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home·artworks·Coastal Landscape
Coastal Landscape by Peder Balke

plate no. 9076

Coastal Landscape

Peder Balke

oilRomanticismlandscapesearockswavesskycoastline
some experience helpful

Recreating this painting will help students develop skills in creating atmospheric perspective and using a limited palette to achieve tonal harmony. It also provides practice in rendering dynamic waves and rocky formations with expressive brushstrokes.

technical profile

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

study guide

est. 8 hrs

approach — 8 steps

  1. step 01

    Sketch the basic composition, indicating the horizon line and the placement of the rocks.

  2. step 02

    Establish the overall tonal values with a thin wash of diluted paint, focusing on the light and shadow patterns.

  3. step 03

    Begin building up the sky with soft, blended brushstrokes, creating a sense of depth and atmosphere.

  4. step 04

    Define the shapes of the rocks with thicker paint and more visible brushstrokes, paying attention to the direction of light.

  5. step 05

    Add the waves, using short, choppy strokes to convey movement and texture.

  6. step 06

    Refine the details of the rocks and waves, adding highlights and shadows to create depth and dimension.

  7. step 07

    Glaze thin layers of color to unify the painting and enhance the atmospheric effects.

  8. step 08

    Add final details and highlights to the rocks and waves.

color palette

primary · ivory black · titanium white · raw umber

secondary · yellow ochre · sap green

Achieve the various gray tones by mixing ivory black and titanium white in different ratios. Add small amounts of raw umber or yellow ochre to warm up the grays. Use sap green to create the greenish tint in the water.

techniques

  • ·scumbling
  • ·dry brushing
  • ·glazing
  • ·atmospheric perspective
  • ·tonal painting

common pitfalls

  • →Overworking the details and losing the overall atmospheric effect.
  • →Creating too much contrast, which can flatten the image.
  • →Using too many colors, which can disrupt the tonal harmony.
  • →Not establishing a strong value structure early on.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·ivory black oil paint
  • ·titanium white oil paint
  • ·raw umber oil paint
  • ·linseed oil
  • ·turpentine
  • ·round brushes (#2, #6)
  • ·flat brush (#8)

optional

  • ·palette knife
  • ·medium (e.g. Liquin)
  • ·easel

Use a medium-grain canvas to allow for good paint adhesion and texture. Consider using a toned canvas to establish a base value.

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