apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·The Ghost of a Flea
The Ghost of a Flea by William Blake

plate no. 5434

The Ghost of a Flea

William Blake, 1820

panel, temperaSymbolismmythological paintingfiguremythological creaturestarscurtainsbucketfantasy
experienced study

This painting helps develop skills in rendering complex textures and anatomical details, as well as creating a sense of depth and atmosphere using a limited color palette. Students can learn to use glazing techniques to build up layers of color and create subtle variations in tone.

technical profile

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

study guide

est. 20 hrs

approach — 8 steps

  1. step 01

    Sketch the basic composition, focusing on the figure's pose and proportions.

  2. step 02

    Establish the background with a thin wash of dark brown and purple.

  3. step 03

    Block in the main areas of light and shadow on the figure.

  4. step 04

    Begin layering colors on the figure, starting with darker tones and gradually adding highlights.

  5. step 05

    Add details to the figure's skin, paying attention to texture and anatomical accuracy.

  6. step 06

    Paint the curtains, using a dry brush technique to create texture.

  7. step 07

    Add the stars and bucket, paying attention to their placement and size.

  8. step 08

    Refine the details and add final touches to the painting.

color palette

primary · burnt umber · raw sienna · ivory black

secondary · purple · yellow ochre · titanium white

Mix burnt umber and ivory black for dark shadows. Use raw sienna and titanium white for highlights. Add small amounts of purple to create depth and atmosphere.

techniques

  • ·glazing
  • ·dry brushing
  • ·chiaroscuro
  • ·scumbling
  • ·layering

common pitfalls

  • →Overworking the details too early
  • →Using too much paint
  • →Failing to establish a strong value structure
  • →Ignoring the anatomical accuracy of the figure

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·burnt umber oil paint
  • ·raw sienna oil paint
  • ·ivory black oil paint
  • ·titanium white oil paint
  • ·round brushes (various sizes)
  • ·linseed oil
  • ·palette

optional

  • ·palette knife
  • ·medium gloss
  • ·purple oil paint
  • ·yellow ochre oil paint

Use high-quality oil paints for best results. Thin the paints with linseed oil for glazing.

tips & new artworks in your inbox

no spam — unsubscribe anytime.

or to save artworks, chat, and track progress

related guides

how to learn by studying the masters →
chat about this artwork

in this vein

related artworks

Satan Addressing his Potentates

Satan Addressing his Potentates

William Blake

Self-portrait in studio

Self-portrait in studio

Franz Stuck

Tajik

Tajik

Kuzmá Petrov-Vodkin

View from the studio in Eerbeek

View from the studio in Eerbeek

Jan Mankes

Harlequin's garden

Harlequin's garden

Serge Sudeikin

Incantation

Incantation

Felicien Rops

Anzac, the Landing

Anzac, the Landing

George Washington Lambert

Paisatge

Paisatge

Joan Brull