apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·Summer Storm
Summer Storm by Alexander Helwig Wyant

plate no. 5783

Summer Storm

Alexander Helwig Wyant, 1865

oilTonalismlandscapetreeslandscapeskycloudshillsfoliage
some experience helpful

Recreating this painting will help students develop skills in atmospheric perspective and layering techniques to create depth and texture in a landscape. It also provides practice in subtle color mixing to achieve a harmonious tonal effect.

technical profile

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

study guide

est. 12 hrs

approach — 8 steps

  1. step 01

    Sketch the basic composition, focusing on the placement of the trees, horizon line, and cloud formations.

  2. step 02

    Establish the overall value structure with a thin wash of burnt umber or a similar earth tone.

  3. step 03

    Begin blocking in the sky and clouds, using soft blending techniques to create a sense of atmosphere.

  4. step 04

    Paint the distant hills and foliage, paying attention to atmospheric perspective by using muted colors and softer edges.

  5. step 05

    Develop the foreground trees and foliage, adding more detail and texture with varied brushstrokes.

  6. step 06

    Mix and apply highlights to the trees and foliage to create a sense of light and shadow.

  7. step 07

    Refine the details and adjust the values to create a cohesive and harmonious composition.

  8. step 08

    Add final touches such as small branches and highlights to enhance the realism and depth of the painting.

color palette

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

secondary · raw sienna · cadmium yellow · alizarin crimson

Achieve the muted tones by mixing earth tones with white and small amounts of blue or crimson. Use yellow ochre and burnt umber to create the warm highlights in the foliage.

techniques

  • ·atmospheric perspective
  • ·layering
  • ·blending
  • ·dry brushing
  • ·scumbling

common pitfalls

  • →Overworking the details in the foreground, losing the sense of depth.
  • →Using colors that are too saturated, resulting in a painting that lacks harmony.
  • →Failing to establish a strong value structure, leading to a flat and uninteresting composition.
  • →Neglecting the importance of soft edges and subtle transitions in the sky and distant landscape.

materials

surface · stretched canvas

required

  • ·stretched canvas (16x20 inches)
  • ·oil paints
  • ·palette
  • ·palette knife
  • ·assorted brushes (round, flat, filbert)
  • ·linseed oil
  • ·turpentine
  • ·rags

optional

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

Use a canvas with a medium texture to facilitate layering and blending. Consider using a toned canvas for a head start on establishing the value structure.

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

Spring, Hudson River

Spring, Hudson River

Leon Dabo

Oraibi, Hopi village, Arizona

Oraibi, Hopi village, Arizona

Xavier Martinez

The Farmyard

The Farmyard

Albert Pinkham Ryder

Woodland Vista

Woodland Vista

Ralph Blakelock

Landscape

Landscape

Leon Dabo

Untitled (Moon Over a Harbor)

Untitled (Moon Over a Harbor)

Edward Mitchell Bannister

Afternoon in Piedmont (Elsie Whitaker Martinez)

Afternoon in Piedmont (Elsie Whitaker Martinez)

Xavier Martinez

Near Conway, North Wales

Near Conway, North Wales

Alexander Helwig Wyant