apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·St. Columba Bidding Farewell to the White Horse
St. Columba Bidding Farewell to the White Horse by John Duncan

plate no. 5894

St. Columba Bidding Farewell to the White Horse

John Duncan

oilSymbolismreligious paintinghorsefigurerobelandscapehalostaff
some experience helpful

Recreating this painting will help students develop skills in portraiture, animal anatomy, and creating soft, blended transitions of light and shadow. It also offers practice in rendering drapery and subtle color variations within a limited palette.

technical profile

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

study guide

est. 20 hrs

approach — 8 steps

  1. step 01

    Create a preliminary sketch outlining the basic shapes and composition, focusing on the proportions of the horse and figure.

  2. step 02

    Establish the background landscape with thin washes of color, paying attention to the atmospheric perspective.

  3. step 03

    Block in the main areas of color for the horse, figure, and robe, using a limited palette of earth tones and white.

  4. step 04

    Begin to refine the details of the horse's head, paying close attention to the anatomy and subtle variations in color.

  5. step 05

    Develop the figure's face, focusing on capturing the likeness and expression through careful observation of light and shadow.

  6. step 06

    Render the folds and drapery of the robe, using a combination of blending and subtle brushstrokes to create a sense of volume.

  7. step 07

    Add the details of the staff, halo, and other minor elements, paying attention to their texture and form.

  8. step 08

    Make final adjustments to the overall composition, ensuring that the values and colors are balanced and harmonious.

color palette

primary · titanium white · raw umber · burnt sienna

secondary · yellow ochre · ivory black

Achieve the subtle variations in skin tone by mixing white with small amounts of raw umber, burnt sienna, and yellow ochre. Use ivory black sparingly to create shadows and define forms.

techniques

  • ·blending
  • ·glazing
  • ·scumbling
  • ·chiaroscuro
  • ·portraiture

common pitfalls

  • →Overworking the details too early
  • →Failing to establish a strong value structure
  • →Using too much color and losing the subtle harmony
  • →Incorrect proportions of the horse or figure

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·titanium white oil paint
  • ·raw umber oil paint
  • ·burnt sienna oil paint
  • ·yellow ochre oil paint
  • ·ivory black oil paint
  • ·#4 round brush
  • ·#6 flat brush

optional

  • ·palette knife
  • ·linseed oil
  • ·turpentine
  • ·medium gloss

Use high-quality oil paints for best results. A medium-textured canvas will provide a good surface for blending and layering.

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

Satan Addressing his Potentates

Satan Addressing his Potentates

William Blake

Self-portrait in studio

Self-portrait in studio

Franz Stuck

Tajik

Tajik

Kuzmá Petrov-Vodkin

View from the studio in Eerbeek

View from the studio in Eerbeek

Jan Mankes

Harlequin's garden

Harlequin's garden

Serge Sudeikin

Incantation

Incantation

Felicien Rops

Anzac, the Landing

Anzac, the Landing

George Washington Lambert

Paisatge

Paisatge

Joan Brull