I love landscape art, especially traditional realism painting and I have been painting landscapes for many years. Many of my influences come from 19th Century landscape painters, my favourite artists including Peder Mork Monsted, August Wilhelm Leu, Ivan Shishkin, and Even Ulving to name a few. From the low chroma depth of the mountains in August Wilhelm Leu’s work to the natural organic vibrancy of the foliage in the works of Peder Mork Monsted, I love the way these guys composed their paintings and their use of colour and tone. I look up to these guys for inspiration and I seek to emulate their techniques for my own landscape paintings.
Erik Koeppel: Techniques of the Hudson River School Masters II
$130.97
Video Length: 5 Hours
- Selects a perfect scene for Hudson River School-style painting. You’ll see that it’s not just choosing a beautiful location — a mistake that many artists make (and you will never make again!).
- Shows you his exact palette selections and why he uses them — he’ll help you minimize the number of colors you need (perfect for on-location painting).
- Shares his panel selection and preparation — getting this right the first time will save you a lot of work.
We all seek to become better painters, but is that enough?
Just imagine how it would feel to take a giant leap several levels above where you are now and master the techniques that only a few artists in the world today know about that would far exceed just becoming a better painter, wouldn’t it?
And now, you have a chance to take that giant leap and see exactly what you need to do to make it happen!
But before we leap forward, we must take a step back in time to the mid-19th century, when a movement in American art mirroring Romanticism was channeled into breathtaking landscape paintings. These paintings centered on depictions of the Hudson River Valley and the surrounding areas of the Catskills, Adirondacks, and White Mountains.
This artwork reflected three themes of the time: discovery, exploration, and settlement — in classic American landscapes where nature and humans existed as one. These paintings were expertly detailed and awe-inspiring in a time of waning ruggedness and natural beauty.
After finding autumn in upstate New York to be brilliant and inspirational, Thomas Cole founded the Hudson River School, where painters such as Frederic Church, Sanford Gifford, and Asher B. Durand would take their inspiration from European painters to capture America’s natural beauty.
Over time, the unique methods these artists employed were mostly forgotten and not passed on to younger generations of artists.
and now, as we come back to the present time, there are still very few artists who know about or use the secrets of the Hudson River School masters in their own artwork.
One of today’s top artists, however, has made it his life’s mission to seek out, study, practice, incorporate, and teach the once-lost methods of these great painters.
Paint Like a Hudson River School Master
Streamline Art Video is proud to partner with master artist Erik Koeppel in presenting the newest art instruction video in the Techniques of the Hudson River School Masters series. Three years in the making, the second in this series will take you on an even deeper journey into how these painters captured the landscape in a way that no other painters have since — the realistic details of the terrain, movement of the water, reflections, and how the land and sky meet and interact.
Erik is a gifted painter and instructor who is passionate about teaching the Hudson River School techniques. He paints quickly, yet explains every detail as he goes along so you won’t miss any of the details.
By practicing and then mastering these incredible techniques, you will become one of the few artists who have this knowledge and skill, setting your paintings apart from all others. Whether you paint as a hobby to relax or you’re a successful artist making a great living selling your artwork, you will benefit from incorporating what you will discover from Erik Koeppel in this video.
Watch as Erik:
- Selects a perfect scene for Hudson River School-style painting. You’ll see that it’s not just choosing a beautiful location — a mistake that many artists make (and you will never make again!).
- Shows you his exact palette selections and why he uses them — he’ll help you minimize the number of colors you need (perfect for on-location painting).
- Shares his panel selection and preparation — getting this right the first time will save you a lot of work.
- Demonstrates the brushes he uses and what the benefits are of each. This is critical for every painter to know!
- Explains “atmospheric perspective” in an easy-to-understand way that will allow you to see how objects in the scene recede in space — and explains how not to let your eyes trick you into seeing color and value recede, too.
- Shows you how to select your horizon on your panel, create a perspective plane, sketch your scene, and mass in closer, heavier elements; this technique alone will save you a lot of time and reduce the frustration of trial-and-error.
