apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·View Over the Derwent
View Over the Derwent by John Glover

plate no. 4149

View Over the Derwent

John Glover

oil, canvasRomanticismlandscapelandscapetreesmountainslakeskyfoliage
some experience helpful

Recreating this painting will help students develop skills in atmospheric perspective and layering techniques to create depth in a landscape. It also provides practice in rendering realistic foliage and subtle color variations.

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 horizon line and major landforms.

  2. step 02

    Establish the sky with light blues and grays, blending softly.

  3. step 03

    Block in the distant mountains with muted blues and purples, creating atmospheric perspective.

  4. step 04

    Paint the middle ground with varied greens and browns, suggesting fields and trees.

  5. step 05

    Add details to the foreground, including darker greens and browns for foliage and shadows.

  6. step 06

    Render the trees on either side, paying attention to the light and shadow on the leaves.

  7. step 07

    Add highlights to the foliage and water to create a sense of light and reflection.

  8. step 08

    Refine details and adjust values to create a cohesive and atmospheric landscape.

color palette

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

secondary · sap green · cadmium yellow · alizarin crimson

Mix blues and whites for the sky, adding a touch of yellow ochre for warmth. Use burnt umber and ultramarine blue to create muted purples for the distant mountains. Mix greens with yellow ochre, ultramarine blue, and a touch of burnt umber for natural-looking foliage.

techniques

  • ·atmospheric perspective
  • ·layering
  • ·blending
  • ·dry brushing
  • ·scumbling

common pitfalls

  • →Overly bright or saturated colors in the distant mountains.
  • →Lack of variation in the greens of the foliage.
  • →Ignoring the subtle value changes that create depth.
  • →Harsh lines or edges that detract from the atmospheric effect.

materials

surface · stretched canvas

required

  • ·stretched canvas (16x20 inches)
  • ·oil paints (ultramarine blue, burnt umber, yellow ochre, titanium white, sap green)
  • ·round brushes (sizes 2, 4, 6)
  • ·flat brushes (sizes 4, 8)
  • ·palette
  • ·linseed oil
  • ·turpentine or odorless mineral spirits
  • ·rags

optional

  • ·palette knife
  • ·medium gloss
  • ·easel

Use a medium-tooth canvas for best results. Consider using a pre-toned canvas to save time.

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

Romantic Landscape

Romantic Landscape

Karl Lessing

Self-portrait with his brother Francesco

Self-portrait with his brother Francesco

Giuseppe Tominz

Oenone Refuse de Secourir Pâris au Siège de Troie

Oenone Refuse de Secourir Pâris au Siège de Troie

Léon Cogniet

Duke of Alba

Duke of Alba

Francisco Goya

Blick Aus Dem Wald Ins Tal

Blick Aus Dem Wald Ins Tal

Andreas Achenbach

Young Girl Fixing Her Hair

Young Girl Fixing Her Hair

Sophie Gengembre Anderson

The Plough Inn

The Plough Inn

William Shayer

Hudson River Landscape

Hudson River Landscape

Johann Hermann Carmiencke