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home·artworks·Valle de México tomado desde el cerro de Chapultepec
Valle de México tomado desde el cerro de Chapultepec by Jose Maria Velasco

plate no. 1737

Valle de México tomado desde el cerro de Chapultepec

Jose Maria Velasco

oilRealismlandscapelandscapemountainstreesskycloudscity
some experience helpful

Recreating this painting will help students develop skills in atmospheric perspective and layering techniques to create depth. It also provides practice in rendering complex foliage and distant details.

technical profile

palette complexity
4
brushwork visibility
3
value contrast
3
compositional simplicity
2

study guide

est. 15 hrs

approach — 8 steps

  1. step 01

    Sketch the basic composition, focusing on the horizon line and major landforms.

  2. step 02

    Establish the sky with light blues and pinks, blending softly for the clouds.

  3. step 03

    Block in the distant mountains with muted blues and purples, using lighter values for distant peaks.

  4. step 04

    Paint the mid-ground plains with varying shades of green and brown, indicating fields and vegetation.

  5. step 05

    Begin layering the trees in the foreground, using darker greens and browns for shadows and lighter greens for highlights.

  6. step 06

    Add details to the path, buildings, and other elements in the middle ground.

  7. step 07

    Refine the foreground foliage with small brushstrokes, adding texture and detail.

  8. step 08

    Add final highlights and shadows to enhance depth and realism.

color palette

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

secondary · alizarin crimson · sap green · burnt sienna

Mix blues and whites with a touch of crimson for the sky. Use raw umber and yellow ochre for earth tones, and mix greens by combining blue, yellow, and a touch of raw umber.

techniques

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

common pitfalls

  • →Failing to establish a clear sense of depth.
  • →Overworking the details in the distant areas.
  • →Using too much pure color without mixing.
  • →Ignoring the subtle value changes in the sky and mountains.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·oil paints
  • ·palette
  • ·palette knife
  • ·assorted brushes (round and flat)
  • ·linseed oil
  • ·turpentine
  • ·rags

optional

  • ·medium gloss
  • ·easel
  • ·color wheel

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

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