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home·artworks·Windjammers Lying in the Carrick Roads Above Falmouth
Windjammers Lying in the Carrick Roads Above Falmouth by Henry Scott Tuke

plate no. 8333

Windjammers Lying in the Carrick Roads Above Falmouth

Henry Scott Tuke

watercolorImpressionismmarinashipswaterskyhillsboatsmarina
suitable for beginners

Recreating this painting will help students develop skills in creating atmospheric perspective and using washes to build up layers of color. It also provides practice in simplifying complex subjects into basic shapes and values.

technical profile

palette complexity
3
brushwork visibility
4
value contrast
2
compositional simplicity
3

study guide

est. 8 hrs

approach — 8 steps

  1. step 01

    Lightly sketch the basic shapes of the ships, hills, and water.

  2. step 02

    Apply a light wash of diluted blue and grey to the sky, allowing it to blend and create soft clouds.

  3. step 03

    Paint the distant hills with a mix of browns, blues, and greens, using a wet-on-wet technique to soften the edges.

  4. step 04

    Apply a light blue wash to the water, leaving some areas lighter to suggest reflections.

  5. step 05

    Add the basic shapes of the ships with diluted pinks, blues, and browns, paying attention to their relative sizes and positions.

  6. step 06

    Define the masts and rigging with thin lines of diluted brown and grey.

  7. step 07

    Add details to the boats and figures in the foreground with small, precise brushstrokes.

  8. step 08

    Evaluate and adjust values and colors as needed to create a sense of depth and atmosphere.

color palette

primary · cerulean blue · raw umber · burnt sienna

secondary · alizarin crimson · payne's grey

Achieve the muted tones by mixing complementary colors and diluting the paints with plenty of water. Use Payne's Grey sparingly to darken values without making them too harsh.

techniques

  • ·wet-on-wet blending
  • ·layering washes
  • ·dry brush texture
  • ·atmospheric perspective
  • ·lifting color

common pitfalls

  • →Using colors that are too saturated.
  • →Overworking the details and losing the loose, impressionistic feel.
  • →Making the values too dark and losing the atmospheric effect.
  • →Not allowing washes to dry completely before adding subsequent layers.

materials

surface · watercolor paper 140lb

required

  • ·watercolor paints
  • ·watercolor paper (140lb cold press)
  • ·round brushes (various sizes)
  • ·flat brush (1 inch)
  • ·water container
  • ·palette
  • ·masking tape
  • ·kneaded eraser

optional

  • ·palette knife
  • ·masking fluid
  • ·spray bottle

Use high-quality watercolor paper to prevent buckling and allow for better blending. Experiment with different brush sizes to achieve a variety of effects.

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related guides

watercolor techniques →color theory for painters →how to learn by studying the masters →
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