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home·artworks·Still life with banjo and clarinette
Still life with banjo and clarinette by Arthur Segal

plate no. 3246

Still life with banjo and clarinette

Arthur Segal

oilRealismstill lifemusical instrumentsbanjoclarinetstill lifedraperyfabric
some experience helpful

Recreating this painting will help students develop skills in rendering tonal values, creating subtle gradations, and accurately depicting the form of objects with complex shapes. It also provides practice in capturing the texture of fabric and the reflective surfaces of musical instruments.

technical profile

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

study guide

est. 15 hrs

approach — 8 steps

  1. step 01

    Lightly sketch the basic shapes of the banjo, clarinet, and the draped fabric, paying attention to proportions and placement.

  2. step 02

    Establish the overall value structure by blocking in the darkest and lightest areas with thin washes of paint.

  3. step 03

    Begin building up the mid-tones, focusing on the subtle gradations of light and shadow on the fabric and instruments.

  4. step 04

    Carefully render the details of the banjo and clarinet, including the strings, frets, and keys.

  5. step 05

    Refine the highlights and shadows to create a sense of depth and volume.

  6. step 06

    Pay close attention to the edges of the objects, softening or sharpening them as needed to create a sense of realism.

  7. step 07

    Add final details and adjustments to the overall composition.

  8. step 08

    Allow to dry and add a varnish layer.

color palette

primary · ivory black · titanium white · raw umber

secondary · yellow ochre · burnt umber

Mix various shades of gray by combining ivory black and titanium white in different ratios. Use raw umber and yellow ochre to create warmer tones for the banjo and fabric.

techniques

  • ·tonal painting
  • ·glazing
  • ·blending
  • ·rendering form
  • ·creating soft edges

common pitfalls

  • →Failing to establish a strong value structure early on.
  • →Overworking the details before establishing the overall form.
  • →Creating harsh edges that detract from the realism of the painting.
  • →Not paying attention to the subtle gradations of light and shadow.

materials

surface · stretched canvas

required

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

optional

  • ·palette knife
  • ·medium gloss
  • ·odorless mineral spirits

Use a medium-grain canvas for best results. Consider using a limited palette to simplify the color mixing process.

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