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home·artworks·Selling Out
Selling Out by Augustus Edwin Mulready

plate no. 8500

Selling Out

Augustus Edwin Mulready, 1901

oil, canvasNaturalismgenre paintingfigurestreet scenearchitectureflowersclothingcityscape
some experience helpful

This painting provides practice in rendering figures with accurate proportions and capturing the subtle light and shadow variations on different surfaces. Students will also learn to create a sense of depth and atmosphere through color and value.

technical profile

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

study guide

est. 15 hrs

approach — 8 steps

  1. step 01

    Sketch the basic composition, focusing on the placement of the figure, column, and background elements.

  2. step 02

    Establish the main value structure with a thin wash of burnt umber or a similar neutral color.

  3. step 03

    Block in the local colors of the figure's clothing, the column, and the background buildings.

  4. step 04

    Refine the figure's features and clothing folds, paying attention to the light and shadow.

  5. step 05

    Add details to the column, including the texture and the poster.

  6. step 06

    Paint the background figures and buildings, using a limited palette to create a sense of distance.

  7. step 07

    Add the final details, such as the flowers, leaves on the ground, and highlights.

  8. step 08

    Glaze to unify the painting and adjust the colors as needed.

color palette

primary · titanium white · ivory black · alizarin crimson · yellow ochre

secondary · ultramarine blue · viridian green · burnt sienna

Achieve the muted tones by mixing complementary colors and using white to adjust the values. Use glazes of alizarin crimson and ultramarine blue to create the purples in the flowers and shadows.

techniques

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

common pitfalls

  • →Incorrect proportions of the figure
  • →Overly bright or saturated colors
  • →Lack of depth in the background
  • →Ignoring the subtle variations in light and shadow

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·oil paints
  • ·palette
  • ·linseed oil
  • ·turpentine
  • ·assorted brushes
  • ·palette knife

optional

  • ·medium gloss
  • ·painting easel
  • ·mahl stick

Use a medium-grain canvas for best results. Consider using a toned canvas to speed up the underpainting process.

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