apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·The Edge of the Wood
The Edge of the Wood by Joseph Farquharson

plate no. 9822

The Edge of the Wood

Joseph Farquharson

oilRealismanimal paintingtreessnowsheeplandscapeskymountains
some experience helpful

Recreating this painting will help students develop skills in atmospheric perspective and creating subtle color variations to depict snow and light. It also provides practice in rendering realistic textures and forms using blended brushstrokes.

technical profile

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

study guide

est. 12 hrs

approach — 8 steps

  1. step 01

    Sketch the basic composition, focusing on the horizon line and placement of major elements like the trees and sheep.

  2. step 02

    Establish the sky with soft, blended washes of pink, yellow, and blue.

  3. step 03

    Block in the snow-covered field with a base layer of white mixed with a touch of brown and blue.

  4. step 04

    Add shadows and highlights to the snow to create depth and form, paying attention to the direction of light.

  5. step 05

    Paint the trees with dark browns and grays, using thin, vertical strokes to suggest branches and trunks.

  6. step 06

    Add details to the stone wall, using a dry brush technique to create texture.

  7. step 07

    Paint the sheep with small, rounded strokes, using a mix of browns and whites.

  8. step 08

    Refine the details and adjust the values to create a sense of atmosphere and realism.

color palette

primary · titanium white · burnt umber · ultramarine blue

secondary · yellow ochre · alizarin crimson

Achieve snow shadows by mixing white with small amounts of blue and brown. Create the sky by blending pink, yellow, and blue. Use varying amounts of burnt umber and white to create the tree colors.

techniques

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

common pitfalls

  • →Overworking the snow and losing the subtle variations in color.
  • →Making the trees too uniform and lacking in detail.
  • →Ignoring the atmospheric perspective and failing to create a sense of depth.
  • →Using colors that are too saturated and not muted enough.

materials

surface · stretched canvas

required

  • ·stretched canvas 12x16
  • ·titanium white oil paint
  • ·burnt umber oil paint
  • ·ultramarine blue oil paint
  • ·yellow ochre oil paint
  • ·alizarin crimson oil paint
  • ·round brushes (sizes 2, 4, 6)
  • ·linseed oil

optional

  • ·palette knife
  • ·odorless mineral spirits
  • ·medium gloss

Use a medium-grit canvas for better texture. Consider using a limited palette to simplify color mixing.

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

Portrait of James Wright

Portrait of James Wright

Thomas Eakins

Portrait of a lady

Portrait of a lady

Karl Gussow

Sisters

Sisters

Émile Auguste Hublin

Catching Up on the News

Catching Up on the News

Eastman Johnson

At the porter's room

At the porter's room

Vladimir Makovsky

Flowers and Fruit

Flowers and Fruit

Henri Fantin-Latour

Valle de México desde el Molino del Rey

Valle de México desde el Molino del Rey

Jose Maria Velasco

Self-Portrait II

Self-Portrait II

Mihaly Munkacsy