plate no. 8309
At the Moulin Rouge
experienced study
This study would develop skills in expressive figure drawing and working with limited color palettes on toned ground. Students would practice loose, confident brushwork and learn to suggest form with minimal but purposeful marks.
technical profile
palette complexity
3
brushwork visibility
4
value contrast
3
compositional simplicity
4
study guide
est. 4 hrsapproach — 8 steps
- step 01
Prepare brown/tan toned canvas or paper
- step 02
Sketch basic head structure and hat placement with charcoal or thin paint
- step 03
Block in darkest shadows with burnt umber mixed with ultramarine
- step 04
Apply flesh tones using titanium white mixed with raw sienna and alizarin crimson
- step 05
Add bright blue accents for the hat band and clothing details
- step 06
Build up beard texture with varied browns and grays using dry brush technique
- step 07
Refine facial features with small precise brushstrokes
- step 08
Add final highlights and linear details with confident gestural marks
color palette
primary · burnt umber · titanium white · ultramarine blue · raw sienna
secondary · alizarin crimson · cerulean blue · yellow ochre
Mix flesh tones by combining white with small amounts of raw sienna and alizarin crimson. Create varied grays by mixing ultramarine with burnt umber.
techniques
- ·dry brush texturing
- ·alla prima painting
- ·expressive line work
- ·working on toned ground
- ·color temperature variation
common pitfalls
- →overworking the loose brushstrokes
- →making flesh tones too pink or yellow
- →losing the spontaneous quality
- →adding too much detail in secondary areas
materials
surface · canvas or heavy paper with warm brown/tan toned ground
required
- ·#6 flat brush
- ·#2 round brush
- ·burnt umber oil paint
- ·titanium white oil paint
- ·ultramarine blue oil paint
- ·raw sienna oil paint
- ·alizarin crimson oil paint
- ·canvas or paper with brown/tan ground
optional
- ·palette knife
- ·turpentine
- ·painting medium
- ·charcoal for initial sketch
The toned ground is essential for this technique - it serves as the middle tone and unifies the painting
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