apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·Sneaking a peek
Sneaking a peek by Peter Fendi

plate no. 1381

Sneaking a peek

Peter Fendi, 1833

oil, panelBiedermeiergenre paintingfiguredoorinteriorclothingdomestic scenefurniture
some experience helpful

This painting is a good exercise in rendering realistic skin tones and fabric folds using a limited palette. Students can also practice creating depth through subtle value changes and atmospheric perspective.

technical profile

palette complexity
3
brushwork visibility
3
value contrast
3
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 and key objects.

  2. step 02

    Establish the background with thin washes of warm browns and yellows.

  3. step 03

    Block in the main shapes of the figure and clothing, paying attention to proportions.

  4. step 04

    Begin layering skin tones, using subtle variations of pinks, yellows, and browns.

  5. step 05

    Develop the folds and shadows in the clothing, using darker values of the base color.

  6. step 06

    Add details to the door, furniture, and other objects, using small brushes.

  7. step 07

    Refine the highlights and shadows throughout the painting to create depth and dimension.

  8. step 08

    Add final details like the hair, jewelry, and textures.

color palette

primary · raw umber · titanium white · yellow ochre

secondary · burnt sienna · ivory black · cadmium red light

Mix skin tones using white, yellow ochre, and a touch of red and umber. Create shadows by adding burnt sienna and black to the base colors. Use thin washes of umber and yellow ochre to create the warm tones of the background.

techniques

  • ·glazing
  • ·scumbling
  • ·blending
  • ·chiaroscuro
  • ·underpainting

common pitfalls

  • →Overmixing colors, resulting in muddy tones.
  • →Ignoring the subtle value changes that create depth.
  • →Getting the proportions of the figure wrong.
  • →Overworking the details before establishing the overall composition.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·raw umber oil paint
  • ·titanium white oil paint
  • ·yellow ochre oil paint
  • ·burnt sienna oil paint
  • ·ivory black oil paint
  • ·round brushes (sizes 2, 4, 6)
  • ·linseed oil

optional

  • ·palette knife
  • ·medium gloss
  • ·cadmium red light oil paint

Use a high-quality canvas primed with gesso. Consider using a limited palette to simplify the color mixing process.

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

Samuel Aba

Samuel Aba

Josef Kriehuber

Not Married

Not Married

Charles Spencelayh

Maid with a Letter

Maid with a Letter

Peter Fendi

The Broken Leg

The Broken Leg

Charles Spencelayh

Arts and Science

Arts and Science

Carl Spitzweg

Antonio Tamburini, Italian Baritone

Antonio Tamburini, Italian Baritone

Josef Kriehuber

Lady portrait

Lady portrait

Peter Fendi

Resting on the Vine

Resting on the Vine

Carl Spitzweg