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home·artworks·In the cellar
In the cellar by Publio de Tommasi

plate no. 8239

In the cellar

Publio de Tommasi, 1883

watercolor, paperRealismgenre paintingfigureinteriorbarrelwinecellarcostume
some experience helpful

Recreating this painting will help students develop skills in layering transparent washes and creating realistic textures with watercolor. It also provides practice in rendering figures in historical costumes and depicting interior spaces.

technical profile

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

study guide

est. 8 hrs

approach — 8 steps

  1. step 01

    Lightly sketch the main shapes and figure proportions using a pencil.

  2. step 02

    Apply a light wash of diluted yellow ochre and burnt sienna to establish the overall warm tone of the scene.

  3. step 03

    Layer in darker washes of burnt umber and indigo to define shadows and create depth in the cellar and on the figure's clothing.

  4. step 04

    Add details to the figure's costume, such as the pink sash and the details on the boots, using slightly more concentrated colors.

  5. step 05

    Paint the wooden barrels and shelves, paying attention to the wood grain and variations in tone.

  6. step 06

    Use dry brush techniques to create texture on the stone floor and walls.

  7. step 07

    Add final details like the bottle on the barrel and the hanging cloth.

  8. step 08

    Glaze with diluted washes to unify the colors and adjust values as needed.

color palette

primary · burnt sienna · yellow ochre · burnt umber

secondary · indigo · pink · raw umber

Mix burnt sienna and yellow ochre for the warm tones of the wood and clothing. Use indigo and burnt umber to create the darker shadows. Dilute colors significantly for layering washes.

techniques

  • ·layering washes
  • ·dry brush
  • ·glazing
  • ·wet-on-dry

common pitfalls

  • →Applying washes that are too dark too early in the process.
  • →Losing the light values and creating a muddy appearance.
  • →Overworking the details and losing the spontaneity of the watercolor medium.
  • →Not allowing washes to dry completely before applying the next layer.

materials

surface · watercolor paper 140lb

required

  • ·watercolor paints
  • ·watercolor brushes (round and flat)
  • ·watercolor paper (140lb)
  • ·palette
  • ·water container
  • ·pencil
  • ·eraser
  • ·masking fluid

optional

  • ·palette knife
  • ·ruler
  • ·spray bottle

Use high-quality watercolor paper to allow for multiple layers of washes. Experiment with different brush sizes to achieve varying levels of detail.

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watercolor techniques →how to learn by studying the masters →
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