plate no. 6611

Stormy Morning, Mid Wales

Richard Eurich, 1969

oilNeo-Romanticismlandscapelandscapebuildingcloudshillsfieldtrees

some experience helpful

Recreating this painting will help students develop skills in atmospheric perspective and creating depth through layering and value changes. It also offers practice in rendering complex cloud formations and varied textures in the landscape.

technical profile

palette complexity

brushwork visibility

value contrast

compositional simplicity

study guide

est. 12 hrs

approach — 8 steps

step 01
Sketch the basic composition, focusing on the placement of the building, hills, and horizon line.
step 02
Establish the sky with broad strokes, blending blues, grays, and whites to create the stormy cloud effect.
step 03
Block in the distant hills and mountains using muted greens and blues, paying attention to atmospheric perspective.
step 04
Paint the large green field with varying shades of green, adding subtle highlights and shadows.
step 05
Render the building with a warm red-brown color, adding details like windows and roof tiles.
step 06
Paint the line of trees behind the building, using dark greens and browns to create depth.
step 07
Add details to the foreground, including the road and the bushes, using a variety of greens, browns, and yellows.
step 08
Refine the details and add final touches, such as highlights on the building and subtle variations in the sky.

color palette

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

secondary · cadmium yellow · raw sienna · payne's gray

Mix greens by combining blues and yellows with touches of brown. Achieve atmospheric perspective by adding white to colors for distant elements. Create the building's color by mixing burnt umber with a touch of red and yellow.

techniques

·atmospheric perspective
·wet-on-wet blending
·broken color
·scumbling
·layering

common pitfalls

→Overworking the clouds, resulting in a flat and lifeless sky.
→Failing to create sufficient depth in the landscape, making it appear two-dimensional.
→Using overly bright or saturated colors, which can detract from the overall mood.
→Neglecting the subtle variations in tone and texture, leading to a monotonous painting.