apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·St. Goar um 1835, engraving by J.W. Archer after Leitch
St. Goar um 1835, engraving by J.W. Archer after Leitch by William Leighton Leitch

plate no. 1370

St. Goar um 1835, engraving by J.W. Archer after Leitch

William Leighton Leitch

oilRomanticismcityscapebuildingswaterboatsfiguresmountainstown
some experience helpful

Recreating this painting will help students develop skills in creating depth through value and mastering linear perspective to accurately depict architectural details. It also provides practice in rendering textures with limited tonal range.

technical profile

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

study guide

est. 12 hrs

approach — 8 steps

  1. step 01

    Begin with a light sketch to establish the overall composition and perspective.

  2. step 02

    Block in the main shapes of the buildings, mountains, and water.

  3. step 03

    Establish the darkest areas of the composition to create a value structure.

  4. step 04

    Add details to the buildings, boats, and figures, paying attention to their forms and proportions.

  5. step 05

    Develop the textures of the foreground elements, such as the rocks and ground.

  6. step 06

    Refine the values and details throughout the painting, creating a sense of depth and atmosphere.

  7. step 07

    Add highlights to create contrast and bring out the details.

  8. step 08

    Make final adjustments to ensure a cohesive and balanced composition.

color palette

primary · ivory black · titanium white

secondary · payne's gray · raw umber

Mix varying proportions of black and white to achieve a full range of grays. Use raw umber to warm up the grays slightly for the buildings and foreground.

techniques

  • ·value shading
  • ·linear perspective
  • ·hatching
  • ·scumbling

common pitfalls

  • →Failing to establish a strong value structure early on.
  • →Losing the perspective and proportions of the buildings.
  • →Overworking the details and creating a flat, lifeless image.
  • →Not creating enough contrast between the foreground and background.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·ivory black oil paint
  • ·titanium white oil paint
  • ·round brushes (sizes 2, 4, 6)
  • ·palette
  • ·linseed oil
  • ·mineral spirits

optional

  • ·palette knife
  • ·medium gloss
  • ·easel

A smooth canvas surface will be ideal for achieving the fine details in this painting. Consider toning the canvas with a thin wash of raw umber before starting.

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