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home·artworks·Satan in Council
Satan in Council by Gustave Doré

plate no. 9885

Satan in Council

Gustave Doré, 1868

engravingRomanticismillustrationfiguresarchitecturecolumnsthronesmokewings
advanced study

Recreating this image will help students develop skills in rendering complex scenes with dramatic lighting and intricate details. It will also improve their understanding of value relationships and creating depth through tonal variations.

technical profile

palette complexity
2
brushwork visibility
1
value contrast
5
compositional simplicity
1

study guide

est. 25 hrs

approach — 8 steps

  1. step 01

    Begin with a light sketch to establish the overall composition and placement of key elements like the throne, figures, and columns.

  2. step 02

    Block in the darkest areas of the image, focusing on the foreground figures and shadowed areas of the architecture.

  3. step 03

    Gradually build up the mid-tones, paying attention to the direction of light and how it affects the forms.

  4. step 04

    Add the lightest areas, such as the light emanating from the throne and highlights on the figures.

  5. step 05

    Refine the details of the architecture, including the columns, arches, and decorative elements.

  6. step 06

    Work on the figures, adding details to their faces, bodies, and wings.

  7. step 07

    Create the atmospheric effects of smoke and shadow by layering thin washes of paint or ink.

  8. step 08

    Add final highlights and details to enhance the sense of depth and realism.

color palette

primary · ivory black · titanium white

secondary · payne's gray · raw umber

Achieve different shades of gray by mixing black and white in varying proportions. Use raw umber to add warmth to some of the darker areas. Payne's gray can be used to create subtle cool shadows.

techniques

  • ·hatching and cross-hatching
  • ·dry brushing
  • ·glazing
  • ·value studies
  • ·atmospheric perspective

common pitfalls

  • →Failing to establish a strong value structure early on.
  • →Getting bogged down in details before establishing the overall composition.
  • →Using too much contrast, resulting in a harsh and unrealistic image.
  • →Ignoring the effects of light and shadow on the forms.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·ivory black oil paint
  • ·titanium white oil paint
  • ·payne's gray oil paint
  • ·raw umber oil paint
  • ·round brushes (sizes 0, 2, 4)
  • ·linseed oil
  • ·palette

optional

  • ·palette knife
  • ·medium gloss
  • ·charcoal pencils

Use high-quality oil paints for best results. A smooth canvas surface will allow for finer details.

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