apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·Road on the plain
Road on the plain by Giovanni (Nino) Costa

plate no. 6859

Road on the plain

Giovanni (Nino) Costa, 1890

oil, canvasNaturalismlandscapeskycloudsmountainsfieldroadfigure
some experience helpful

This painting offers a good opportunity to practice atmospheric perspective and color mixing to create subtle variations in the sky and landscape. Students can also learn about simplifying details and focusing on overall tonal relationships.

technical profile

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

study guide

est. 8 hrs

approach — 8 steps

  1. step 01

    Lightly sketch the horizon line, road, mountains, and figure, paying attention to perspective.

  2. step 02

    Block in the sky with broad strokes, using a mix of blues, purples, and whites, blending softly.

  3. step 03

    Establish the mountain range with muted purples and grays, suggesting snow with lighter tones.

  4. step 04

    Paint the field using a base of greens and browns, varying the tones to create depth.

  5. step 05

    Add the road with a mix of browns and grays, suggesting texture with broken brushstrokes.

  6. step 06

    Paint the figure with simplified shapes and colors, paying attention to its placement in the scene.

  7. step 07

    Add subtle details to the sky and landscape, refining the colors and values.

  8. step 08

    Review the painting and make any necessary adjustments to the overall composition and color harmony.

color palette

primary · ultramarine blue · burnt umber · titanium white

secondary · yellow ochre · alizarin crimson

Mix blues and whites for the sky, adding a touch of purple for depth. Use burnt umber and white for the road, and mix greens and browns for the field. Create muted purples for the mountains by mixing blues, reds, and browns.

techniques

  • ·atmospheric perspective
  • ·color mixing
  • ·broken brushstrokes
  • ·tonal painting
  • ·scumbling

common pitfalls

  • →Overworking details
  • →Creating too much contrast
  • →Ignoring atmospheric perspective
  • →Using colors straight from the tube without mixing
  • →Incorrect perspective on the road

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·palette
  • ·palette knife
  • ·#6 round brush
  • ·#8 flat brush
  • ·linseed oil
  • ·mineral spirits

optional

  • ·medium gloss
  • ·easel

Use a medium-grain canvas for best results. Consider using a limited palette to simplify color mixing.

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

Nesebar

Nesebar

Felix Philipp Kanitz

View of the city of Nettuno at dawn with fishing boats

View of the city of Nettuno at dawn with fishing boats

Giovanni (Nino) Costa

Koriten Fortress

Koriten Fortress

Felix Philipp Kanitz

A London Jo - the End of the Day

A London Jo - the End of the Day

Augustus Edwin Mulready

Chestnut trees in the autumn in Antagnes, Switzerland

Chestnut trees in the autumn in Antagnes, Switzerland

Hubertine Heijermans

Avenue of Indian Rubber Trees at Peradeniya, Ceylon

Avenue of Indian Rubber Trees at Peradeniya, Ceylon

Marianne North

Paisaje Con Río

Paisaje Con Río

José Santiago Garnelo y Alda

An Oysterman

An Oysterman

William Henry Hunt