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home·artworks·End of the Night
End of the Night by Joseph Lorusso

plate no. 3898

End of the Night

Joseph Lorusso

oilContemporary Realismgenre paintingfigurestablewine glassesinteriorrestaurantnight
experienced study

Recreating this painting will help students develop skills in rendering figures in a dimly lit environment and capturing the nuances of skin tones and fabric folds with visible brushstrokes. Students will also learn how to create a sense of depth and atmosphere using color temperature and value.

technical profile

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

study guide

est. 20 hrs

approach — 8 steps

  1. step 01

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

  2. step 02

    Establish the overall warm color palette with a thin wash of burnt umber and yellow ochre.

  3. step 03

    Block in the main shapes and values of the figures and objects, paying attention to the light source.

  4. step 04

    Start building up the details of the faces and clothing, using small brushstrokes and subtle color variations.

  5. step 05

    Refine the highlights and shadows to create a sense of depth and dimension.

  6. step 06

    Add the details of the wine glasses, bottles, and other objects on the table.

  7. step 07

    Paint the background with loose, expressive brushstrokes, suggesting the atmosphere of the restaurant.

  8. step 08

    Add final touches and glazes to unify the painting and enhance the colors.

color palette

primary · burnt umber · yellow ochre · titanium white

secondary · cadmium red · ultramarine blue · raw sienna

Mix various shades of brown and beige by combining burnt umber, yellow ochre, and titanium white. Use small amounts of cadmium red and ultramarine blue to create cooler and warmer tones. Mix dark reds for the wine and bottle using burnt umber and cadmium red.

techniques

  • ·alla prima
  • ·broken color
  • ·scumbling
  • ·glazing
  • ·chiaroscuro

common pitfalls

  • →Overworking the details and losing the freshness of the brushstrokes.
  • →Failing to establish a strong value structure.
  • →Using too much detail in the background, which can distract from the figures.
  • →Not capturing the subtle nuances of skin tones.

materials

surface · stretched canvas

required

  • ·stretched canvas 18x24
  • ·oil paints (burnt umber, yellow ochre, titanium white, cadmium red, ultramarine blue, raw sienna)
  • ·linseed oil
  • ·turpentine
  • ·assorted brushes (round and flat)
  • ·palette
  • ·palette knife
  • ·rags

optional

  • ·medium (alkyd or oil)
  • ·varnish
  • ·easel

Use a medium-grit canvas for better texture. Consider using a toned canvas to establish the warm undertones.

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