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home·artworks·Bathing II
Bathing II by Sarunas Sauka3

plate no. 1021

Bathing II

Sarunas Sauka3, 1985

oilSurrealismsymbolic paintingfigurebathwaterinteriorportraitsarchitecture
experienced study

Recreating this painting would help students develop skills in figure drawing, rendering skin tones, and creating a sense of depth through atmospheric perspective. It also provides practice in depicting complex textures and patterns.

technical profile

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

study guide

est. 40 hrs

approach — 8 steps

  1. step 01

    Begin with a light sketch to establish the overall composition, focusing on the placement of the figures and the bath.

  2. step 02

    Block in the main shapes and colors of the background, bath, and figures using thin washes of paint.

  3. step 03

    Start building up the skin tones of the figures, paying close attention to the subtle variations in color and value.

  4. step 04

    Develop the details of the bath and the surrounding architecture, using a combination of layering and glazing techniques.

  5. step 05

    Add the details of the faces, focusing on capturing the expressions and individual characteristics of each figure.

  6. step 06

    Refine the water in the bath, using highlights and shadows to create a sense of depth and movement.

  7. step 07

    Add final details and highlights to the entire painting, paying attention to the overall balance and harmony of the composition.

  8. step 08

    Glaze the entire painting with a thin layer of transparent color to unify the tones and create a sense of atmosphere.

color palette

primary · raw umber · burnt sienna · titanium white · viridian

secondary · yellow ochre · cadmium red light · ultramarine blue

Mix skin tones by blending raw umber, burnt sienna, and titanium white. Use viridian and ultramarine blue to create the green water. Yellow ochre and cadmium red light can be used for highlights and warmth.

techniques

  • ·glazing
  • ·scumbling
  • ·layering
  • ·figure drawing
  • ·atmospheric perspective

common pitfalls

  • →Getting the proportions of the figures wrong.
  • →Overworking the skin tones and losing the subtle variations in color.
  • →Failing to create a sense of depth and atmosphere.
  • →Ignoring the details of the architecture and the water.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·raw umber oil paint
  • ·burnt sienna oil paint
  • ·titanium white oil paint
  • ·viridian oil paint
  • ·round brushes (sizes 2, 4, 6)
  • ·flat brushes (sizes 4, 8)
  • ·linseed oil

optional

  • ·palette knife
  • ·medium gloss
  • ·retouch varnish

Use high-quality oil paints for best results. Consider using a toned canvas to help establish the overall color scheme.

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