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home·artworks·A Summer Afternoon
A Summer Afternoon by Edward Henry Potthast

plate no. 2665

A Summer Afternoon

Edward Henry Potthast, 1910

oilImpressionismgenre paintingbeachfiguresumbrellasskycloudsocean
some experience helpful

Recreating this painting will help students develop skills in capturing atmospheric perspective and rendering figures in a loose, impressionistic style. It also provides practice in mixing subtle color variations to depict light and shadow.

technical profile

palette complexity
4
brushwork visibility
5
value contrast
3
compositional simplicity
3

study guide

est. 12 hrs

approach — 8 steps

  1. step 01

    Sketch the basic composition, focusing on the placement of the horizon line and the main groups of figures.

  2. step 02

    Block in the sky with broad strokes of light blue, gray, and white, creating a sense of atmospheric perspective.

  3. step 03

    Establish the base colors for the beach, using a mix of white, gray, and touches of yellow and pink.

  4. step 04

    Begin adding the figures, starting with the larger shapes and gradually refining the details.

  5. step 05

    Use short, broken brushstrokes to depict the umbrellas, clothing, and other details, capturing the impressionistic style.

  6. step 06

    Mix and apply colors for the shadows, paying attention to the direction of the light.

  7. step 07

    Add highlights to the figures and objects to create a sense of depth and dimension.

  8. step 08

    Refine the details and adjust the colors as needed to achieve a cohesive and harmonious composition.

color palette

primary · titanium white · ultramarine blue · yellow ochre

secondary · burnt sienna · cadmium red light · viridian

Achieve the sky colors by mixing white with varying amounts of blue and a touch of yellow ochre. Mix grays by combining white, black, and a touch of burnt sienna. Use these grays to tone down the other colors.

techniques

  • ·broken brushstrokes
  • ·color mixing
  • ·atmospheric perspective
  • ·scumbling
  • ·layering

common pitfalls

  • →overworking details
  • →using colors straight from the tube
  • →creating muddy colors
  • →ignoring the overall composition

materials

surface · stretched canvas

required

  • ·stretched canvas 18x24
  • ·#4 round brush
  • ·#8 flat brush
  • ·titanium white oil paint
  • ·ultramarine blue oil paint
  • ·yellow ochre oil paint
  • ·burnt sienna oil paint

optional

  • ·palette knife
  • ·linseed oil
  • ·turpentine
  • ·medium gloss

Use a medium-grain canvas for best results. Consider using a limited palette to simplify the color mixing process.

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related guides

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