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

plate no. 7324

Call to Revolution and Table of Universal Brotherhood (Table of Universal Brotherhood)

Jose Clemente Orozco, 1931

frescoMuralismsymbolic paintingfigurestablebookmuraldiversitybrotherhood
some experience helpful

Recreating this painting will help students practice portraiture with limited color palettes and understand how to create a sense of depth and form using value changes. It also provides an opportunity to study the principles of mural painting and large-scale composition.

technical profile

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

study guide

est. 15 hrs

approach — 8 steps

  1. step 01

    Lightly sketch the basic shapes and composition, paying attention to the placement of the figures and the table.

  2. step 02

    Block in the large areas of color, starting with the background and the table.

  3. step 03

    Begin to define the shapes of the figures, focusing on the planes of their faces and bodies.

  4. step 04

    Mix and apply subtle variations in skin tones, using layering to build depth and dimension.

  5. step 05

    Add details to the clothing and features, using darker values to create shadows and highlights.

  6. step 06

    Refine the shapes of the table and the book, paying attention to their perspective and form.

  7. step 07

    Add final details and highlights to the figures and objects, using a small brush.

  8. step 08

    Step back and assess the overall composition, making any necessary adjustments.

color palette

primary · burnt umber · ultramarine blue · raw sienna · titanium white

secondary · cadmium red light · yellow ochre

Mix burnt umber and ultramarine blue for the darker tones. Use raw sienna and titanium white to create the lighter tones for the table and skin. Add cadmium red light for the book and some skin tones.

techniques

  • ·Underpainting
  • ·Value studies
  • ·Limited palette
  • ·Layering
  • ·Dry brushing

common pitfalls

  • →Overworking the details too early
  • →Not paying attention to the proportions of the figures
  • →Using too much color
  • →Ignoring the importance of value contrast

materials

surface · stretched canvas

required

  • ·Stretched canvas (24x36 inches)
  • ·Acrylic or oil paints
  • ·Burnt umber
  • ·Ultramarine blue
  • ·Raw sienna
  • ·Titanium white
  • ·Round brushes (#2, #4, #6)
  • ·Flat brushes (#8, #10)

optional

  • ·Palette knife
  • ·Medium (for oil paints)
  • ·Retarder (for acrylics)

Use a canvas with a medium texture to allow for better paint adhesion. If using acrylics, consider using a retarder to slow down the drying time.

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