apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·Three Bears
Three Bears by Alexander Helwig Wyant

plate no. 7500

Three Bears

Alexander Helwig Wyant, 1865

oilTonalismlandscapetreesmountainswaterrocksbearslandscape
some experience helpful

Recreating this painting will help students develop skills in atmospheric perspective and subtle color blending to create depth and mood. It also provides practice in rendering realistic textures of rocks, trees, and water.

technical profile

palette complexity
4
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 placement of the major elements like the rocks, trees, and mountains.

  2. step 02

    Establish the overall value structure with a thin wash of burnt umber, paying attention to the areas of light and shadow.

  3. step 03

    Block in the sky and distant mountains with soft, muted colors, using atmospheric perspective to create depth.

  4. step 04

    Begin layering in the trees and foliage, using a variety of greens, browns, and yellows to create texture and variation.

  5. step 05

    Paint the rocks, focusing on capturing the subtle variations in color and texture. Use dry brush techniques to create a rough, weathered look.

  6. step 06

    Add the water, reflecting the colors of the surrounding landscape. Use horizontal brushstrokes to suggest the movement of the water.

  7. step 07

    Carefully add the details, such as the branches of the trees and the small rocks along the shoreline.

  8. step 08

    Finally, add the bears as the focal point, ensuring they are appropriately scaled and positioned.

color palette

primary · burnt umber · titanium white · sap green

secondary · yellow ochre · ultramarine blue · raw sienna

Achieve the muted tones by mixing complementary colors and adding white. Use thin glazes of color to build up depth and create subtle variations.

techniques

  • ·atmospheric perspective
  • ·glazing
  • ·dry brush
  • ·color blending
  • ·scumbling

common pitfalls

  • →Overworking the details too early in the process.
  • →Using colors that are too bright or saturated.
  • →Failing to create a sense of depth and atmosphere.
  • →Ignoring the subtle variations in color and texture.

materials

surface · stretched canvas

required

  • ·stretched canvas 18x24
  • ·oil paints
  • ·turpentine or odorless mineral spirits
  • ·linseed oil
  • ·round brushes (#2, #4, #6)
  • ·flat brushes (#4, #8)
  • ·palette
  • ·palette knife

optional

  • ·medium gloss
  • ·easel
  • ·rags

Use high-quality oil paints for best results. A toned canvas can help to establish the overall 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