plate no. 0055
In the Omnibus
Honore Daumier, 1864
what to study here
It shows how a strong window-to-shadow value split, varied edges and economical line and wash can organize a crowded interior of figures.
Look at how the value structure is built before any figure is drawn. The windows on the right are the lightest area, the left edge drops into deep shadow, and the figures sit between as a continuous band of warm grays and browns. Squint and the picture reads as three zones. The reflected light inside the shadows keeps them from going dead black. Then study the edges. They are hard and crisp where figures meet the bright windows, and soft where figures dissolve into the dark left side. The large central figure in the bulbous coat is the first place the eye lands, partly because of his size and partly because the cooler tones around him recede. The medium is crayon, ink and watercolor, and the line work and the washes do different jobs. Crayon and ink give expressive line for character and garment structure. Loose watercolor washes lie over them and suggest form without defining it. Drapery folds are a few decisive marks, not careful modeling. Copy this restraint. The advertising placards at the top and the confined space establish the carriage setting.
key decision
Daumier split the picture into bright windows, a deep shadowed left edge and a continuous mid-tone band of figures. He varied edges to match: hard against the light, lost in the shadow.
recreation guide
Honore Daumier’s 'In the Omnibus' (1864) is a quintessential example of 19th-century Realist genre painting, depicting ordinary people engaged in common activities within a public transport setting (Source 7). The work is executed in a mixed-media approach utilizing crayon, ink, and watercolor on paper, reflecting the complex style of painting that combines impastements, opacities, and transparencies (Source 1). Daumier’s practice often involved using washes for sketches, though by this period, the technique had evolved beyond simple neutral tints to include more varied color applications (Source 1). The artwork relies on the interplay of opaque crayon for structural definition and transparent watercolor washes for atmospheric depth, a method that allows for the unification of opacity and transparency within a single composition (Source 2).
estimated time
20-30 hours over 5-7 sessions
materials
5 items
steps
5 in sequence
materials
| item | purpose | modern equivalent |
|---|---|---|
| High-quality watercolor paper (linen rag) | Support for the mixed media; must be dry and properly sized to prevent staining and ensure color preservation. | Cold-pressed 100% cotton watercolor paper, acid-free. |
| Crayons (pastels) | To provide opaque, non-transparent structural lines and highlights; applied in a powdered state with minimal medium. | Soft pastels or oil pastels, depending on desired texture. |
| Watercolor paints (pigments ground with gum arabic) | To create transparent washes for shading and background tones, allowing the paper to show through for lights. | Professional grade tube watercolors. |
| Ink | For linear definition and contrast, likely used in conjunction with the crayon for sharp details. | India ink or drawing ink. |
| Gum arabic | Binder for watercolors and potentially for fixing crayon layers if necessary, though crayons are primarily held by mechanical adhesion to rough surfaces. | Liquid gum arabic solution. |
preparation
surface prep
The paper should be made from linen rags and bleached by pure water, air, and sunshine, avoiding chlorine which burns the linen and destroys colors (Source 1). The sizing must be evenly distributed in the paste, not just on the surface, to prevent irregular sponginess and stains during prolonged work (Source 1). The paper must be completely dry and free from dampness to prevent sizing fermentation (Source 1). For crayon application, the support should have a rough natural surface or be prepared with a layer of pumice stone to ensure mechanical adhesion of the powdered pigment (Source 2).
underdrawing
Daumier likely employed a direct approach using crayon or ink for the initial structural lines, as crayons are applied in a state of powder and rely on the tooth of the paper for adhesion (Source 2). Given the genre painting tradition of capturing narrative moments, the underdrawing would focus on the arrangement of figures and the 'center of interest' to guide the viewer's eye (Source 6). Specific preparatory sketches are not detailed in the sources, but the use of crayon suggests a drawing-first methodology where the line defines the form before washes are applied.
underpainting
In this mixed-media context, the 'underpainting' is effectively the crayon layer. Crayons are opaque and non-transparent, providing the foundational solidity and form (Source 2). This layer is applied before the transparent watercolor washes, which are then used to add depth and tone without obscuring the underlying structure entirely, unless opaque body colors are used (Source 2).
color palette
Neutral Tints / Earth Tones
Burnt Sienna, Raw Umber, Sepia
General shading and background washes, consistent with the historical use of neutral tints in watercolor sketches (Source 1).
Opaque Whites/Lights
Chinese White or reserved paper
Highlights and areas where the paper is reserved for lights, as is traditional in watercolor (Source 1, Source 8).
Dark Values
Black ink or dark crayon
Contrast and definition of figures and clothing, leveraging the law of simultaneous contrast to enhance visual impact (Source 5).
composition
The composition likely avoids exact bisections of the picture space and places the prominent subject off-center to create balance with smaller satellite elements (Source 6). As a genre painting, it depicts a narrative moment with multiple figures, requiring a center of interest to prevent the work from becoming merely a pattern (Source 6, Source 7). The arrangement of figures and the omnibus interior would be designed to lead the viewer's gaze around all elements before leading out of the picture (Source 6). Daumier’s Realist style focuses on ordinary people, so the composition emphasizes the social dynamics and spatial relationships within the confined space of the omnibus (Source 7).
step by step
underdrawing→first pass→refining→finishing→surfaceprep
underdrawing
step 02
Use crayons to sketch the main figures and the interior of the omnibus. Apply the crayon in a powdered state, relying on the rough surface for mechanical adhesion.
