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home·artworks·Call to Revolution and Table of Universal Brotherhood (Science, Labor and Art)
Call to Revolution and Table of Universal Brotherhood (Science, Labor and Art) by Jose Clemente Orozco

plate no. 6773

Call to Revolution and Table of Universal Brotherhood (Science, Labor and Art)

Jose Clemente Orozco, 1931

oilMuralismsymbolic paintingfigurestoolsrainbowgeometric shapeslabormural
some experience helpful

Recreating this painting will help students understand how to use a limited color palette to create depth and form, as well as how to simplify complex figures into geometric shapes. It also provides practice in creating a narrative through symbolic imagery.

technical profile

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

study guide

est. 12 hrs

approach — 8 steps

  1. step 01

    Sketch the basic composition, focusing on the placement and proportions of the figures and tools.

  2. step 02

    Block in the main shapes with diluted washes of burnt umber and raw sienna.

  3. step 03

    Establish the darkest values using a mix of burnt umber and black.

  4. step 04

    Begin layering lighter tones to define the form of the figures and objects, gradually building up the highlights.

  5. step 05

    Add details to the faces, paying attention to the expressions and shadows.

  6. step 06

    Paint the rainbow using thin layers of color, blending them smoothly.

  7. step 07

    Refine the edges and add any final details.

  8. step 08

    Let dry and apply a varnish to protect the painting.

color palette

primary · burnt umber · raw sienna · titanium white

secondary · red · yellow · blue

Achieve the various skin tones by mixing burnt umber, raw sienna, and white in different proportions. Use thin washes of color to create depth and shadows.

techniques

  • ·value studies
  • ·layering
  • ·blending
  • ·limited palette
  • ·geometric abstraction

common pitfalls

  • →Overworking the details too early.
  • →Not establishing a strong value structure.
  • →Using too much color and losing the tonal harmony.
  • →Ignoring the underlying geometric shapes.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·burnt umber oil paint
  • ·raw sienna oil paint
  • ·titanium white oil paint
  • ·red oil paint
  • ·yellow oil paint
  • ·blue oil paint
  • ·assorted brushes (round and flat)

optional

  • ·palette knife
  • ·linseed oil
  • ·turpentine

Use a medium-sized canvas to allow for sufficient detail. Consider using a toned canvas to speed up the painting process.

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