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home·artworks·In Constantine
In Constantine by Henry Ossawa Tanner

plate no. 9930

In Constantine

Henry Ossawa Tanner, 1908

oilImpressionismcityscapebuildingscityscapefiguresarchitecturestreet scenesky
some experience helpful

Recreating this painting will help students develop skills in layering colors to create depth and atmosphere, as well as simplifying complex scenes into basic shapes and values. Students will also learn to capture the effect of light and shadow on architectural forms.

technical profile

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

study guide

est. 8 hrs

approach — 8 steps

  1. step 01

    Lightly sketch the basic shapes of the buildings and the tower, paying attention to perspective.

  2. step 02

    Block in the sky with a light blue wash, allowing variations in tone.

  3. step 03

    Establish the main value areas on the buildings using diluted washes of color.

  4. step 04

    Begin layering colors on the buildings, using vertical brushstrokes to suggest texture and light.

  5. step 05

    Add details to the windows and architectural features, keeping them soft and impressionistic.

  6. step 06

    Paint the figures in the foreground with simplified shapes and colors.

  7. step 07

    Refine the shadows and highlights to create depth and dimension.

  8. step 08

    Add final details and adjust the overall composition as needed.

color palette

primary · ultramarine blue · yellow ochre · titanium white

secondary · burnt sienna · viridian green · alizarin crimson

Mix blues and yellows to create various greens for the shadows and highlights on the buildings. Use white to lighten colors and create a sense of atmosphere. Burnt sienna and alizarin crimson can be mixed to create warm browns for the foreground.

techniques

  • ·broken color
  • ·scumbling
  • ·layering
  • ·dry brushing
  • ·atmospheric perspective

common pitfalls

  • →Overworking the details and losing the impressionistic feel.
  • →Creating harsh lines and edges instead of soft transitions.
  • →Failing to establish a strong value structure.
  • →Using colors straight from the tube without mixing them.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·ultramarine blue oil paint
  • ·yellow ochre oil paint
  • ·titanium white oil paint
  • ·burnt sienna oil paint
  • ·round brushes
  • ·flat brushes
  • ·linseed oil

optional

  • ·palette knife
  • ·painting medium
  • ·easel

Use a medium-grain canvas for better texture. Consider using a limited palette to simplify color mixing.

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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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