apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·Sacristía De La Encarnación (Montilla)
Sacristía De La Encarnación (Montilla) by José Santiago Garnelo y Alda

plate no. 9781

Sacristía De La Encarnación (Montilla)

José Santiago Garnelo y Alda, 1898

oilNaturalismgenre paintinginteriorfigureschildrenpriestarchitecturealtar
some experience helpful

Recreating this painting will help students develop skills in depicting figures in an interior space and capturing the nuances of light and shadow to create depth and atmosphere. It also offers practice in rendering textures of clothing and architectural details.

technical profile

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

study guide

est. 20 hrs

approach — 8 steps

  1. step 01

    Begin with a light sketch to establish the composition and proportions of the figures and architectural elements.

  2. step 02

    Block in the main areas of color, focusing on the overall value structure.

  3. step 03

    Develop the background elements, such as the walls, doors, and altar, paying attention to the subtle color variations.

  4. step 04

    Refine the figures, starting with the larger shapes and gradually adding details.

  5. step 05

    Pay close attention to the light source and how it affects the forms and colors.

  6. step 06

    Add details to the clothing, faces, and hands, using small brushstrokes to create texture and form.

  7. step 07

    Adjust the overall color balance and value contrast to create a sense of depth and atmosphere.

  8. step 08

    Add final highlights and shadows to enhance the realism of the painting.

color palette

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

secondary · ultramarine blue · cadmium red light · yellow ochre · sap green

Mix various shades of brown and gray by combining raw umber, burnt sienna, and ivory black with white. Use ultramarine blue and white for the blue shawl. Mix cadmium red light and white for pink tones in the children's dresses.

techniques

  • ·blocking in
  • ·layering
  • ·scumbling
  • ·dry brushing
  • ·glazing

common pitfalls

  • →Getting the proportions of the figures wrong.
  • →Overworking the details too early in the process.
  • →Failing to create a sense of depth and atmosphere.
  • →Ignoring the subtle color variations in the shadows and highlights.

materials

surface · stretched canvas

required

  • ·stretched canvas 18x24
  • ·ivory black oil paint
  • ·raw umber oil paint
  • ·burnt sienna oil paint
  • ·titanium white oil paint
  • ·ultramarine blue oil paint
  • ·round brushes (sizes 2, 4, 6)
  • ·flat brushes (sizes 4, 8)

optional

  • ·palette knife
  • ·linseed oil
  • ·turpentine
  • ·medium gloss

Use a medium-tooth canvas for best results. Consider using a toned canvas to help establish the overall color palette.

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

Nesebar

Nesebar

Felix Philipp Kanitz

View of the city of Nettuno at dawn with fishing boats

View of the city of Nettuno at dawn with fishing boats

Giovanni (Nino) Costa

Koriten Fortress

Koriten Fortress

Felix Philipp Kanitz

A London Jo - the End of the Day

A London Jo - the End of the Day

Augustus Edwin Mulready

Chestnut trees in the autumn in Antagnes, Switzerland

Chestnut trees in the autumn in Antagnes, Switzerland

Hubertine Heijermans

Avenue of Indian Rubber Trees at Peradeniya, Ceylon

Avenue of Indian Rubber Trees at Peradeniya, Ceylon

Marianne North

Paisaje Con Río

Paisaje Con Río

José Santiago Garnelo y Alda

An Oysterman

An Oysterman

William Henry Hunt