apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·Rainy Day in Sevan
Rainy Day in Sevan by Gevorg Bashindzhagian

plate no. 7689

Rainy Day in Sevan

Gevorg Bashindzhagian, 1899

oil, canvasRealismmarinaseaislandcloudsrainskyboat
some experience helpful

Recreating this painting will help students develop skills in atmospheric perspective and subtle color blending to create a sense of depth and mood. It also provides practice in capturing the effects of light and weather on a landscape.

technical profile

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

study guide

est. 12 hrs

approach — 8 steps

  1. step 01

    Prepare your canvas with a thin, neutral-toned ground.

  2. step 02

    Sketch the basic composition, including the horizon line, island, and cloud formations.

  3. step 03

    Block in the main color areas: the sky, sea, and island, focusing on the overall value structure.

  4. step 04

    Begin blending the colors in the sky to create the soft, diffused light and cloud formations.

  5. step 05

    Work on the sea, adding subtle variations in color and texture to suggest the movement of the water.

  6. step 06

    Develop the island, paying attention to the details of the vegetation and the way it recedes into the distance.

  7. step 07

    Add the small boat and birds, using thin washes of paint.

  8. step 08

    Refine the details and adjust the values to create a cohesive and atmospheric painting.

color palette

primary · Payne's Gray · Titanium White · Yellow Ochre

secondary · Ultramarine Blue · Burnt Umber · Cadmium Yellow Light

Achieve the muted, atmospheric colors by mixing Payne's Gray and Titanium White for the sky and sea. Add small amounts of Yellow Ochre and Burnt Umber to warm the grays and create subtle color variations.

techniques

  • ·atmospheric perspective
  • ·soft blending
  • ·glazing
  • ·scumbling
  • ·wet-on-wet

common pitfalls

  • →Overworking the details, which can detract from the overall atmospheric effect.
  • →Using colors that are too bright or saturated, which can make the painting look unnatural.
  • →Ignoring the importance of value relationships, which can flatten the image.
  • →Not creating enough depth in the painting by failing to use atmospheric perspective effectively.

materials

surface · stretched canvas

required

  • ·Stretched canvas (12x16 inches)
  • ·Oil paints (Payne's Gray, Titanium White, Yellow Ochre, Ultramarine Blue, Burnt Umber)
  • ·Round brushes (sizes 2, 4, 6)
  • ·Flat brushes (sizes 4, 8)
  • ·Palette
  • ·Linseed oil
  • ·Odorless mineral spirits
  • ·Palette knife

optional

  • ·Retouch varnish
  • ·Medium (Liquin)

Use high-quality oil paints for best results. A medium can be used to thin the paints and speed up drying time.

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

Portrait of James Wright

Portrait of James Wright

Thomas Eakins

Portrait of a lady

Portrait of a lady

Karl Gussow

Sisters

Sisters

Émile Auguste Hublin

Catching Up on the News

Catching Up on the News

Eastman Johnson

At the porter's room

At the porter's room

Vladimir Makovsky

Flowers and Fruit

Flowers and Fruit

Henri Fantin-Latour

Valle de México desde el Molino del Rey

Valle de México desde el Molino del Rey

Jose Maria Velasco

Self-Portrait II

Self-Portrait II

Mihaly Munkacsy