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home·artworks·Valle de México desde el Tepeyac
Valle de México desde el Tepeyac by Jose Maria Velasco

plate no. 7668

Valle de México desde el Tepeyac

Jose Maria Velasco, 1906

oilRealismlandscapemountainslandscapebuildingstreesskyplains
some experience helpful

Recreating this painting will help students develop skills in atmospheric perspective and color mixing to create depth. Students will also learn to simplify complex scenes into manageable shapes and values.

technical profile

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

study guide

est. 8 hrs

approach — 8 steps

  1. step 01

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

  2. step 02

    Establish the sky color with a thin wash of diluted paint.

  3. step 03

    Block in the distant mountains with light, muted colors, paying attention to atmospheric perspective.

  4. step 04

    Paint the middle ground plains, using a slightly darker and more saturated palette.

  5. step 05

    Add the details of the buildings and trees in the foreground, focusing on their shapes and shadows.

  6. step 06

    Refine the details of the foreground, adding texture and highlights to the ground and vegetation.

  7. step 07

    Add shadows to create depth and dimension.

  8. step 08

    Review and adjust the colors and values to achieve a harmonious and realistic effect.

color palette

primary · raw umber · titanium white · yellow ochre

secondary · burnt sienna · ultramarine blue · cadmium yellow

Mix white with small amounts of raw umber and yellow ochre to create the base tones for the sky and distant mountains. Add small amounts of blue to cool the colors and create atmospheric perspective. Use burnt sienna and yellow ochre for the foreground, adding touches of blue and white to create variations in tone and color.

techniques

  • ·atmospheric perspective
  • ·color mixing
  • ·layering
  • ·dry brushing
  • ·scumbling

common pitfalls

  • →Overworking the details in the distant mountains.
  • →Using colors that are too saturated in the background.
  • →Ignoring the importance of atmospheric perspective.
  • →Creating overly sharp edges.
  • →Not establishing a clear value structure.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·raw umber oil paint
  • ·titanium white oil paint
  • ·yellow ochre oil paint
  • ·burnt sienna oil paint
  • ·ultramarine blue oil paint
  • ·round brushes sizes 2, 4, 6
  • ·linseed oil

optional

  • ·palette knife
  • ·medium gloss
  • ·easel

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

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