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home·artworks·A Flood Tide at Cley next the Sea, Norfolk
A Flood Tide at Cley next the Sea, Norfolk by Frederick George Cotman

plate no. 4420

A Flood Tide at Cley next the Sea, Norfolk

Frederick George Cotman, 1885

oilRomanticismlandscapewaterbuildingswindmillskybirdslandscape
some experience helpful

This painting is good for learning about atmospheric perspective and creating subtle color variations to depict reflections in water. Students can practice simplifying complex scenes into basic shapes and values.

technical profile

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

study guide

est. 8 hrs

approach — 8 steps

  1. step 01

    Sketch the basic composition, focusing on the horizon line and placement of the windmill and buildings.

  2. step 02

    Block in the sky with a light blue-gray wash, adding subtle variations in tone.

  3. step 03

    Establish the water area with a similar light gray, paying attention to the horizontal brushstrokes.

  4. step 04

    Paint the distant buildings and windmill using muted colors and soft edges to create atmospheric perspective.

  5. step 05

    Add the reflections in the water, using slightly darker and blurred versions of the objects above.

  6. step 06

    Introduce the birds in the foreground, keeping them simple and small.

  7. step 07

    Refine the details of the buildings and windmill, adding subtle highlights and shadows.

  8. step 08

    Add final touches to the water, such as ripples and subtle color variations.

color palette

primary · titanium white · ultramarine blue · burnt umber

secondary · yellow ochre · raw sienna · cadmium red light

Mix white with small amounts of blue and umber for the sky and water. Use yellow ochre and sienna for the buildings, adding red for the roofs. Muted tones are key.

techniques

  • ·atmospheric perspective
  • ·wet-on-wet blending
  • ·horizontal brushstrokes
  • ·simplified shapes
  • ·reflected light

common pitfalls

  • →overworking details
  • →using colors that are too bright
  • →making reflections too sharp
  • →ignoring atmospheric perspective

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·titanium white oil paint
  • ·ultramarine blue oil paint
  • ·burnt umber oil paint
  • ·yellow ochre oil paint
  • ·#4 round brush
  • ·#6 flat brush

optional

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

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

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oil painting for beginners →how to learn by studying the masters →
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