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home·artworks·St. Peter Consacrates St. Lawrence as Deacon
St. Peter Consacrates St. Lawrence as Deacon by Fra Angelico

plate no. 3853

St. Peter Consacrates St. Lawrence as Deacon

Fra Angelico, 1449

fresco, wallEarly Renaissancereligious paintingfiguresarchitecturereligious scenecolumnsrobesceremony
experienced study

Recreating this painting will help students develop skills in figure drawing, drapery rendering, and creating a sense of depth through atmospheric perspective. It also provides practice in representing architectural elements and using a limited color palette to create harmony.

technical profile

palette complexity
3
brushwork visibility
2
value contrast
3
compositional simplicity
3

study guide

est. 25 hrs

approach — 8 steps

  1. step 01

    Create a preliminary sketch to establish the composition and proportions of the figures and architecture.

  2. step 02

    Block in the main shapes and colors of the background, including the architectural elements and the sky.

  3. step 03

    Begin to define the figures, paying attention to their poses and the folds of their robes.

  4. step 04

    Add details to the faces and hands, using subtle shading to create form.

  5. step 05

    Develop the drapery, using highlights and shadows to create a sense of volume and texture.

  6. step 06

    Refine the architectural details, such as the columns and arches.

  7. step 07

    Add the decorative elements, such as the gold trim on the robes and the patterns on the walls.

  8. step 08

    Apply final glazes to unify the painting and enhance the colors.

color palette

primary · ultramarine blue · yellow ochre · raw umber

secondary · burnt sienna · titanium white · gold

Mix various shades of blue by combining ultramarine with white or a touch of raw umber. Achieve the golden hues by layering yellow ochre and burnt sienna, and highlighting with a touch of white.

techniques

  • ·underpainting
  • ·glazing
  • ·atmospheric perspective
  • ·drapery rendering
  • ·figure drawing

common pitfalls

  • →Incorrect proportions of figures and architectural elements.
  • →Overworking the details and losing the overall sense of harmony.
  • →Using too many colors and creating a disjointed effect.
  • →Failing to create a sense of depth and atmosphere.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·gesso
  • ·ultramarine blue oil paint
  • ·yellow ochre oil paint
  • ·raw umber oil paint
  • ·burnt sienna oil paint
  • ·titanium white oil paint
  • ·round brushes (sizes 2, 4, 6)

optional

  • ·palette knife
  • ·linseed oil
  • ·damar varnish

Use high-quality oil paints for best results. Apply thin layers of paint and allow each layer to dry before applying the next.

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