plate no. 6693

Tower in Prizren

oil, canvasContemporary Realismcityscapebuildingsstreetskyfiguresreflectioncityscape

some experience helpful

Recreating this painting will help students develop skills in capturing reflections and creating atmospheric perspective using color and value. It also offers practice in depicting architectural forms with loose, expressive brushstrokes.

technical profile

palette complexity

brushwork visibility

value contrast

compositional simplicity

study guide

est. 10 hrs

approach — 8 steps

step 01
Sketch the basic shapes of the buildings and figures, focusing on proportions and perspective.
step 02
Establish the horizon line and the main areas of light and shadow.
step 03
Block in the sky with broad strokes of blue and white, creating a sense of depth and movement.
step 04
Paint the buildings using a limited palette of grays, whites, and browns, paying attention to the direction of light.
step 05
Add the details of the windows, doors, and roof tiles, using smaller brushes and more precise strokes.
step 06
Create the reflections in the wet street by mirroring the colors and shapes of the buildings, but with softened edges and distorted forms.
step 07
Paint the figures with simple shapes and colors, suggesting movement and interaction.
step 08
Add final highlights and shadows to enhance the sense of depth and realism.

color palette

primary · ultramarine blue · titanium white · burnt umber · raw sienna

secondary · cadmium orange · yellow ochre · payne's gray

Mix various shades of gray by combining white, umber, and a touch of blue. Achieve the roof color by blending burnt sienna and cadmium orange. Use ultramarine blue and white for the sky, adding a touch of gray for the clouds.

techniques

·wet-on-wet blending
·broken color
·scumbling
·alla prima
·atmospheric perspective

common pitfalls

→Overworking the details and losing the loose, expressive quality of the brushstrokes.
→Failing to capture the subtle variations in color and value that create depth and atmosphere.
→Making the reflections too literal and not capturing the distorted, fluid nature of the water.
→Ignoring the importance of edges and creating hard, unnatural lines.

materials

surface · stretched canvas

required

·stretched canvas 16x20
·oil paints (ultramarine blue, titanium white, burnt umber, raw sienna, cadmium orange, yellow ochre, payne's gray)
·palette
·palette knife
·assorted brushes (round and flat)
·linseed oil
·odorless mineral spirits
·rags