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Long Beach by Edward Henry Potthast

plate no. 1537

Long Beach

Edward Henry Potthast, 1921

oilImpressionismgenre paintingbeachfiguresumbrellassandoceansky
some experience helpful

Recreating this painting will help students develop skills in capturing light and shadow with broken color and creating a sense of depth through atmospheric perspective. It also offers practice in simplifying complex scenes into impressionistic forms.

technical profile

palette complexity
4
brushwork visibility
5
value contrast
3
compositional simplicity
3

study guide

est. 12 hrs

approach — 8 steps

  1. step 01

    Lightly sketch the main compositional elements: horizon line, placement of figures and umbrellas.

  2. step 02

    Block in the large areas of color: sky, ocean, sand, and the main shapes of the umbrellas.

  3. step 03

    Establish the basic values and color temperatures of the sand, paying attention to the shadows.

  4. step 04

    Add the figures, focusing on capturing their general shapes and colors rather than precise details.

  5. step 05

    Develop the umbrellas, using broken color to suggest texture and light.

  6. step 06

    Refine the details of the figures and umbrellas, adding highlights and shadows.

  7. step 07

    Add final touches to the sand, suggesting texture and variations in color.

  8. step 08

    Review the overall composition and make any necessary adjustments to balance the colors and values.

color palette

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

secondary · cadmium yellow · cadmium red · viridian green · alizarin crimson

Mix various shades of sand by combining white, yellow ochre, and a touch of burnt umber. Achieve the sky and ocean colors by mixing white with ultramarine blue and a hint of other colors for variation.

techniques

  • ·broken color
  • ·scumbling
  • ·atmospheric perspective
  • ·alla prima
  • ·impasto

common pitfalls

  • →Overworking the details and losing the impressionistic feel.
  • →Creating muddy colors by overmixing.
  • →Ignoring the subtle color variations in the sand.
  • →Failing to establish a clear focal point.

materials

surface · stretched canvas

required

  • ·stretched canvas (16x20 inches)
  • ·oil paints
  • ·palette
  • ·palette knife
  • ·assorted brushes (round and flat)
  • ·linseed oil
  • ·turpentine or odorless mineral spirits
  • ·rags

optional

  • ·painting medium (e.g., Liquin)
  • ·easel
  • ·varnish

Use a medium-texture canvas to enhance the brushwork. 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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