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home·artworks·The Life of St. Ignatius Loyola. Plate 6. The vision at La Storta (outside Rome) I will be favourable to you in Rome.
The Life of St. Ignatius Loyola. Plate 6.  The vision at La Storta (outside Rome) I will be favourable to you in Rome. by Carlos Saenz de Tejada

plate no. 9422

The Life of St. Ignatius Loyola. Plate 6. The vision at La Storta (outside Rome) I will be favourable to you in Rome.

Carlos Saenz de Tejada

oilArt Nouveau (Modern)history paintingfiguresinteriorreligionlightarchitectureclouds
some experience helpful

This painting offers practice in rendering light and shadow, and creating a sense of depth through atmospheric perspective. Students can also improve their figure drawing skills and learn to depict dramatic scenes.

technical profile

palette complexity
3
brushwork visibility
3
value contrast
4
compositional simplicity
2

study guide

est. 12 hrs

approach — 8 steps

  1. step 01

    Lightly sketch the main shapes and figures, focusing on composition.

  2. step 02

    Establish the light source and map out the areas of light and shadow.

  3. step 03

    Begin with a thin wash of color to establish the base tones for the background and architecture.

  4. step 04

    Gradually build up the darker values in the shadows, using layers of color.

  5. step 05

    Add details to the figures, paying attention to anatomy and drapery.

  6. step 06

    Refine the light and shadow, adding highlights and subtle color variations.

  7. step 07

    Add the details of the altar and other objects.

  8. step 08

    Finalize the details and adjust the overall balance of the painting.

color palette

primary · raw umber · burnt sienna · ivory black

secondary · yellow ochre · titanium white · sap green

Mix raw umber and ivory black for the dark robes. Use yellow ochre and white for the light rays. Burnt sienna is used for skin tones and some architectural elements.

techniques

  • ·glazing
  • ·atmospheric perspective
  • ·figure drawing
  • ·light and shadow rendering
  • ·dry brushing

common pitfalls

  • →Overworking the details too early.
  • →Failing to establish a strong light source.
  • →Creating muddy colors by overmixing.
  • →Not paying attention to proportions of figures.

materials

surface · watercolor paper 140lb

required

  • ·watercolor paper 140lb
  • ·watercolor paints (raw umber, burnt sienna, ivory black, yellow ochre, titanium white, sap green)
  • ·round brushes (sizes 2, 4, 6)
  • ·flat brush (size 1/2 inch)
  • ·palette
  • ·water container
  • ·paper towels

optional

  • ·masking fluid
  • ·kneaded eraser
  • ·ruler

Use high-quality watercolor paper to prevent buckling. Experiment with different brush sizes to achieve varying levels of detail.

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oil painting for beginners →how to learn by studying the masters →
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