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home·artworks·Venice, St. Mark's Square and the Island of San Giorgio
Venice, St. Mark's Square and the Island of San Giorgio by Enrico Nardi

plate no. 6665

Venice, St. Mark's Square and the Island of San Giorgio

Enrico Nardi

watercolor, cardboardRealismcityscapecityscapearchitecturecolumnswaterskybuildings
some experience helpful

Recreating this painting will help students develop skills in atmospheric perspective and watercolor layering techniques. It also provides practice in simplifying complex architectural details.

technical profile

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

study guide

est. 6 hrs

approach — 8 steps

  1. step 01

    Lightly sketch the main shapes: the building, columns, and distant island.

  2. step 02

    Apply a light wash of diluted yellow and pink to the sky, blending gently.

  3. step 03

    Add a diluted wash of blue-gray to the sky to create clouds, leaving some yellow showing through.

  4. step 04

    Paint the distant island with a very diluted gray-purple, focusing on the overall shape.

  5. step 05

    Use a slightly darker wash of brown and purple for the columns, creating a subtle gradient.

  6. step 06

    Paint the building with a light brown wash, adding darker details for shadows and architectural features.

  7. step 07

    Add the water with a horizontal wash of diluted blue-gray, varying the tone slightly.

  8. step 08

    Add small details like boats and figures with a fine brush.

color palette

primary · yellow ochre · burnt sienna · ultramarine blue

secondary · alizarin crimson · payne's gray

Mix yellow ochre and burnt sienna for the warm tones of the buildings and ground. Use ultramarine blue and alizarin crimson for the purplish grays of the sky and distant buildings. Payne's gray can be used to darken the blues and browns.

techniques

  • ·wet-on-wet blending
  • ·atmospheric perspective
  • ·watercolor washes
  • ·dry brush texture

common pitfalls

  • →Overworking the details in the architectural elements.
  • →Making the colors too saturated.
  • →Not allowing washes to dry completely before adding subsequent layers.
  • →Losing the sense of atmospheric perspective by making the distant elements too dark or detailed.

materials

surface · watercolor paper 140lb

required

  • ·Watercolor paints
  • ·Watercolor brushes (round and flat)
  • ·Watercolor paper (140lb)
  • ·Palette
  • ·Water container
  • ·Pencil
  • ·Eraser

optional

  • ·Masking fluid
  • ·Palette knife
  • ·Ruler

Use high-quality watercolor paper to prevent buckling and allow for better blending. Experiment with different brush sizes to achieve varying levels of detail.

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watercolor techniques →how to learn by studying the masters →
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