apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·Warm evening, Templestowe
Warm evening, Templestowe by David Davies

plate no. 4331

Warm evening, Templestowe

David Davies, 1890

oilImpressionismlandscapefieldtreesskylandscapesunsethorizon
some experience helpful

Recreating this painting will help students develop skills in atmospheric perspective and creating depth through subtle color and value changes. It also provides practice in loose, expressive brushwork to suggest texture and form.

technical profile

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

study guide

est. 8 hrs

approach — 8 steps

  1. step 01

    Lightly sketch the horizon line and the placement of the trees.

  2. step 02

    Block in the sky with a thin wash of pale gray, blending slightly darker tones near the horizon.

  3. step 03

    Establish the basic shapes of the field with a mid-tone brown, paying attention to the perspective.

  4. step 04

    Add darker values to the foreground to create depth.

  5. step 05

    Begin layering in variations of browns, greens, and yellows to suggest the texture of the field.

  6. step 06

    Paint the trees with loose, broken brushstrokes, using darker values for the shadows.

  7. step 07

    Add highlights to the field and trees to suggest the warm evening light.

  8. step 08

    Refine the details and adjust the values as needed to create a sense of atmosphere.

color palette

primary · raw umber · titanium white · yellow ochre

secondary · burnt sienna · sap green · ultramarine blue

Mix the sky color by combining titanium white with a touch of ultramarine blue and raw umber. Achieve the field colors by mixing raw umber, yellow ochre, burnt sienna, and sap green in varying proportions.

techniques

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

common pitfalls

  • →Overworking the details
  • →Creating too much contrast
  • →Ignoring the atmospheric perspective
  • →Using colors that are too saturated

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·raw umber oil paint
  • ·titanium white oil paint
  • ·yellow ochre oil paint
  • ·#4 round brush
  • ·#8 flat brush
  • ·palette

optional

  • ·palette knife
  • ·linseed oil
  • ·odorless mineral spirits

Use a medium-textured canvas to allow for better paint adhesion and texture.

tips & new artworks in your inbox

no spam — unsubscribe anytime.

or to save artworks, chat, and track progress

related guides

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

in this vein

related artworks

View of the Bosphorus and Rumeli Hisarı

View of the Bosphorus and Rumeli Hisarı

Sevket Dag

Paysage du Midi

Paysage du Midi

Armand Guillaumin

Self-Portrait

Self-Portrait

Frederic Bazille

Tip of the Bay

Tip of the Bay

Max Kurzweil

Long Stemmed Lovelies

Long Stemmed Lovelies

Pino Daeni

At Rosetta, Lower Egypt

At Rosetta, Lower Egypt

John Varley II

House from Oltenia

House from Oltenia

Theodor Pallady

Jewish quarter in Amsterdam

Jewish quarter in Amsterdam

Max Liebermann