apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·John Wycliffe reading his translation of the Bible to John of Gaunt
John Wycliffe reading his translation of the Bible to John of Gaunt by Ford Madox Brown

plate no. 6395

John Wycliffe reading his translation of the Bible to John of Gaunt

Ford Madox Brown, 1847

oil, canvasRomanticismreligious paintingfiguresbooksarchitectureinteriorreligioushistorical
experienced study

Recreating this painting will help students develop skills in figure drawing, drapery rendering, and creating a sense of depth through atmospheric perspective. It also provides practice in capturing realistic skin tones and textures.

technical profile

palette complexity
3
brushwork visibility
3
value contrast
3
compositional simplicity
2

study guide

est. 40 hrs

approach — 8 steps

  1. step 01

    Begin with a light sketch outlining the main figures and architectural elements, paying attention to proportions and placement.

  2. step 02

    Block in the basic shapes and colors of the background, establishing the overall atmospheric perspective.

  3. step 03

    Start defining the main figures, focusing on their poses and the folds of their clothing.

  4. step 04

    Develop the facial features and expressions of each character, paying attention to light and shadow.

  5. step 05

    Add details to the architectural elements and other objects in the scene, such as the books and furniture.

  6. step 06

    Refine the colors and values throughout the painting, creating a sense of depth and realism.

  7. step 07

    Add final details, such as highlights and textures, to bring the painting to life.

  8. step 08

    Glaze with thin layers of color to unify the painting and enhance the overall effect.

color palette

primary · burnt umber · raw sienna · titanium white · ivory black

secondary · cadmium red · ultramarine blue · yellow ochre

Achieve skin tones by mixing burnt umber, raw sienna, and titanium white, adjusting the proportions to create variations in warmth and coolness. Use ultramarine blue and burnt umber to create a range of grays for clothing and shadows.

techniques

  • ·figure drawing
  • ·drapery rendering
  • ·atmospheric perspective
  • ·glazing
  • ·portraiture

common pitfalls

  • →Incorrect proportions of figures
  • →Overly saturated colors
  • →Lack of depth in the background
  • →Inaccurate rendering of drapery folds

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·oil paints
  • ·assorted brushes (round and flat)
  • ·palette
  • ·linseed oil
  • ·turpentine
  • ·palette knife

optional

  • ·medium gloss
  • ·retouch varnish
  • ·easel

Use high-quality oil paints for best results. A medium-sized canvas (e.g., 18x24 inches) is recommended for beginners.

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

Romantic Landscape

Romantic Landscape

Karl Lessing

Self-portrait with his brother Francesco

Self-portrait with his brother Francesco

Giuseppe Tominz

Oenone Refuse de Secourir Pâris au Siège de Troie

Oenone Refuse de Secourir Pâris au Siège de Troie

Léon Cogniet

Duke of Alba

Duke of Alba

Francisco Goya

Blick Aus Dem Wald Ins Tal

Blick Aus Dem Wald Ins Tal

Andreas Achenbach

Young Girl Fixing Her Hair

Young Girl Fixing Her Hair

Sophie Gengembre Anderson

The Plough Inn

The Plough Inn

William Shayer

Hudson River Landscape

Hudson River Landscape

Johann Hermann Carmiencke