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home·artworks·Storm bells a Heligoland
Storm bells a Heligoland by Rudolf Jordan

plate no. 7779

Storm bells a Heligoland

Rudolf Jordan, 1885

oil, canvasRomanticismgenre paintingfiguresstormseabuildingsskywaves
some experience helpful

Recreating this painting will help students develop skills in depicting atmospheric perspective and rendering realistic figures in a dynamic environment. It also provides practice in capturing the mood and drama of a stormy scene.

technical profile

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

study guide

est. 15 hrs

approach — 8 steps

  1. step 01

    Sketch the basic composition, focusing on the placement of figures and key elements like the bell tower and waves.

  2. step 02

    Establish the background sky and distant landscape with thin washes of color, paying attention to atmospheric perspective.

  3. step 03

    Block in the main shapes of the figures with simplified color masses, considering the light source and shadows.

  4. step 04

    Begin to refine the details of the figures, adding facial features, clothing folds, and textures.

  5. step 05

    Develop the foreground elements, such as the wooden structures and rocks, with more detailed brushwork.

  6. step 06

    Paint the waves and sea foam, using a variety of brushstrokes to create a sense of movement and energy.

  7. step 07

    Add highlights and shadows to enhance the three-dimensionality of the forms.

  8. step 08

    Refine the overall composition and add final details, such as the birds in the sky and the glow of the torch.

color palette

primary · raw umber · titanium white · Prussian blue

secondary · cadmium red · yellow ochre · sap green

Mix various shades of gray and brown by combining raw umber, Prussian blue, and titanium white. Use yellow ochre and cadmium red to create warm highlights and skin tones. Add small amounts of sap green to create mossy greens.

techniques

  • ·atmospheric perspective
  • ·figure drawing
  • ·wet-on-dry blending
  • ·dry brush texture
  • ·scumbling

common pitfalls

  • →Overworking the details too early in the process.
  • →Failing to establish a clear value structure.
  • →Ignoring the effects of atmospheric perspective.
  • →Creating static or lifeless figures.

materials

surface · stretched canvas

required

  • ·stretched canvas 18x24
  • ·oil paints (raw umber, titanium white, Prussian blue, cadmium red, yellow ochre, sap green)
  • ·linseed oil
  • ·turpentine
  • ·assorted brushes (round and flat)
  • ·palette
  • ·palette knife
  • ·rags

optional

  • ·medium gloss
  • ·retouch varnish
  • ·easel

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

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