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home·artworks·The Passing Storm
The Passing Storm by Granville Redmond

plate no. 7869

The Passing Storm

Granville Redmond

oilTonalismlandscapelandscapetreesskycloudsfieldpath
some experience helpful

Recreating this painting will help students develop skills in atmospheric perspective and using a limited palette to create a sense of mood and depth. Students will also practice layering and blending techniques to achieve soft transitions.

technical profile

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

study guide

est. 10 hrs

approach — 8 steps

  1. step 01

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

  2. step 02

    Establish the sky with broad strokes, blending dark and light tones to suggest the storm clouds.

  3. step 03

    Block in the distant landscape with muted greens and blues to create atmospheric perspective.

  4. step 04

    Define the large tree mass with darker greens and browns, suggesting form with subtle value changes.

  5. step 05

    Paint the foreground field, using broken color and directional brushstrokes to indicate the grass.

  6. step 06

    Add the path with lighter earth tones, creating a sense of depth as it recedes into the distance.

  7. step 07

    Refine the details in the trees and foreground, adding highlights and shadows to enhance realism.

  8. step 08

    Adjust the overall values and colors to achieve a harmonious and atmospheric effect.

color palette

primary · raw umber · titanium white · yellow ochre

secondary · ultramarine blue · burnt sienna

Mix raw umber and white for the sky and distant hills. Add yellow ochre to the green mixtures for warmth. Use ultramarine blue to cool down the greens and create atmospheric perspective.

techniques

  • ·dry brushing
  • ·scumbling
  • ·atmospheric perspective
  • ·broken color
  • ·blending

common pitfalls

  • →Overworking the details in the foreground, losing the sense of depth.
  • →Creating harsh lines and edges, rather than soft transitions.
  • →Using colors that are too saturated, disrupting the muted tonal quality.
  • →Failing to establish a clear value structure, resulting in a flat and unconvincing landscape.

materials

surface · stretched canvas

required

  • ·Stretched canvas (12x16 or similar)
  • ·Oil paints: raw umber, titanium white, yellow ochre, ultramarine blue, burnt sienna
  • ·Palette
  • ·Palette knife
  • ·Odorless mineral spirits
  • ·Linseed oil
  • ·Assorted brushes (round and flat)
  • ·Rags

optional

  • ·Retouch varnish
  • ·Medium (e.g. Liquin)

A toned canvas (e.g., with a thin wash of raw umber) can be helpful for establishing the overall tonal quality.

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