Norma® Professional: Venice view with Werner Maier

In our blog we like to present a classical oil painting and a classical theme – Venice. The German artist Werner Maier from Munich shows us step by step how he arranges his view on Venice using the finest oil colours Norma® Professional.

You will need:

  • An atmospheric photo of Venice
  • Schmincke Norma® Professional oil colours:
  • Titanium white (110), Zinc white (112), Lemon yellow (236), Brilliant yellow (246), Napels yellow deep (224), Cadmium red mix (312), Ruby red (346), Azure blue (424), Royal blue (406), Cobalt cerulean blue (414), Ultramarine blue deep (402), Indigo (416), Cobalt turquoise (426), Burnt Sienna (610), Raw Siena (608), Raw light ochre (600), Golden ochre (606), Green earth (518), Burn tumber Burnt umber (624), Vandyke brown (626), Ivoryblack (704).
  • Brushes for oil painting, e.g. Da Vinci
  • Pre-primed canvas 40 × 50 cm
  • For pre-sketching pastels, crayon or charcoal

Step 1

As a pattern, I take a photo of Venice and draw a pre-sketch of all important components using pastels, crayon or charcoal. Important for the composition is an impair quantity of boats. Cropped boats at both sides of the painting enlarge the room beyond the painting.

Step 2

The space between gondolas, buildings and the horizon is important for the tension in this painting. The colours Titanium white, Ruby red, Burnt umber and Ivory black are perfectly suited for painting the sky. They will be mixed to a colour which is darker than the white of the canvas, but not too dark.

Step 3

I apply the colours Green earth and Azure blue into the still wet colour of the sky and use them also for painting the water surface. For more plasticity of the gondolas, I blur the pre-sketch with a cloth.

Step 4

Now I start painting the gondolas and the water.

Step 5

For painting the drapery in the gondolas, I use the colours Burnt Sienna, Raw Siena, Cadmium red mix as well as Brilliant yellow.

Step 6

The Schmincke Norma® Professional oil colours can be spread perfectly. You can achieve amazing mixtures. Different colour layers can be seen in all parts of the painting which become three-dimensional and brilliant.

Step 7

For the water surface, I use the colours Green Earth, Titanium white, Azure blue, Burnt umber and Vandyke brown. The opposite buildings will be adumbrated slightly with spontaneous brush strokes. The perfect consistency of the Schmincke Norma® Professionaloil colours let them shine. Even my smallest brushes take the colour easily and allow to paint smallest, but important details.

Step 8

Now the overlapping colour layers let the surface ofthe water shine and shimmer in many different tones. For painting the rods rising out of the water, I use, additionally to the already mentioned red and brown shades, some Raw light ochre, Gold ochre, Lemon yellow and Naples yellow deep.

Step 9

To achieve a dramatic sky scenery, Norma® Professionaloil colours are perfectly suited. To vivify the clouds, I use some Royal blue and some Cobalt cerulean blue, both lightened with Zinc white.

Step 10

Schmincke oil colours are also perfect for painting foggy cloud sceneries without losing their brilliance. Soft colour changes in the blue areas can be achieve dusing Zinc white. I use Titanium white for some lights on the borders of the clouds. Finally, I lighten the water at the horizon as well as the opposite San Giorgio Maggiore.