apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·Halcyone
Halcyone by Herbert James Draper

plate no. 0673

Halcyone

Herbert James Draper, 1915

oil, canvasAcademicismmythological paintingnymphswaterfallrocksfiguresfoliagemythology
experienced study

Recreating this painting will help students develop skills in figure painting, particularly rendering skin tones and drapery, as well as creating atmospheric perspective and depicting the movement of water.

technical profile

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

study guide

est. 30 hrs

approach — 8 steps

  1. step 01

    Sketch the basic composition, focusing on the placement of the figures and the major rock formations.

  2. step 02

    Establish the background with thin washes of color, paying attention to the atmospheric perspective.

  3. step 03

    Block in the main colors of the rocks and foliage, using a variety of earth tones and greens.

  4. step 04

    Begin to develop the figures, starting with the underpainting of the skin tones.

  5. step 05

    Add the drapery, carefully observing the folds and shadows.

  6. step 06

    Refine the details of the water, using short, broken brushstrokes to create the illusion of movement.

  7. step 07

    Add highlights and shadows to the rocks and foliage to create depth and dimension.

  8. step 08

    Make final adjustments to the composition and color balance.

color palette

primary · titanium white · burnt umber · ultramarine blue · yellow ochre

secondary · viridian green · alizarin crimson · cadmium yellow

Mix various greens by combining ultramarine blue, cadmium yellow, and burnt umber. Achieve skin tones by blending titanium white, yellow ochre, alizarin crimson, and a touch of burnt umber.

techniques

  • ·glazing
  • ·scumbling
  • ·wet-on-wet blending
  • ·atmospheric perspective
  • ·figure drawing

common pitfalls

  • →Overworking the details too early in the process.
  • →Failing to establish a strong value structure.
  • →Using too much detail in the background, which can flatten the image.
  • →Inaccurate figure proportions.

materials

surface · stretched canvas

required

  • ·stretched canvas 18x24
  • ·titanium white oil paint
  • ·burnt umber oil paint
  • ·ultramarine blue oil paint
  • ·yellow ochre oil paint
  • ·#2 round brush
  • ·#6 flat brush
  • ·linseed oil

optional

  • ·palette knife
  • ·medium gloss
  • ·painting easel

Use high-quality oil paints for best results. Consider toning the canvas with a thin wash of burnt umber before beginning.

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 a Young Woman

Portrait of a Young Woman

George Demetrescu Mirea

My daughters, Eva and Jeanne

My daughters, Eva and Jeanne

Diogène Maillart

The Reluctant Bride

The Reluctant Bride

Auguste Toulmouche

The Proposal

The Proposal

Wladyslaw Czachorski

The Dressing Room

The Dressing Room

Henri-Pierre Picou

Girl with pinks

Girl with pinks

Wladyslaw Czachorski

Self-Portrait

Self-Portrait

George Demetrescu Mirea

The age

The age

Ludwig Knaus