apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·Morning on the Pacific
Morning on the Pacific by Granville Redmond

plate no. 8387

Morning on the Pacific

Granville Redmond

oilTonalismmarinaoceanwavesrocksskyseascape
some experience helpful

Recreating this painting will help students understand atmospheric perspective and how to represent the movement of water with visible brushstrokes. It also provides practice in mixing subtle variations of blues and grays.

technical profile

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

study guide

est. 8 hrs

approach — 8 steps

  1. step 01

    Sketch the basic composition, dividing the canvas into sky, sea, and rocks.

  2. step 02

    Establish the horizon line and the general placement of the rocks.

  3. step 03

    Apply a thin wash of diluted blue to the sky area, creating a gradient from lighter at the top to slightly darker near the horizon.

  4. step 04

    Block in the general color of the ocean with a mid-tone blue-gray.

  5. step 05

    Begin adding darker blues and grays to represent the shadows and depth of the waves.

  6. step 06

    Use thicker paint and lighter blues and whites to create the highlights on the waves and the foam.

  7. step 07

    Paint the rocks with dark browns and grays, adding highlights to suggest form.

  8. step 08

    Refine the details of the waves and rocks, paying attention to the direction of the brushstrokes to convey movement and texture.

color palette

primary · Prussian Blue · Titanium White · Payne's Gray

secondary · Burnt Umber · Yellow Ochre

Mix blues and white for the sky and highlights on the water. Add Payne's Gray to the blue for deeper shadows. Use Burnt Umber and Payne's Gray for the rocks.

techniques

  • ·Dry brushing
  • ·Scumbling
  • ·Layering
  • ·Atmospheric perspective
  • ·Broken color

common pitfalls

  • →Overblending the colors, resulting in a flat and lifeless appearance.
  • →Not varying the brushstrokes enough to create a sense of movement and texture.
  • →Making the values too uniform, failing to create depth and contrast.
  • →Ignoring the atmospheric perspective, making distant elements too sharp and defined.

materials

surface · stretched canvas

required

  • ·Stretched canvas (12x16 inches)
  • ·Oil paints (Prussian Blue, Titanium White, Payne's Gray, Burnt Umber, Yellow Ochre)
  • ·Assorted brushes (flat and round, sizes #2-#8)
  • ·Palette
  • ·Palette knife
  • ·Odorless mineral spirits
  • ·Linseed oil
  • ·Rags

optional

  • ·Medium gloss
  • ·Retouch varnish

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

tips & new artworks in your inbox

no spam — unsubscribe anytime.

or to save artworks, chat, and track progress

related guides

oil painting for beginners →how to learn by studying the masters →
chat about this artwork

in this vein

related artworks

Spring, Hudson River

Spring, Hudson River

Leon Dabo

Oraibi, Hopi village, Arizona

Oraibi, Hopi village, Arizona

Xavier Martinez

The Farmyard

The Farmyard

Albert Pinkham Ryder

Woodland Vista

Woodland Vista

Ralph Blakelock

Landscape

Landscape

Leon Dabo

Untitled (Moon Over a Harbor)

Untitled (Moon Over a Harbor)

Edward Mitchell Bannister

Afternoon in Piedmont (Elsie Whitaker Martinez)

Afternoon in Piedmont (Elsie Whitaker Martinez)

Xavier Martinez

Near Conway, North Wales

Near Conway, North Wales

Alexander Helwig Wyant