apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·Traffic on Stockholms Ström
Traffic on Stockholms Ström by Anna Palm de Rosa

plate no. 1738

Traffic on Stockholms Ström

Anna Palm de Rosa, 1890

oilNaturalismmarinashipswaterskyboatssmokeharbor
some experience helpful

This painting is a good exercise in atmospheric perspective and creating depth through subtle value and color shifts. Students will learn to simplify complex shapes and suggest details rather than rendering them precisely.

technical profile

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

study guide

est. 10 hrs

approach — 8 steps

  1. step 01

    Sketch the horizon line and the basic shapes of the ships and boats, paying attention to their relative sizes and positions.

  2. step 02

    Block in the sky with a light, cloudy mix of white, blue, and a touch of yellow.

  3. step 03

    Establish the base color of the water, a muted gray-green, and indicate the reflections of the ships.

  4. step 04

    Paint the larger ships, starting with the darkest values and gradually adding highlights.

  5. step 05

    Add the smaller boats and details, such as masts and rigging, using a fine brush.

  6. step 06

    Soften edges and blend colors to create a sense of atmosphere.

  7. step 07

    Add the smoke and steam with light, airy brushstrokes.

  8. step 08

    Refine the details and adjust values as needed to create depth and realism.

color palette

primary · titanium white · ultramarine blue · raw umber · ivory black

secondary · yellow ochre · burnt sienna · cadmium red light

Use white to create tints of the blues and browns for the sky and water. Mix small amounts of red and yellow into the browns for the ships.

techniques

  • ·atmospheric perspective
  • ·scumbling
  • ·dry brushing
  • ·glazing
  • ·soft blending

common pitfalls

  • →Overworking the details and losing the overall atmospheric effect.
  • →Making the colors too saturated and bright.
  • →Failing to establish a clear sense of depth.
  • →Not softening edges enough.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·titanium white oil paint
  • ·ultramarine blue oil paint
  • ·raw umber oil paint
  • ·ivory black oil paint
  • ·round brushes (sizes 2, 4, 6)
  • ·flat brush (size 8)
  • ·linseed oil

optional

  • ·palette knife
  • ·medium gloss
  • ·odorless mineral spirits

Use a medium-grain canvas for best results. Consider using a toned canvas (light gray or beige) to make it easier to judge values.

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

Nesebar

Nesebar

Felix Philipp Kanitz

View of the city of Nettuno at dawn with fishing boats

View of the city of Nettuno at dawn with fishing boats

Giovanni (Nino) Costa

Koriten Fortress

Koriten Fortress

Felix Philipp Kanitz

A London Jo - the End of the Day

A London Jo - the End of the Day

Augustus Edwin Mulready

Chestnut trees in the autumn in Antagnes, Switzerland

Chestnut trees in the autumn in Antagnes, Switzerland

Hubertine Heijermans

Avenue of Indian Rubber Trees at Peradeniya, Ceylon

Avenue of Indian Rubber Trees at Peradeniya, Ceylon

Marianne North

Paisaje Con Río

Paisaje Con Río

José Santiago Garnelo y Alda

An Oysterman

An Oysterman

William Henry Hunt