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home·artworks·Segovia
Segovia by Ernest Lawson

plate no. 0612

Segovia

Ernest Lawson, 1916

oil, canvasImpressionismlandscapecityscapebuildingshillswaterskylandscape
some experience helpful

Recreating this painting will help students develop skills in layering colors with visible brushstrokes to create texture and depth, as well as understanding atmospheric perspective to depict distance.

technical profile

palette complexity
4
brushwork visibility
5
value contrast
3
compositional simplicity
3

study guide

est. 12 hrs

approach — 8 steps

  1. step 01

    Lightly sketch the basic shapes of the buildings, hills, and water, focusing on proportions and placement.

  2. step 02

    Block in the sky with broad strokes of light blue, white, and yellow, creating a sense of cloud formations.

  3. step 03

    Establish the base colors for the hills and foreground, using greens, browns, and yellows.

  4. step 04

    Begin layering colors on the buildings, using a mix of warm and cool tones to suggest light and shadow.

  5. step 05

    Add details to the water, reflecting the colors of the sky and surrounding landscape.

  6. step 06

    Refine the brushwork, using short, broken strokes to create texture and visual interest.

  7. step 07

    Add final highlights and shadows to enhance the sense of depth and dimension.

  8. step 08

    Step back and assess the painting, making any necessary adjustments to color, value, or composition.

color palette

primary · yellow ochre · ultramarine blue · titanium white · burnt umber

secondary · cadmium yellow · alizarin crimson · viridian green

Mix greens by combining ultramarine blue and cadmium yellow. Create earth tones by mixing burnt umber with yellow ochre and small amounts of alizarin crimson.

techniques

  • ·impasto
  • ·broken color
  • ·scumbling
  • ·layering
  • ·atmospheric perspective

common pitfalls

  • →Overblending the colors, resulting in a muddy appearance.
  • →Neglecting the importance of value contrast in creating depth.
  • →Focusing too much on detail in the background, flattening the composition.
  • →Using colors straight from the tube without mixing, leading to a lack of harmony.

materials

surface · stretched canvas

required

  • ·stretched canvas (16x20 inches)
  • ·oil paints (yellow ochre, ultramarine blue, titanium white, burnt umber, cadmium yellow, alizarin crimson, viridian green)
  • ·palette
  • ·palette knife
  • ·assorted brushes (round and flat)
  • ·linseed oil
  • ·turpentine or odorless mineral spirits

optional

  • ·painting medium (e.g., Liquin)
  • ·easel
  • ·varnish

Use a medium-tooth canvas to provide a good surface for the impasto technique. Consider using a limited palette to simplify the color mixing process.

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related guides

oil painting for beginners →color theory for painters →how to learn by studying the masters →
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