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home·artworks·Circular Quay, Sydney
Circular Quay, Sydney by Julian Ashton

plate no. 0546

Circular Quay, Sydney

Julian Ashton, 1888

oilImpressionismmarinawaterboatsskybuildingsfiguresdock
some experience helpful

Recreating this painting will help students develop skills in atmospheric perspective and capturing reflections in water. It also provides practice in rendering complex shapes like boats and buildings with simplified forms.

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 the placement of major elements like the dock, boats, and buildings.

  2. step 02

    Establish the sky with a wash of light yellows, oranges, and pinks, blending the colors softly.

  3. step 03

    Block in the distant buildings and boats with muted grays and browns, paying attention to their relative values.

  4. step 04

    Paint the water with horizontal strokes, using a mix of greens, blues, and grays, and capturing the reflections of the sky and boats.

  5. step 05

    Add details to the dock and figures, using darker values to create contrast and definition.

  6. step 06

    Refine the details of the boats, including the masts, sails, and smoke.

  7. step 07

    Add final touches to the sky, water, and reflections, ensuring a sense of atmospheric perspective.

  8. step 08

    Glaze with thin washes to unify the colors and create depth.

color palette

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

secondary · cadmium orange · alizarin crimson · sap green

Mix greens by combining ultramarine blue and yellow ochre, and grays by combining burnt umber and ultramarine blue with white. Achieve atmospheric perspective by lightening and muting colors as they recede into the distance.

techniques

  • ·wet-on-wet blending
  • ·scumbling
  • ·atmospheric perspective
  • ·glazing
  • ·broken color

common pitfalls

  • →Overworking the details too early
  • →Using colors that are too saturated
  • →Failing to establish a strong value structure
  • →Ignoring the effects of atmospheric perspective

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·acrylic or oil paints
  • ·round brushes
  • ·flat brushes
  • ·palette
  • ·palette knife
  • ·linseed oil or acrylic medium

optional

  • ·medium gloss
  • ·easel
  • ·rags
  • ·odorless mineral spirits

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

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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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