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home·artworks·Loch Coruisk and The Cuillins from Elgol
Loch Coruisk and The Cuillins from Elgol by John Duncan

plate no. 5067

Loch Coruisk and The Cuillins from Elgol

John Duncan

oilSymbolismlandscapemountainslakerocksskycloudslandscape
some experience helpful

Recreating this painting will help students develop skills in atmospheric perspective and creating depth through value changes. It also provides practice in rendering textures of rocks and mountains using broken color and visible brushstrokes.

technical profile

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

study guide

est. 12 hrs

approach — 8 steps

  1. step 01

    Sketch the basic shapes of the mountains, lake, and sky, paying attention to the overall composition.

  2. step 02

    Establish the dark and light areas with a thin wash of a neutral color like burnt umber.

  3. step 03

    Begin layering in the darker values of the mountains, using a mix of blues, browns, and blacks.

  4. step 04

    Add the lighter values to the mountains, focusing on the areas where light is hitting the rocks.

  5. step 05

    Paint the sky with soft, blended colors, creating a sense of atmosphere and depth.

  6. step 06

    Add the details to the rocks and mountains, using broken color and dry brush techniques to create texture.

  7. step 07

    Paint the lake with a mix of greens and browns, reflecting the colors of the sky and mountains.

  8. step 08

    Refine the details and adjust the values as needed to create a cohesive and atmospheric painting.

color palette

primary · ultramarine blue · burnt umber · titanium white

secondary · yellow ochre · alizarin crimson

Mix blues and browns for the dark mountain shadows. Use white to lighten the colors for highlights. Add small amounts of red and yellow to create warmer tones in the rocks and sky.

techniques

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

common pitfalls

  • →Overworking the details and losing the overall sense of atmosphere.
  • →Using too much contrast and creating a harsh, unrealistic effect.
  • →Failing to establish a clear value structure early on.
  • →Not blending the colors sufficiently in the sky, resulting in a choppy appearance.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·oil paints
  • ·palette
  • ·palette knife
  • ·assorted brushes (round and flat)
  • ·linseed oil
  • ·turpentine
  • ·rags

optional

  • ·painting medium
  • ·varnish
  • ·easel

Use a medium-grit canvas for better texture. Consider using a limited palette to simplify color mixing.

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