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home·artworks·Rainstorm Beneath the Summit
Rainstorm Beneath the Summit by Katsushika Hokusai

plate no. 4446

Rainstorm Beneath the Summit

Katsushika Hokusai, 1831

woodblock printUkiyo-elandscapemountaincloudsskystormlightninglandscape
some experience helpful

Students would develop skills in creating atmospheric effects and dramatic contrast between light and dark areas. This piece teaches color gradation techniques and how to depict weather phenomena effectively.

technical profile

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

study guide

est. 8 hrs

approach — 8 steps

  1. step 01

    Sketch the mountain's triangular silhouette as the dominant focal point

  2. step 02

    Block in the dark foreground mountains with deep browns and blacks

  3. step 03

    Paint the sky gradient from blue at top to pale yellow-white at horizon

  4. step 04

    Add the red-brown volcanic slopes with dotted texture pattern

  5. step 05

    Paint white and cream clouds with defined curved edges

  6. step 06

    Add the lightning bolt lines in bright orange-red

  7. step 07

    Refine cloud shadows and atmospheric perspective

  8. step 08

    Add final details and Japanese text cartouche if desired

color palette

primary · prussian blue · burnt umber · titanium white · raw sienna

secondary · cadmium red light · yellow ochre · payne's gray · vandyke brown

Mix blues with white for sky gradation, combine burnt umber with raw sienna for mountain slopes, use pure white with slight blue tint for clouds

techniques

  • ·wet-on-dry layering for distinct cloud shapes
  • ·stippling or dry brush for volcanic texture
  • ·graduated wash for sky transitions
  • ·hard edge definition between elements
  • ·atmospheric perspective through value shifts

common pitfalls

  • →overblending the sky gradient and losing the crisp horizon line
  • →making clouds too soft or undefined
  • →losing the dramatic contrast between light and dark areas
  • →not maintaining the geometric simplicity of the composition

materials

surface · stretched canvas or canvas board

required

  • ·#6 flat brush
  • ·#2 detail brush
  • ·prussian blue acrylic
  • ·burnt umber acrylic
  • ·titanium white acrylic
  • ·raw sienna acrylic
  • ·canvas board 11x14
  • ·palette knife

optional

  • ·masking tape for clean edges
  • ·sea sponge for texture
  • ·cadmium red light
  • ·glazing medium

Acrylic paints work well for achieving the flat, graphic quality of the original woodblock print style

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