apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·Daily life in San Zenone
Daily life in San Zenone by Noè Bordignon

plate no. 0072

Daily life in San Zenone

Noè Bordignon, 1890

oil, canvasRealismgenre paintingbuildingsfigureslandscapegrassskylaundry
some experience helpful

Recreating this painting will help students develop skills in atmospheric perspective, color mixing for natural light, and depicting figures in a landscape setting. It also provides practice in creating texture with brushstrokes.

technical profile

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

study guide

est. 12 hrs

approach — 8 steps

  1. step 01

    Sketch the basic composition, focusing on the placement of the buildings, figures, and horizon line.

  2. step 02

    Establish the sky with a light blue wash, blending towards the horizon.

  3. step 03

    Block in the large shapes of the buildings and landscape with simplified color masses.

  4. step 04

    Develop the details of the buildings, paying attention to the light and shadow.

  5. step 05

    Paint the figures, focusing on their gestures and clothing.

  6. step 06

    Add details to the foreground, including the grass, basket, and laundry.

  7. step 07

    Refine the overall color harmony and adjust values as needed.

  8. step 08

    Add final details and highlights to create depth and interest.

color palette

primary · yellow ochre · raw umber · titanium white

secondary · ultramarine blue · burnt sienna · cadmium yellow

Achieve the muted greens of the grass by mixing yellow ochre, raw umber, and a touch of ultramarine blue. Use white to lighten values and create atmospheric perspective.

techniques

  • ·dry brush texture
  • ·scumbling
  • ·atmospheric perspective
  • ·broken color
  • ·alla prima

common pitfalls

  • →Overworking the details too early in the process.
  • →Failing to establish a clear value structure.
  • →Using colors that are too saturated.
  • →Ignoring the effects of atmospheric perspective.

materials

surface · stretched canvas

required

  • ·stretched canvas 16x20
  • ·oil paints: yellow ochre, raw umber, titanium white, ultramarine blue, burnt sienna, cadmium yellow
  • ·palette
  • ·linseed oil
  • ·turpentine or odorless mineral spirits
  • ·#4 round brush
  • ·#6 flat brush
  • ·palette knife

optional

  • ·medium gloss
  • ·easel
  • ·rags

Use a limited palette to simplify color mixing and create a harmonious effect. Consider using a toned canvas to establish a base color.

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

Portrait of James Wright

Portrait of James Wright

Thomas Eakins

Portrait of a lady

Portrait of a lady

Karl Gussow

Sisters

Sisters

Émile Auguste Hublin

Catching Up on the News

Catching Up on the News

Eastman Johnson

At the porter's room

At the porter's room

Vladimir Makovsky

Flowers and Fruit

Flowers and Fruit

Henri Fantin-Latour

Valle de México desde el Molino del Rey

Valle de México desde el Molino del Rey

Jose Maria Velasco

Self-Portrait II

Self-Portrait II

Mihaly Munkacsy