plate no. 9997
Au cycliste
Jean Helion, 1939
some experience helpful
This painting offers practice in simplifying complex forms into geometric shapes and using a limited palette to create a cohesive composition. Students will learn about value relationships and creating depth through subtle tonal variations.
technical profile
palette complexity
3
brushwork visibility
2
value contrast
3
compositional simplicity
3
study guide
est. 12 hrsapproach — 8 steps
- step 01
Sketch the basic shapes and proportions of the figures and architectural elements.
- step 02
Block in the large areas of color, starting with the background.
- step 03
Establish the main value ranges for each figure and element.
- step 04
Refine the shapes and add details, such as the hat, umbrella, and window frame.
- step 05
Mix and apply subtle tonal variations to create depth and form.
- step 06
Add the final details, like the leaf on the ground and the light fixture in the window.
- step 07
Check the overall composition and make any necessary adjustments.
- step 08
Allow to dry and add a varnish layer.
color palette
primary · gray · light blue · beige · black
secondary · yellow ochre · dark blue
Mix different shades of gray by combining black and white with small amounts of blue or yellow ochre. Use a touch of yellow ochre to warm up the beige tones.
techniques
- ·flat color application
- ·value shading
- ·geometric simplification
- ·color mixing
- ·hard edge painting
common pitfalls
- →Overcomplicating the shapes and details.
- →Using too many colors.
- →Failing to establish a clear value structure.
- →Uneven paint application.
- →Incorrect proportions of figures and architecture
materials
surface · stretched canvas
required
- ·stretched canvas
- ·acrylic or oil paints
- ·round brushes
- ·flat brushes
- ·palette
- ·palette knife
- ·linseed oil or acrylic medium
optional
- ·easel
- ·painting knife
- ·retarder medium
Use a smooth canvas to achieve the flat, even color application. Acrylics are a good option for beginners due to their fast drying time.
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