Tip — Crayons are opaque and non-transparent; use them to establish the solid forms and highlights (Source 2).
Crayon Drawing
first pass
step 03
Apply transparent watercolor washes to the background and shadow areas. Reserve the paper for the lights, as is traditional in watercolor technique.
Tip — The transparency of the color increases with the quantity of medium (water/gum); use this to create depth (Source 2).
Transparent Wash
refining
step 04
Layer additional washes or use opaque body colors (distemper) to deepen shadows and add solidity where needed. Mix processes to unite opacity and transparency.
Tip — Be aware that solidity will not be equal in all parts when mixing processes; crayon areas remain less solid than painted areas (Source 2).
Mixed Media Layering
finishing
step 05
Add final ink details for sharp contrast and definition. Ensure the composition guides the eye through the narrative elements.
Tip — Use contrast of tone and color to enhance the visual impact, devoting attention to great effects (Source 5).
Linear Definition
surfaceprep
step 01
Select high-quality linen rag paper, ensuring it is dry and properly sized. If the paper is too smooth, apply a light layer of pumice stone to create a tooth for crayon adhesion.
Tip — Ensure the paper has not suffered from dampness to avoid sizing decomposition (Source 1).
Surface Preparation
critical techniques
Mixed Media Integration
Combining opaque crayon (powdered pigment) with transparent watercolor washes. The crayon provides structure and opacity, while the wash adds transparency and tone. This allows for a complex style that includes both impastements and transparencies.
Reserving Lights
In watercolor, the paper is reserved for the lights. This is crucial for maintaining the luminosity of the highlights, especially when using transparent washes.
Simultaneous Contrast
Placing flat tints of different tones beside each other to produce chiaroscuro and enhance the gradation of light. This principle helps in harmonizing colors inherent to the object represented.
common pitfalls
- →Using paper that has been bleached with chlorine or other chemical agents, which can burn the linen and destroy the colors (Source 1).
- →Applying sizing only to the surface of the paper, which can wear out during prolonged work, revealing an irregularly spongy interior that causes stains (Source 1).
- →Attempting to fix crayons uniformly with varnish or other means, as the solidity of crayon areas (held by mechanical adhesion) differs from painted areas, making uniform fixing impossible (Source 2).
- →Overworking the watercolor washes, which can muddy the transparency and lose the shimmer of the paper (Source 8).
what the sources don't tell us
Where the corpus is silent, we say so rather than guess. These are the gaps a complete recreation guide would normally cover that our source passages don't.
- ·Specific color choices for Daumier’s 'In the Omnibus' are not detailed in the sources; the palette is inferred from general watercolor practices and the artist’s realist style.
- ·The exact sequence of ink application relative to crayon and watercolor is not specified; it is assumed to be part of the refining or finishing stage.
- ·Daumier’s specific preparatory sketches for this work are not described, so the underdrawing process is generalized based on his use of crayon and ink.
- ·The specific narrative details or facial expressions of the figures in the omnibus are not described in the sources, so they are omitted from the instructions.
grounded in
The technical procedure in this guide traces to the following classical art-instruction texts.
The Science of Painting↗
- CHAPTER XIII. WATER COLOURS — applied to Paper preparation, sizing, and the nature of watercolor as a wash where paper is reserved for lights.
- CHAPTER XII. CRAYONS, DISTEMPERING, EGG-PAINTING, WATER BODY-COLOURS — applied to Crayon technique, opacity vs. transparency, and the mixing of processes.
cross-referenced from
Named facts about this artwork and artist were checked against these reference pages.
Wikipedia: Genre painting↗
- Genre painting — part 1 — applied to Understanding the subject matter as everyday life and ordinary people.
Wikipedia: Composition (visual arts)↗
- Composition (visual arts) — part 6 — applied to Compositional principles such as center of interest, avoiding bisection, and guiding the viewer's eye.
Wikipedia: Color theory↗
- Color theory — part 5 — applied to Principles of simultaneous contrast and chiaroscuro.
Wikipedia: Watercolor painting↗
- Watercolor painting — part 1 — applied to General watercolor techniques, transparency, and paper types.
