apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·Bildnis einer Ordensschwester in einem sommerlichen Garten
Bildnis einer Ordensschwester in einem sommerlichen Garten by Wilhelm Trübner

plate no. 2289

Bildnis einer Ordensschwester in einem sommerlichen Garten

Wilhelm Trübner

oilArt Nouveau (Modern)portraitportraitfigurenungardenfoliageclothing
some experience helpful

This painting provides practice in capturing subtle skin tones and rendering fabric with visible brushstrokes. Students will also learn to simplify a background to emphasize the subject.

technical profile

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

study guide

est. 12 hrs

approach — 8 steps

  1. step 01

    Sketch the basic shapes and proportions of the figure, focusing on the head and shoulders.

  2. step 02

    Block in the background with broad strokes of green and brown, suggesting foliage.

  3. step 03

    Establish the main values of the face, using a limited palette of skin tones.

  4. step 04

    Paint the white habit, paying attention to the folds and shadows.

  5. step 05

    Add details to the face, such as the eyes, nose, and mouth.

  6. step 06

    Refine the background, adding highlights and shadows to create depth.

  7. step 07

    Develop the dark clothing, using visible brushstrokes to create texture.

  8. step 08

    Add final highlights and details to the face and clothing.

color palette

primary · titanium white · yellow ochre · burnt umber · sap green

secondary · cadmium yellow · alizarin crimson · ultramarine blue

Mix skin tones using white, yellow ochre, burnt umber, and a touch of alizarin crimson. Achieve the greens by mixing sap green with cadmium yellow or ultramarine blue.

techniques

  • ·alla prima
  • ·broken color
  • ·scumbling
  • ·color temperature variation

common pitfalls

  • →Overworking the skin tones, resulting in a muddy appearance.
  • →Failing to capture the subtle variations in the white habit.
  • →Making the background too detailed, distracting from the figure.
  • →Ignoring the effect of light and shadow on the form.

materials

surface · stretched canvas

required

  • ·stretched canvas 16x20
  • ·oil paints (titanium white, yellow ochre, burnt umber, sap green, alizarin crimson, cadmium yellow, ultramarine blue)
  • ·round brushes (#2, #4, #6)
  • ·flat brushes (#6, #8)
  • ·linseed oil
  • ·turpentine or odorless mineral spirits
  • ·palette
  • ·palette knife

optional

  • ·medium gloss
  • ·retouch varnish
  • ·easel

Use a medium-textured canvas to allow for visible brushstrokes. Consider using a limited palette to simplify the color mixing process.

tips & new artworks in your inbox

no spam — unsubscribe anytime.

or to save artworks, chat, and track progress

related guides

oil painting for beginners →how to learn by studying the masters →
chat about this artwork

in this vein

related artworks

Kolo Moser

Kolo Moser

Koloman Moser

L'Atelier de Diebold Lauber

L'Atelier de Diebold Lauber

Léo Schnug

Family Gathering in Saint Idesbald

Family Gathering in Saint Idesbald

Georges Lemmen

The Kiss

The Kiss

Rose O'Neill

His grandmother had Told Him (from The Garden of Paradise)

His grandmother had Told Him (from The Garden of Paradise)

Edmund Dulac

Two girls

Two girls

Felice Casorati

Girl with a rose

Girl with a rose

Paul Mathiopoulos

The King

The King

Alexandre Benois