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home·artworks·Dieppe, Study No. 2, Facade of Saint-Jacques Tower
Dieppe, Study No. 2, Facade of Saint-Jacques Tower by Walter Sickert

plate no. 2773

Dieppe, Study No. 2, Facade of Saint-Jacques Tower

Walter Sickert, 1899

oilImpressionismsketch and studyarchitecturebuildingfigurescityscapetower
some experience helpful

This painting provides an opportunity to practice sketching techniques and creating a sense of depth using simplified forms and limited values. Students will learn to suggest detail rather than rendering it precisely.

technical profile

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

study guide

est. 6 hrs

approach — 8 steps

  1. step 01

    Prepare a toned surface with a light brown or ochre color.

  2. step 02

    Lightly sketch the main shapes of the building and figures using a pencil or charcoal.

  3. step 03

    Define the architectural details with darker lines, focusing on key features like the rose window and arches.

  4. step 04

    Add shadows and depth using hatching and cross-hatching techniques.

  5. step 05

    Indicate the ground plane with vertical strokes to suggest grass or pavement.

  6. step 06

    Refine the figures with simple lines and shapes, suggesting movement and activity.

  7. step 07

    Add highlights with a light-colored pencil or chalk to create contrast.

  8. step 08

    Review the overall composition and make any necessary adjustments to balance the elements.

color palette

primary · raw umber · burnt sienna

secondary · ivory black · white

The painting relies on a limited palette of earth tones. Mix raw umber and burnt sienna to achieve the base color, and add small amounts of black or white to create variations in value.

techniques

  • ·hatching
  • ·cross-hatching
  • ·sketching
  • ·linear perspective
  • ·atmospheric perspective

common pitfalls

  • →Overworking the details
  • →Creating too much contrast
  • →Losing the overall sense of light and atmosphere
  • →Incorrect proportions of the building

materials

surface · toned paper

required

  • ·toned paper or canvas
  • ·raw umber pencil or charcoal
  • ·burnt sienna pencil or charcoal
  • ·white chalk or pencil
  • ·kneaded eraser
  • ·fixative spray

optional

  • ·ruler
  • ·viewfinder
  • ·tortillon

Using a toned surface helps to establish the mid-tone of the painting and allows for both highlights and shadows to be added more easily.

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related guides

oil painting for beginners →color theory for painters →how to learn by studying the masters →
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