apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·Lady in Lavender Dress
Lady in Lavender Dress by Thomas Dewing

plate no. 1942

Lady in Lavender Dress

Thomas Dewing, 1910

oilTonalismportraitfiguredressportraitfanbackground
some experience helpful

Recreating this painting will help students develop skills in soft blending, creating atmospheric perspective, and capturing the essence of a subject with minimal detail. It also encourages experimentation with a limited color palette to achieve tonal harmony.

technical profile

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

study guide

est. 8 hrs

approach — 8 steps

  1. step 01

    Begin with a light sketch of the figure's pose and proportions.

  2. step 02

    Establish the overall background tone with a thin wash of burnt umber or similar earth tone.

  3. step 03

    Block in the main shapes of the dress using a mix of white, blue, and a touch of the background color.

  4. step 04

    Soften the edges of the dress and blend the colors to create a hazy, ethereal effect.

  5. step 05

    Add subtle highlights to the figure's face, shoulders, and the folds of the dress.

  6. step 06

    Use short, broken strokes to suggest the texture of the dress and the fan.

  7. step 07

    Refine the details of the face and hands, keeping them soft and indistinct.

  8. step 08

    Adjust the overall values and tones to create a sense of depth and atmosphere.

color palette

primary · burnt umber · titanium white · ultramarine blue

secondary · yellow ochre · sap green

Achieve the subtle color variations by mixing small amounts of blue and white into the burnt umber. Use yellow ochre to warm up the background and add a touch of green for subtle shadows.

techniques

  • ·soft blending
  • ·scumbling
  • ·dry brushing
  • ·tonal layering
  • ·atmospheric perspective

common pitfalls

  • →Overworking the details and losing the soft, hazy effect.
  • →Creating harsh edges and lines.
  • →Using too much color and disrupting the tonal harmony.
  • →Failing to establish a strong value structure.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·burnt umber oil paint
  • ·titanium white oil paint
  • ·ultramarine blue oil paint
  • ·round brushes (various sizes)
  • ·linseed oil
  • ·palette
  • ·palette knife

optional

  • ·yellow ochre oil paint
  • ·sap green oil paint
  • ·soft blending brush
  • ·painting medium

A toned canvas can be helpful for establishing the overall color scheme. Use a medium to thin the paint for smoother blending.

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

Spring, Hudson River

Spring, Hudson River

Leon Dabo

Oraibi, Hopi village, Arizona

Oraibi, Hopi village, Arizona

Xavier Martinez

The Farmyard

The Farmyard

Albert Pinkham Ryder

Woodland Vista

Woodland Vista

Ralph Blakelock

Landscape

Landscape

Leon Dabo

Untitled (Moon Over a Harbor)

Untitled (Moon Over a Harbor)

Edward Mitchell Bannister

Afternoon in Piedmont (Elsie Whitaker Martinez)

Afternoon in Piedmont (Elsie Whitaker Martinez)

Xavier Martinez

Near Conway, North Wales

Near Conway, North Wales

Alexander Helwig Wyant