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home·artworks·Satan Calling Up his Legions
Satan Calling Up his Legions by William Blake

plate no. 5995

Satan Calling Up his Legions

William Blake, 1804

oilSymbolismreligious paintingfiguresdemonsrockshelllightdarkness
experienced study

Recreating this painting will help students develop skills in figure drawing, creating dramatic lighting effects, and blending colors to achieve a sense of depth and atmosphere. It also provides practice in layering and glazing techniques to build up complex forms.

technical profile

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

study guide

est. 20 hrs

approach — 8 steps

  1. step 01

    Sketch the basic composition, focusing on the placement of the figures and the overall structure of the rock formations.

  2. step 02

    Establish the darkest areas of the painting using a dark brown or black.

  3. step 03

    Begin layering in mid-tones, gradually building up the forms of the figures and rocks.

  4. step 04

    Introduce highlights using lighter shades of brown, ochre, and white, focusing on areas where light is hitting the figures.

  5. step 05

    Refine the details of the figures, paying attention to anatomy and expression.

  6. step 06

    Glaze thin layers of color over the painting to unify the composition and create a sense of depth.

  7. step 07

    Add final highlights and shadows to enhance the dramatic effect.

  8. step 08

    Let dry and add a varnish layer for protection.

color palette

primary · burnt umber · raw sienna · ivory black

secondary · yellow ochre · titanium white · cadmium red light

Achieve the dark, earthy tones by mixing burnt umber and ivory black. Lighten these mixtures with raw sienna and yellow ochre for highlights. Use small amounts of cadmium red light to add warmth to the skin tones.

techniques

  • ·underpainting
  • ·glazing
  • ·chiaroscuro
  • ·figure drawing
  • ·atmospheric perspective

common pitfalls

  • →Overworking the details too early
  • →Failing to establish a strong value structure
  • →Using colors that are too saturated
  • →Ignoring the importance of blending

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·burnt umber oil paint
  • ·raw sienna oil paint
  • ·ivory black oil paint
  • ·yellow ochre oil paint
  • ·titanium white oil paint
  • ·round brushes (various sizes)
  • ·linseed oil

optional

  • ·palette knife
  • ·medium gloss
  • ·turpentine
  • ·painting rags

Use a medium-grit canvas to allow for layering and blending. Consider using a toned canvas to establish a base color.

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