plate no. 2915
The Baptism of Saint Augustine (sketch for the Saint-Augustin church)
Diogène Maillart, 1870
experienced study
Recreating this painting will help students develop skills in figure drawing, composition, and creating depth through layering and tonal variations. It will also improve understanding of limited color palettes and implied detail.
technical profile
palette complexity
3
brushwork visibility
4
value contrast
3
compositional simplicity
2
study guide
est. 20 hrsapproach — 8 steps
- step 01
Sketch the basic composition, focusing on the placement of the figures and architectural elements.
- step 02
Establish the main light source and map out the areas of light and shadow.
- step 03
Block in the major color areas using thin washes of paint.
- step 04
Begin layering in details, starting with the background and working forward.
- step 05
Refine the figures, paying attention to anatomy and drapery.
- step 06
Add highlights and shadows to create form and depth.
- step 07
Glaze over areas to unify the color palette and create atmosphere.
- step 08
Add final details and adjust values as needed.
color palette
primary · burnt umber · raw sienna · titanium white
secondary · yellow ochre · ivory black · cadmium red light
Achieve skin tones by mixing burnt umber, raw sienna, and titanium white. Use yellow ochre and burnt umber for the golden robes. Mix ivory black with burnt umber to create dark shadows.
techniques
- ·underpainting
- ·glazing
- ·dry brushing
- ·scumbling
- ·chiaroscuro
common pitfalls
- →Overworking the details too early in the process.
- →Failing to establish a clear value structure.
- →Using colors that are too saturated.
- →Losing the overall unity of the painting.
materials
surface · stretched canvas
required
- ·stretched canvas
- ·burnt umber oil paint
- ·raw sienna oil paint
- ·titanium white oil paint
- ·yellow ochre oil paint
- ·ivory black oil paint
- ·round brushes (various sizes)
- ·linseed oil
optional
- ·palette knife
- ·medium (e.g. Liquin)
- ·easel
Use a canvas with a fine weave for smoother blending. Consider using a toned canvas to speed up the underpainting process.
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