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Parisians by Arturo Souto

plate no. 2220

Parisians

Arturo Souto, 1951

lithography, paperExpressionismgenre paintingfiguresportraitsinteriorlampwomen
some experience helpful

Recreating this painting will help students develop skills in tonal value studies and expressive mark-making using a limited palette. It also provides practice in capturing the essence of a subject through simplified forms.

technical profile

palette complexity
2
brushwork visibility
4
value contrast
4
compositional simplicity
3

study guide

est. 8 hrs

approach — 8 steps

  1. step 01

    Lightly sketch the main shapes and composition, focusing on proportions and placement of the figures and lamp.

  2. step 02

    Establish the darkest areas with a diluted dark brown or black wash, paying attention to the background and shadows.

  3. step 03

    Build up the mid-tones using progressively less diluted washes, defining the forms of the figures and the lamp.

  4. step 04

    Use dry brush techniques to create texture and detail in the background and clothing.

  5. step 05

    Add the darkest accents with concentrated pigment, emphasizing the contours and features.

  6. step 06

    Refine the details of the faces, paying attention to the eyes and expressions.

  7. step 07

    Soften edges and blend tones where needed to create a sense of atmosphere.

  8. step 08

    Add final highlights to enhance the contrast and create a focal point.

color palette

primary · raw umber · ivory black · titanium white

secondary · burnt sienna

Achieve the various tones by diluting raw umber and ivory black with water or solvent. Use white sparingly to create highlights and lighter areas. Burnt sienna can be added in small amounts to warm up the tones.

techniques

  • ·dry brush
  • ·tonal wash
  • ·scumbling
  • ·limited palette
  • ·expressive line work

common pitfalls

  • →Overworking the details and losing the expressive quality.
  • →Creating muddy colors by over-mixing.
  • →Failing to establish a strong value structure.
  • →Neglecting the importance of negative space.

materials

surface · heavyweight paper or primed canvas

required

  • ·Heavyweight paper or canvas
  • ·Raw umber acrylic or oil paint
  • ·Ivory black acrylic or oil paint
  • ·Titanium white acrylic or oil paint
  • ·Round brush (various sizes)
  • ·Flat brush (various sizes)
  • ·Palette
  • ·Water or solvent

optional

  • ·palette knife
  • ·medium (for oils)
  • ·varnish

Use a textured paper or canvas to enhance the dry brush effect. Experiment with different dilutions of paint to achieve a range of tonal values.

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