The Girls on the Bridge

Sketch the basic forms of the figures and the bridge using charcoal or thinned paint. Focus on the overall composition and placement of elements rather than fine details.

Tip — Avoid being too tied down to the outline; keep lines loose to allow for expressive adjustments later (Source 1).

Initial sketching

Apply a thin layer of paint to establish the major color masses and tonal values. Use a lean mixture (more solvent than oil) for this initial layer.

Tip — Ensure this layer dries completely before proceeding to prevent cracking in upper layers (Source 8).

Lean underpainting

Begin applying opaque colors, focusing on the interaction between adjacent hues. Place complementary colors next to each other to enhance their intensity through simultaneous contrast.

Tip — Observe how a red next to a green will appear redder, and vice versa, adjusting your mix accordingly (Source 7).

Simultaneous contrast

Build up the paint layers, ensuring each new layer has more oil content than the previous one ('fat over lean'). Use palette knives or brushes to create texture and depth.

Tip — Check for proper drying time between layers to avoid cracking (Source 8).

Fat over lean

Refine the details and adjust the color harmony. Use the principle that surrounding a color with its complement can increase its brilliancy, while surrounding it with the same color can soften it.

Tip — Exaggerate color intensities to mimic the luminous effects of nature, which are often stronger than what the palette can directly provide (Source 4).

Color modification

Once the painting is fully dry (which may take weeks to months depending on thickness), apply a varnish to protect the surface and unify the sheen.

Tip — Ensure the painting is completely dry to prevent trapping solvents underneath the varnish (Source 8).

Varnishing