For me as a portrait lover and black and white fan, this project meant a huge change. I had to reach into the paint pot and practically forced myself out of my "comfort zone". I find it a challenge, unlike a black-and-white portrait, to capture that sense of vastness and size that makes a landscape so typical. In addition to the geometric rules of perspective, which also apply to depictions of nature, the atmospheric perspective must also be taken into account. That is, the colors fade the more they move toward the background or horizon. They lose their chroma / saturation and increasingly turn to the horizon. Furthermore, usually the entire middle and foreground in the focus and thus relatively sharp. I always admire the painters of the romance, they captured these impressive landscapes without camera or smartphone and painted atmospheric pictures. Impressive performance, considering that today we can use a finished photo as a template! But now philosophize enough! Since I wanted a solid, erasable and only slightly absorbent surface in this image, I primed an HDF plate with a commercially available white pigmented acrylic primer. (e.g., Caparol Adhesion Primer) After dry sanding with 800 grit sandpaper and good cleaning, the substrate is ready prepared. I start by transferring the image to the ground. To do this, I blacken the back of the printout with a HB pencil. HB is quite sufficient, because I would rather have the transmission lines weak so that they are well covered with color. The template I stick to the top of the picture and can if necessary synonymous later times "flipping" to check the position and location of individual image areas. After the transfer, I start with the area furthest away: the sky The sky blue is a matter of its own. I finally mixed it with Cyan, Ultramarine, Sephia and Black. 3: 3: 1: 1. Over the white background I have sprayed in very thin layers, this 1: 1 diluted with water mix. In doing so, I pay attention from top to bottom to get brighter in the direction of the horizon Now you can start with the clouds. Here I mix a shade of gray from the sky blue mixture, white and Sephia, ratio about 1: 1: 1. With this mixture I spray cloudy cloud formations. As I first spray the dark and lower areas of the clouds, I leave the areas free where later the white cloud areas will be. The white areas I spray with pure white. The gradations between white and gray, I adjust several times. The sky is now perched above the scene and I work my way forward in the picture. The coastal strip to the right in the background is now freehand with a mixture of cloud blue + sky gray + black in the ratio 1: 1: 1. The color was determined by remixing. At first, the hue looks dark in front of the bright sky, but that relativises very quickly when the closer coastal areas are created. Again and again funny, how the color perception plays tricks! On this coast are blurry buildings recognizable, these are represented with eraser and Fiberpen. In order not to make it appear too radiant, I spray once more thinly on the coastal hue above.