apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·Snack time
Snack time by Carl von Bergen

plate no. 2554

Snack time

Carl von Bergen

oil, canvasAcademicismgenre paintinggirlgrasstreebuildingappleshadows
some experience helpful

Recreating this painting will help students develop skills in rendering realistic skin tones and capturing the effects of light and shadow on various surfaces. It also provides practice in creating depth and texture in a landscape.

technical profile

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

study guide

est. 20 hrs

approach — 8 steps

  1. step 01

    Sketch the basic composition, focusing on the placement of the figure, tree, and building.

  2. step 02

    Establish the overall color scheme with a thin wash of earth tones.

  3. step 03

    Block in the main areas of light and shadow on the building and in the grass.

  4. step 04

    Begin building up the form of the tree trunk and branches, paying attention to the light.

  5. step 05

    Start rendering the figure, focusing on the skin tones and the folds of the clothing.

  6. step 06

    Add details to the grass, including variations in color and texture.

  7. step 07

    Refine the details of the face and hands, capturing the expression and gesture.

  8. step 08

    Add final highlights and shadows to create a sense of depth and realism.

color palette

primary · yellow ochre · burnt umber · titanium white · sap green

secondary · cadmium yellow · alizarin crimson · ultramarine blue

Mix greens by combining yellow ochre, sap green, and ultramarine blue. Achieve skin tones by blending titanium white, yellow ochre, and alizarin crimson, with small amounts of burnt umber for shadows.

techniques

  • ·scumbling
  • ·glazing
  • ·broken color
  • ·chiaroscuro
  • ·alla prima

common pitfalls

  • →Overworking the details in the grass, resulting in a flat, unrealistic appearance.
  • →Failing to capture the subtle variations in skin tone, leading to a lifeless figure.
  • →Ignoring the effects of light and shadow, resulting in a lack of depth and dimension.
  • →Getting the proportions of the figure wrong.

materials

surface · stretched canvas

required

  • ·stretched canvas 18x24
  • ·titanium white oil paint
  • ·yellow ochre oil paint
  • ·burnt umber oil paint
  • ·sap green oil paint
  • ·round brushes (sizes 2, 4, 6)
  • ·flat brushes (sizes 4, 8)
  • ·linseed oil

optional

  • ·palette knife
  • ·turpentine
  • ·retouch varnish

Use high-quality oil paints for best results. Consider using a medium to thin the paint and improve flow.

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

Portrait of a Young Woman

Portrait of a Young Woman

George Demetrescu Mirea

My daughters, Eva and Jeanne

My daughters, Eva and Jeanne

Diogène Maillart

The Reluctant Bride

The Reluctant Bride

Auguste Toulmouche

The Proposal

The Proposal

Wladyslaw Czachorski

The Dressing Room

The Dressing Room

Henri-Pierre Picou

Girl with pinks

Girl with pinks

Wladyslaw Czachorski

Self-Portrait

Self-Portrait

George Demetrescu Mirea

The age

The age

Ludwig Knaus