The figurine maker (1st version)

surface prep

The canvas should be primed with a traditional ground suitable for oil painting. While specific preparation methods for this exact canvas are not detailed in the sources, 19th-century practice typically involved a white or off-white gesso ground to allow for the luminous effects characteristic of the period. The artist likely applied paint over a sketched outline, as was common practice (Source 3).

underdrawing

The artist likely began with a sketched outline of the subject, possibly in another medium such as charcoal or thinned oil, before applying the paint (Source 3). Induno’s background as a sketcher of war scenes suggests a strong foundation in drawing from life (Source 6).

underpainting

An underpainting layer may have been used to establish tonal values. Given the genre painting tradition’s focus on realistic or romanticized depictions, a grisaille or brown underpainting could have been employed to model forms before adding color. However, specific underpainting techniques for this work are not explicitly cited, so this is inferred from general 19th-century oil painting practices.

Brush selection

Hog bristle brushes for bold strokes and impasto, sable brushes for fine details (Source 3).

Color mixing

Mixing small quantities of paint on the palette as the painting process unfolds (Source 3).

Genre depiction

Portraying ordinary people in common activities, often with a sentimental or anecdotal tone (Source 2).