- Uses his tried-and-true teaching style to show you how to create the details and final touches that will make your painting absolutely stunning.
- Discusses and demonstrates the glazing that allows him to unify the painting — you’ll love his technique and want to try it right away as you watch (you can always pause the video to practice!).
- And a whole lot more!
Class List
Drawing, painting and creativity classes for adult beginners. We offer plein air painting, outdoor nature sketching and private sketching tours in warmer months. We specialize in small group instruction and individual coaching with classes outdoors, online and indoors at our beautiful studio in Essex, MA. Our classes build calm, connection and creative confidence.
Start Painting With Acrylics
Start Painting With Acrylics
$375.00
Are you curious about acrylic painting and want to give it a try?
Do you want to explore the different medium options and painting techniques for acrylics?
This is the class for you! You will be amazed by the versatility of acrylics and the variety of effects you can achieve with a few new techniques and inspiration from artist and instructor, Cici Martignetti.
Each week we will explore a new subject, technique, or painting master for inspiration! All the while, we will learn the many ways we can use acrylic paints and various acrylic mediums to achieve some amazing effects in our work!
This “Start Painting” class really is designed for total beginners! Slow River Studio specializes in supportive classes for adults who want to start painting and this class is perfect for adults with little or no experience and folks who painted years ago and need a refresher . Even if you have never picked up a paintbrush before, you will feel successful in this class!
Each three hour class includes a mixture of group instruction, individual coaching and a weekly email that will inspire you with ideas for adding more creativity into your life. This class can be taken a few times to build stronger artistic skills. You will love our supportive and engaging instruction and the new friends you make in class!
Our six-week late fall session begins the week of October 30th and ends by December 17th. There are no classes the week of Thanksgiving. Limit of 10 people per class. Supply list available two weeks before the start of class.
Instructor: Cici Martignetti
My Palette
I painted this landscape on canvas, using oils. The painting measures 400mm x 500mm (16” x 20”). To paint this scene, I have used Langridge Handmade Oil Colours:
- Titanium white
- Cadmium yellow
- Cadmium yellow deep
- Yellow oxide
- Burnt sienna
- Burnt umber
- Cadmium red light
- Quinacridone magenta
- Ultramarine blue
- Pthalo blue
- Cobalt blue
- Cobalt teal
- Pthalo green
I have also used the medium Liquin Original which improves the flow of the paint and speeds up the drying time.
Painting Mount Talbot – Step by Step
Step 1
Prior to starting this painting I prepared the canvas by covering it in a layer of burnt sienna. Adding a layer of burnt sienna gives the painting vibrancy as it comes through the layers of paint, and warms up the whole painting. You can also use burnt umber.
To prepare the canvas with the burnt sienna layer I mixed burnt sienna with liquin and thinners. I then applied it to the canvas with a large hake brush making sure that the mixture is applied in a thin layer. I usually leave it to dry for at least a couple of days before starting a painting.
I have sketched the scene with burnt umber mixed with liquin.
Step 2
As I begin blocking in the painting I have started painting the sky which sets the overall scene for the painting. I will use the sky to gauge my tonal values in the rest of the painting. The blue of the open sky is mixed with a combination of cobalt blue, cobalt teal and titanium white. I have blocked in the basic shapes of the clouds using titanium white, once dry I will start building up the detail.
Step 3
I start blocking in the shadow areas of Mt Talbot. As this is the most distant landmass the colours will not be so vibrant and much more desaturated. Tonally, there is a smaller gap on the scale between the darkest values in the shadow areas and the highlighted areas that are in full sun and this needs to be reflected in the painting to create depth. So I mix ultramarine blue, burnt umber, quinacridone magenta and titanium white.
The burnt umber, of which you’ll need a small amount, knocks out the saturation of the blue. Adding a small amount of quinacridone magenta adds another dimension to the colour and will give it a warm violet tint. Be care not to use too much quinacridone magenta as it will quickly overpower the mixture.