Read more about the corpus on the sources page and how the guides are built on the methods page.
read from the painting
observed from the image, not the label6 dominant colors, measured
what the eye sees
Daumier shows a packed omnibus interior where passengers are tightly arranged in a horizontal band, seen largely from behind and profile. Brilliant backlighting from the windows on the right creates a sharp value split—the windows glow nearly white, while the interior figures and left side descend into deep shadow. The large central figure in his bulbous coat anchors the composition; your eye lands on him first due to his size and the way cooler tones recede around him. Advertising placards at the top establish the carriage setting, and the confined space emphasizes both the social awkwardness and intimacy of shared urban transit.
value structure
The value organization is strikingly bimodal: luminous windows (the lightest light) abruptly against the shadowed interior (dark browns and blacks). Mid-tones dominate the figures—their clothing reads as warm grays and soft browns that sit comfortably between the two extremes. When you squint, you see three clear zones: bright window area, shadowed left edge, and a continuous mid-tone band of humanity. The reflected light within shadows is subtle but present, preventing them from going dead black.
observed palette and mixes
#e8ecea
Titanium white with a whisper of raw umber
Window panes and brightest interior highlights
#b0abac
Ivory black + titanium white + touch of raw umber
Mid-tone clothing, coat shadows, carriage interior walls
#8d7f7e
Raw umber + burnt sienna + ivory black
Warmer clothing, skin shadows, interior passages
#725d5c
Burnt sienna + ivory black + raw umber
Deep coat folds, dark hats, profound shadows
#5d4a4c
Ivory black + burnt sienna + raw umber (heavy black)
Darkest silhouettes, left-side background, defining contours
#3c2a2e
Ivory black as primary with burnt sienna accent
Deepest shadows and fine line work in crayon/ink
edges and brushwork
Edges vary dramatically—hard, crisp contours define the window frames and silhouettes against light, while softer edges dissolve figures into shadow on the left. The crayon and ink provide sharp, expressive line work that conveys character and garment structure; watercolor washes overlay this with loose, gestural strokes that suggest form without overdefining it. Brushwork is visible and confident, never tight or labored—drapery folds are suggested with a few decisive marks rather than carefully modeled.
a working sequence
- 01
Establish light source and value underpainting
Lightly map the composition with crayon, noting the window placement on the right and the carriage's horizontal format. Wash in the brightest window area with pale, slightly warm white (titanium white + whisper of raw umber). Quickly block the deep left-side shadow area with a dilute dark wash (burnt sienna + black), leaving the center-right figures as mid-tone paper. This establishes your value skeleton.
- 02
Ink in major contours and silhouettes
Using india ink and a medium brush, draw the defining silhouettes of the five figures—their hat brims, shoulder slopes, and overlapping profiles. Don't render every detail; let the ink suggest rather than describe. Pay attention to the central figure's bulbous coat shape and the way the man on the far right's hat tilts. These lines anchor the composition.
- 03
Underwash the figure masses with warm mid-tones
Apply a unified wash of raw umber + burnt sienna + touch of white across the clothing areas. This creates visual continuity and prevents figures from appearing isolated. Let this warm layer sit as the foundation; it unifies the crowd while individual clothing variations will layer on top.
- 04
Model clothing and deepen shadows
Working wet-on-damp, drop darker earth tones (burnt sienna + black) into coat folds, particularly around the central figure's heavy drapery and the man on the right's dark jacket. Leave highlights—the top of shoulders, hat brims catching light. Develop the left-side background by darkening it further, pushing figures forward. Allow colors to mingle organically.
- 05
Develop faces and character
Using a small round brush and dilute umber-black, sketch in facial features—noses, eyes, jaw lines. Daumier's faces are caricatured; exaggerate proportions slightly. The central man has a round, almost jowly face; the woman in profile is sharper. Don't labor; a few strokes per face convey personality. Notice how some faces are in shadow (darker) and others catch side light.
- 06
Accent colors and refined details
Add the cadmium red light accent—visible as red feathers or hat trim on one figure. Use it sparingly; it's a jewel note against the warm earth tones. Refine window details with crisp lines; adjust the carriage's interior edges. Define drapery folds in coat sleeves with a few darker, confident lines.
- 07
Integrate and assess edges
Step back. Soften transitions between figures and shadow where they blur together (left side); sharpen edges where light touches form (windows, shoulder tops). A light glaze of dilute white in select window panes can brighten them further if needed. Check that the composition reads as a unified crowd, not isolated figures.
- 08
Final line work and emphasis
Add final crayon or ink contours to reinforce key edges—window frames, hat brims, coat silhouettes. These lines should feel spontaneous, not mechanical. A few emphatic dark lines in the foreground (perhaps the seated child's outline on the left, or a prominent coat edge) pull the viewer in and confirm spatial depth.
where studies of this painting go wrong
- Making the windows too stark white—they should glow but retain subtle tone and warmth; pure white will disconnect them from the composition
- Overworking individual faces into smooth, finished portraits—Daumier's caricature lives in loose suggestion and exaggeration; too much rendering destroys the sketch-like vitality
- Flattening the crowd by giving every figure equal emphasis—key figures (the central man, the woman with the red accent) should read larger and clearer while background figures dissolve into shadow
- Losing the material distinctions between coats, jackets, and garments—each person wears different fabric and weight; slight color and value variations prevent them from reading as a single mass
- Neglecting the carriage's interior architecture (window frames, the advertising strip at top, seat edges)—these ground the scene in a specific place and provide compositional structure that prevents the figures from floating
measured difficulty
- beginner friendliness
- value contrast
- palette complexity
- compositional simplicity
- brushwork visibility
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