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home·artworks·The Ball of July 14
The Ball of July 14 by Theophile Steinlen

plate no. 4939

The Ball of July 14

Theophile Steinlen

oilRealismgenre paintingfiguresdancingnightpartytablecityscape
experienced study

Recreating this painting will help students develop skills in depicting figures in motion and capturing the atmosphere of a crowded scene with limited color and value variations. It will also improve their understanding of atmospheric perspective and how to suggest detail rather than rendering it precisely.

technical profile

palette complexity
4
brushwork visibility
4
value contrast
4
compositional simplicity
2

study guide

est. 20 hrs

approach — 8 steps

  1. step 01

    Begin with a light sketch to establish the overall composition and placement of figures and objects.

  2. step 02

    Block in the main areas of dark and light values using a limited palette of earth tones.

  3. step 03

    Focus on capturing the general shapes and gestures of the figures, rather than individual details.

  4. step 04

    Gradually build up layers of color and value, using broken brushstrokes to create texture and movement.

  5. step 05

    Pay attention to the lighting and how it affects the colors and values of the scene.

  6. step 06

    Add subtle details to the foreground figures to create a sense of depth.

  7. step 07

    Use a dry brush technique to create highlights and texture on the figures and objects.

  8. step 08

    Refine the overall composition and adjust the values as needed to create a sense of atmosphere.

color palette

primary · burnt umber · raw sienna · ivory black

secondary · yellow ochre · titanium white · alizarin crimson

Achieve the muted tones by mixing the primary colors with white and small amounts of secondary colors. Use burnt umber and black for the darkest shadows, and raw sienna and white for the highlights.

techniques

  • ·broken brushstrokes
  • ·dry brush
  • ·scumbling
  • ·atmospheric perspective
  • ·limited palette

common pitfalls

  • →Getting bogged down in details too early in the process.
  • →Overworking the painting and losing the sense of spontaneity.
  • →Failing to establish a strong value structure.
  • →Using colors that are too bright or saturated.

materials

surface · stretched canvas

required

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

optional

  • ·palette knife
  • ·painting medium
  • ·varnish

Use a medium-grain canvas for best results. Consider using a toned canvas to speed up the painting process.

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