Step 4
Next I begin to add the highlighted areas of the mountain rock face, again I want to keep my colour desaturated so I mix a combination of ultramarine blue, burnt umber and a lot of titanium white.
The snow on top of the mountain is painted with titanium white mixed with a little burnt umber. As white is the lightest tone I don’t want it to come too far forward in the painting so adding burnt umber solves this. If required may also add a little ultramarine blue to the mix as well.
The green area of foliage at the bottom of the mountain was mixed using ultramarine blue with a small amount of yellow oxide, quinacridone magenta and a liberal amount of titanium white. The mixture will look like a warm grey on your palette but will appear green when next to the shadow areas of the mountains. It’s important to keep colours including green desaturated otherwise it will come too far forward in the painting and the illusion of depth will be lost.
Step 5
So now I am making a start on blocking in the mid-ground. At this stage I am not worried about detail at all, I just want to get in the basic shapes and colours of the painting before I can begin modelling the paint.
As landforms in the mid-ground are further forward than the mountain the tonal scale increases, therefore darks are getting darker and lights lighter, but I am still working in a mid-tone range. The shadows are darker than the shadow areas in the mountain. I have used my same combination of colours, ultramarine blue, burnt umber and quinacridone magenta but I have used less titanium white in the mix.
The green is mixed by adding more yellow oxide with ultramarine blue and a little quinacridone magenta and/or burnt umber to make the green a more organic colour. You can vary the hues of the greens by adding a little pthalo green and cadmium yellow deep. Use these two colours in small quantities otherwise the mix will quickly become too saturated and you will lose the depth in the painting. You really just want to introduce these colours if required.
Step 6
Next I start to block in the foliage, grasses and bushes in the foreground. Here I am using my most saturated green by mixing cadmium yellow deep, ultramarine blue, a little pthalo green and quinacridone magenta. Pthalo green really kicks up the saturation so be careful with as it can quickly overpower your mixture.
The dark shadows in the foreground give the appearance of strong sunlight and I have mixed this using pthalo green and quinacridone magenta. When mixed on the palette it can create a very dark tone as the red in the quinacridone magenta is the complimentary opposite of green in the colour wheel and so the two cancel each other out. Using these two colours allows them to harmoniously mix with the lighter greens as they already contain these too colours.
Never use a pre-mixed black in landscape painting, whilst it is tempting to do this, black mixed with other colours gives it an unnatural look.
Step 7
Here I start to block in the base colours of the river, again I don’t want to get bogged down in detail here, I just want to get the basic colours and shapes.
The brown area of the water reflects the stones, boulders and scree at the base of the river and I mix this with a combination of burnt umber, burnt sienna, yellow oxide and ultramarine blue.
Given the blue in the water if reflecting the sky, I use a combination of cobalt blue, a little burnt umber and titanium white.
Step 8
Next I have started to block in the basic colours of the large boulder on the right and the smaller stones and scree at the bank of the river. I have mixed these colours again using ultramarine blue, burnt umber, quinacridone magenta and titanium white.
The highlighted colours where mixed using the same colours but with more titanium white. Adding a little yellow oxide to the mix also warms up the colour.
Step 9
Now that I have blocked in the painting it is necessary to let it dry so I can begin modelling the paint and building up the detail. I have started to paint the finer detail of the mountain rock face on in the shadow area of Mount Talbot. I’m using the same colours I used before, ultramarine blue, burnt umber and quinacridone magenta, but with more titanium white to make it a slightly lighter tone than the initial colour.
I do not wish to go overboard with detail in the mountain given it’s the furthest away object in the painting. The suggestion of detail is often enough as the brain fills in the gaps, too much detail can be distracting and may compromise the composition.
I have started to model the paint of the mountainside in the midground. I have used a small angled wedge brush and a round brush to form the shapes of the distant beech trees and the grass on the side of the mountain. I have increased the saturation of my greens but being careful not to make it too saturated which would bring the mountain too far forward in the painting.
