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home·artworks·Holy Isle, Arran
Holy Isle, Arran by George Harvey

plate no. 1318

Holy Isle, Arran

George Harvey, 1873

oilRomanticismlandscapeseamountainboatsskymoonlightfigures
some experience helpful

Recreating this painting will help students understand atmospheric perspective and how to create a sense of depth using value and color. It also provides practice in depicting reflections and subtle gradations of light.

technical profile

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

study guide

est. 8 hrs

approach — 8 steps

  1. step 01

    Sketch the basic composition, including the horizon line, mountain, and the positions of the boats.

  2. step 02

    Establish the overall tonal range by applying a thin wash of burnt umber or a similar earth tone.

  3. step 03

    Begin blocking in the sky, starting with the lightest area around the moon and gradually darkening towards the edges.

  4. step 04

    Paint the mountain, paying attention to the subtle variations in value to suggest form and depth.

  5. step 05

    Add the water, focusing on capturing the reflection of the moon and the surrounding sky.

  6. step 06

    Paint the boats, using darker values to create contrast and define their shapes.

  7. step 07

    Add details such as the figures on the boats and the smoke from the steamboat.

  8. step 08

    Refine the painting by adjusting values and adding subtle highlights to create a sense of atmosphere.

color palette

primary · burnt umber · yellow ochre · titanium white

secondary · ivory black · raw sienna

Mix burnt umber and yellow ochre to create the warm, muted tones of the sky and water. Add titanium white to lighten these colors and create highlights. Use ivory black sparingly to darken shadows.

techniques

  • ·tonal underpainting
  • ·glazing
  • ·blending
  • ·atmospheric perspective
  • ·scumbling

common pitfalls

  • →Overworking the painting and losing the sense of atmosphere.
  • →Failing to establish a strong tonal range.
  • →Making the colors too saturated.
  • →Neglecting the subtle variations in value that create depth.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·burnt umber oil paint
  • ·yellow ochre oil paint
  • ·titanium white oil paint
  • ·ivory black oil paint
  • ·round brushes (various sizes)
  • ·linseed oil
  • ·odorless mineral spirits

optional

  • ·palette knife
  • ·raw sienna oil paint
  • ·medium gloss
  • ·easel

A toned canvas (e.g., with a thin wash of burnt umber) can be helpful for establishing the overall tonal range.

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