grass with strokes of green and yellow, adding highlights and shadows.
- step 08
Refine details and adjust values to create a sense of depth and atmosphere.
color palette
primary · yellow ochre · ultramarine blue · titanium white · raw sienna
secondary · burnt umber · sap green · violet
Mix greens by combining blue and yellow ochre. Achieve atmospheric perspective by adding white to colors for distant elements.
techniques
- ·layering
- ·blending
- ·atmospheric perspective
- ·broken color
- ·scumbling
common pitfalls
- →Overworking the details
- →Using too much pure color without mixing
- →Ignoring value changes
- →Not establishing a clear focal point
materials
surface · stretched canvas
required
- ·stretched canvas 12x16
- ·#4 round brush
- ·#6 flat brush
- ·yellow ochre oil paint
- ·ultramarine blue oil paint
- ·titanium white oil paint
- ·raw sienna oil paint
optional
- ·palette knife
- ·linseed oil
- ·odorless mineral spirits
Use a medium-grain canvas for best results. Pre-tinting the canvas with a thin wash of burnt umber can help create a warm undertone.
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