apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·Two Watermills and an Open Sluice
Two Watermills and an Open Sluice by Jacob van Ruisdael

plate no. 3460

Two Watermills and an Open Sluice

Jacob van Ruisdael, 1653

oil, canvasBaroquelandscapewatermilllandscapewatertreesbuildingsky
some experience helpful

Recreating this painting will help students develop skills in atmospheric perspective, rendering textures like wood and water, and creating a sense of depth through layering.

technical profile

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

study guide

est. 20 hrs

approach — 8 steps

  1. step 01

    Sketch the basic composition, focusing on the placement of the watermills and the horizon line.

  2. step 02

    Block in the sky with light blues and grays, paying attention to the cloud formations.

  3. step 03

    Establish the dark masses of the trees and foliage, creating a backdrop for the buildings.

  4. step 04

    Begin painting the watermills, focusing on the structure and details of the wood and stone.

  5. step 05

    Add the water, using short, broken brushstrokes to capture the movement and texture.

  6. step 06

    Develop the foreground details, including the vegetation and rocks.

  7. step 07

    Refine the lighting and shadows throughout the painting, creating depth and dimension.

  8. step 08

    Add final details, such as the birds in the sky and the figures in the distance.

color palette

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

secondary · raw sienna · payne's gray · sap green

Achieve the muted greens by mixing yellow ochre, ultramarine blue, and a touch of burnt umber. Create atmospheric grays by mixing ultramarine blue, burnt umber, and white.

techniques

  • ·glazing
  • ·scumbling
  • ·dry brushing
  • ·atmospheric perspective
  • ·broken color

common pitfalls

  • →Overworking the details too early in the process.
  • →Failing to create a sense of depth through atmospheric perspective.
  • →Making the water appear static and lifeless.
  • →Using colors that are too bright or saturated.

materials

surface · stretched canvas

required

  • ·stretched canvas 18x24
  • ·oil paints
  • ·round brushes (sizes 2, 4, 6)
  • ·flat brushes (sizes 4, 8)
  • ·palette
  • ·linseed oil
  • ·turpentine
  • ·palette knife

optional

  • ·painting medium
  • ·retouch varnish
  • ·easel

Use a medium-tooth canvas to allow for good paint adhesion and texture. Consider using a toned ground to create a more unified color harmony.

tips & new artworks in your inbox

no spam — unsubscribe anytime.

or to save artworks, chat, and track progress

related guides

oil painting for beginners →chiaroscuro →how to learn by studying the masters →
chat about this artwork

in this vein

related artworks

Girl with a Straw Hat

Girl with a Straw Hat

Judith Leyster

Gezicht Op De Laurenskerk Gezien Vanuit Noordoosten

Gezicht Op De Laurenskerk Gezien Vanuit Noordoosten

Abraham Storck

Bathsheba Bathing

Bathsheba Bathing

Francesco Solimena

Repentant Peter

Repentant Peter

Guido Reni

Itinerant Musicians

Itinerant Musicians

Jacob Ochtervelt

Marie Christine

Marie Christine

Marcello Bacciarelli

Santa Cecilia E Due Angeli

Santa Cecilia E Due Angeli

Giulio Cesare Procaccini

Scene from the Life of Saint Benedict

Scene from the Life of Saint Benedict

Philippe de Champaigne