Step 10
In this stage of the painting I have worked on the grass / meadow area of this painting again using cadmium yellow deep, ultramarine blue as a base and the adding where required, pthalo green to increase the saturation and quinacridone magenta, burnt sienna, burnt umber and yellow oxide to ‘earth’ my greens. This is where you can play around with creating different hues of green. I apply this with an angled wedge brush to start creating the suggestion of clumps of grass.
The stones in the river bed were painted using a small flat brush using a combination of burnt umber, burnt sienna, ultramarine blue and titanium white. I am mindful that the running water will distort the shapes of the rocks. I still make sure I form the shapes of the rocks by painting in the shadow areas.
Step 11
In this stage of the painting whilst the paint in the foreground is still wet I have started to refine the details in the mountain and the midground, adding highlights to the illuminated rock faces and the grassy areas in the mid ground.
I have painted the foliage on the trees using a combination of ultramarine blue, cadmium yellow deep, mixed with a little pthalo green, quinacridone magenta and titanium white. The light green areas on the bushes give the appearance of bright light reflecting off the leaves.
Step 12
I have introduce the ripples on the flowing water of the river using a round brush, which I mixed using cobalt blue, a little cobalt teal and a little burnt umber to take out some of the saturation of the blue. As it’s a reflection of the sky, I am using the same colours that I used in my sky mix.
Step 13
Here I have added more detail to the clumps of grass by using a modified flat brush and fan brush in which I have cut the bristles at different lengths. The modified brushes may look rough as guts but they work a treat for painting grass.
I am also building up the detail of the stones and boulders in the stream. The dark shadow areas of the stones are mixed using ultramarine blue and burnt umber which creates a very dark tone. As I’ve said before never use pre-mixed black, it looks awful and unnatural! You make your own black by mixing ultramarine blue and burnt umber or quinacridone magenta and pthalo green.
Step 14
At this stage of the painting I am now adding the fine detail which is making the painting come alive. I’m saving my special effects and tonal best for last. I have added highlights to the stones and boulders in the river by mixing titanium white with a little burnt umber and yellow oxide. For some stones, I have used burnt sienna to give a variety of different rock colours. I have painted some reflected light in some of the shadows of the rocks and stones. Mixing quinacridone magenta with burnt umber gives the shadows a little heat which adds to the illusion of a bright hot New Zealand summers day.
I have also begun to paint some sparkles on the river using titanium white mixed with a little ultramarine blue, burnt umber and quinacridone magenta so it’s not completely white.
I have also added shades of burnt umber mixed with quinacridone magenta to the shadow areas of the grass clumps. This helps to balance the green hues I have created and makes the grass and the colours look more natural and organic.
Step 15 (Final Step)
This is where I add all the fine detail and finesse the painting, adding highlights in the water in a few small areas mixing titanium white with a little yellow oxide. I have painted small clumps of grasses amongst the stones and a few flowers within the thick grass clumps, here I mixed cadmium yellow, ultramarine blue, pthalo green and a little burnt sienna.
I have also finished painting the highlights on the distant scree and boulders in the midground as well as the suggestion of branches on the bushes in the foreground.
I hope you have found this painting demonstration informative and enjoyable, and if you like this painting why not check out my online shop where I have original art for sale:
About The Artist
My name is Samuel Earp, a traditional realism artist who loves to paint landscapes in oils, especially scenes of New Zealand, Australia and Guernsey among others. I was born on the island of Guernsey in 1979 but grew up in the South West of England where I did a lot of drawing and painting from an early age, I always loved landscape art even as a child. I moved to the beautiful country of New Zealand in 2009 and have been there ever since.
I have a passion for painting landscapes, especially water and the sea, which I enjoy painting most of all. I also love to paint outdoors on location (en plein air).
‘I love recreating the colours, light and atmosphere of nature on canvas. Painting gives me an enormous sense of well-being and connectedness’.
I especially love the dramatic landscapes and beautiful colours that are so unique to the New Zealand wilderness and I channel this into my mountain paintings.
If you have any questions regarding my art works or you would like help with your own painting please feel free to contact me.
