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home·artworks·HMS Erebus and Terror in the Antarctic
HMS Erebus and Terror in the Antarctic by John Wilson Carmichael

plate no. 3899

HMS Erebus and Terror in the Antarctic

John Wilson Carmichael, 1847

oilRomanticismmarinashipsoceanicebergsmountainscloudssky
experienced study

Recreating this painting will help students develop skills in atmospheric perspective, rendering complex textures like water and ice, and creating a dramatic sense of light and shadow.

technical profile

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

study guide

est. 20 hrs

approach — 8 steps

  1. step 01

    Sketch the basic composition, focusing on the placement of the ships, mountains, and icebergs.

  2. step 02

    Establish the sky with broad washes of light yellow and gray, blending the colors softly.

  3. step 03

    Block in the distant mountains with cool grays and blues, paying attention to atmospheric perspective.

  4. step 04

    Develop the foreground water with darker blues and greens, suggesting the movement of the waves.

  5. step 05

    Add details to the ships, including the sails, rigging, and flags.

  6. step 06

    Paint the icebergs with varying shades of white and gray, adding highlights to suggest their form.

  7. step 07

    Refine the details of the waves and add splashes of white to create a sense of movement.

  8. step 08

    Add final touches, such as birds and subtle highlights, to enhance the overall effect.

color palette

primary · titanium white · ultramarine blue · raw umber

secondary · yellow ochre · burnt sienna · payne's gray

Mix various shades of gray by combining white, blue, and umber. Use yellow ochre and burnt sienna to create warm highlights in the sky and on the icebergs.

techniques

  • ·glazing
  • ·scumbling
  • ·dry brushing
  • ·atmospheric perspective
  • ·broken color

common pitfalls

  • →Overworking the details in the background, which can flatten the sense of depth.
  • →Using too much pure white, which can make the painting look stark and unrealistic.
  • →Failing to capture the movement of the water, which can make the painting look static.
  • →Ignoring the subtle variations in color and value, which can make the painting look flat.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·titanium white oil paint
  • ·ultramarine blue oil paint
  • ·raw umber oil paint
  • ·yellow ochre oil paint
  • ·burnt sienna oil paint
  • ·payne's gray oil paint
  • ·assorted brushes (round and flat)

optional

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

Use high-quality oil paints for best results. A medium-sized canvas (e.g., 18x24 inches) is recommended.

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