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home·artworks·Stumps and Allagash
Stumps and Allagash by Neil Welliver

plate no. 9895

Stumps and Allagash

Neil Welliver, 1998

oil, canvasContemporary Realismlandscapestumpswatermountainslandscapereflectionsky
some experience helpful

Recreating this painting will help students develop skills in simplifying complex forms into basic shapes and understanding color temperature to create depth. It also provides practice in painting reflections and capturing the essence of a landscape with limited detail.

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 basic shapes of the tree stumps, mountains, and horizon line.

  2. step 02

    Block in the sky with a thin layer of light gray-blue.

  3. step 03

    Establish the base color of the water, a mix of light beige and gray-blue.

  4. step 04

    Paint the distant mountains with a muted blue-gray, using lighter values for highlights.

  5. step 05

    Begin painting the tree stumps, focusing on the large planes and using a limited palette of grays, blues, and browns.

  6. step 06

    Add darker values to the shadowed areas of the stumps and reflections.

  7. step 07

    Create the reflections in the water using vertical brushstrokes and slightly darker values than the objects above.

  8. step 08

    Add final details and highlights to the stumps and water to enhance the sense of depth and realism.

color palette

primary · titanium white · payne's gray · raw umber

secondary · cerulean blue · yellow ochre

Mix Payne's Gray and Titanium White for various shades of gray. Add a touch of Cerulean Blue to grays for cooler tones in the sky and mountains. Use Yellow Ochre to warm up the beige tones in the water.

techniques

  • ·blocking in
  • ·color mixing
  • ·dry brushing
  • ·scumbling
  • ·simplified realism

common pitfalls

  • →Overworking the details and losing the simplified, painterly effect.
  • →Making the reflections too literal and not capturing the subtle distortions in the water.
  • →Using colors that are too saturated and not achieving the muted, atmospheric quality.
  • →Not establishing a clear value structure, resulting in a flat and unconvincing image.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·titanium white oil paint
  • ·payne's gray oil paint
  • ·raw umber oil paint
  • ·cerulean blue oil paint
  • ·yellow ochre oil paint
  • ·round brushes (sizes 2, 4, 6)
  • ·palette

optional

  • ·palette knife
  • ·linseed oil
  • ·odorless mineral spirits

A square canvas format would be ideal. Consider using a toned canvas to help establish the base color of the painting.

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