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home·artworks·The city of Marina di Pisa
The city of Marina di Pisa by Giovanni (Nino) Costa

plate no. 0838

The city of Marina di Pisa

Giovanni (Nino) Costa

oil, canvasNaturalismlandscaperuinslandscapeskycloudsfieldarchitecture
suitable for beginners

Recreating this painting will help students develop skills in atmospheric perspective and creating depth through color and value changes. It also provides practice in painting architectural forms and rendering textures.

technical profile

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

study guide

est. 8 hrs

approach — 8 steps

  1. step 01

    Sketch the basic composition, focusing on the placement of the ruins and the horizon line.

  2. step 02

    Block in the sky with light blue, creating subtle variations in tone for the clouds.

  3. step 03

    Establish the base color for the field, using a mix of greens and browns.

  4. step 04

    Roughly paint the shapes of the ruins with a base color of reddish-brown.

  5. step 05

    Add shadows and highlights to the ruins to define their form and create depth.

  6. step 06

    Develop the details of the field, adding variations in color and texture to represent grass and dirt.

  7. step 07

    Refine the details of the ruins, adding cracks, crevices, and other textures.

  8. step 08

    Add final highlights and shadows to create a sense of atmosphere and depth.

color palette

primary · sky blue · burnt sienna · yellow ochre

secondary · raw umber · titanium white · sap green

Mix sky blue with white for lighter areas of the sky. Use burnt sienna and raw umber for the ruins, adding white for highlights and blue for shadows. Mix yellow ochre and sap green for the field, adding raw umber for darker areas.

techniques

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

common pitfalls

  • →Overworking the details of the ruins too early.
  • →Not establishing a clear sense of depth and perspective.
  • →Using colors that are too saturated.
  • →Ignoring the subtle variations in tone and color in the sky and field.

materials

surface · stretched canvas

required

  • ·stretched canvas 12x16
  • ·oil paints (sky blue, burnt sienna, yellow ochre, raw umber, titanium white, sap green)
  • ·palette
  • ·palette knife
  • ·assorted brushes (round and flat)
  • ·linseed oil
  • ·turpentine
  • ·rags

optional

  • ·painting medium
  • ·easel
  • ·varnish

Use a medium-grain canvas for best results. Experiment with different brush sizes and types to achieve various textures.

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