apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·The Message
The Message by Gerard Terborch

plate no. 9868

The Message

Gerard Terborch, 1660

oil, canvasBaroquegenre paintingfiguresinteriortableletterclothingshadows
some experience helpful

Recreating this painting will help students develop skills in rendering realistic skin tones and creating depth through subtle value changes. It also provides practice in depicting fabric textures and folds.

technical profile

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

study guide

est. 20 hrs

approach — 8 steps

  1. step 01

    Create a rough sketch to establish the composition and proportions of the figures and objects.

  2. step 02

    Block in the main shapes and areas of light and shadow using thin washes of color.

  3. step 03

    Begin refining the skin tones, paying close attention to the subtle variations in color and value.

  4. step 04

    Develop the details of the clothing, focusing on the folds and textures of the fabric.

  5. step 05

    Work on the background and surrounding objects, gradually adding more detail and definition.

  6. step 06

    Refine the lighting and shadows to create a sense of depth and atmosphere.

  7. step 07

    Add the final details, such as the facial features and the texture of the table.

  8. step 08

    Glaze with thin layers to unify the colors and add depth.

color palette

primary · raw umber · ivory black · titanium white · ultramarine blue

secondary · yellow ochre · burnt sienna · cadmium red light

Mix various shades of brown and gray by combining raw umber, ivory black, and titanium white. Use ultramarine blue and white to create the cool tones in the woman's dress. Add small amounts of yellow ochre and burnt sienna to warm the skin tones.

techniques

  • ·grisaille underpainting
  • ·glazing
  • ·scumbling
  • ·chiaroscuro
  • ·portraiture

common pitfalls

  • →Overworking the details too early
  • →Failing to establish a strong value structure
  • →Inaccurate proportions of the figures
  • →Ignoring the subtle color variations in the skin tones

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·raw umber oil paint
  • ·ivory black oil paint
  • ·titanium white oil paint
  • ·ultramarine blue oil paint
  • ·yellow ochre oil paint
  • ·#4 round brush
  • ·#6 flat brush

optional

  • ·palette knife
  • ·linseed oil
  • ·turpentine
  • ·medium gloss

Use high-quality oil paints for best results. A medium-grit canvas will provide a good surface for layering and blending.

tips & new artworks in your inbox

no spam — unsubscribe anytime.

or to save artworks, chat, and track progress

related guides

oil painting for beginners →chiaroscuro →how to learn by studying the masters →
chat about this artwork

in this vein

related artworks

Girl with a Straw Hat

Girl with a Straw Hat

Judith Leyster

Gezicht Op De Laurenskerk Gezien Vanuit Noordoosten

Gezicht Op De Laurenskerk Gezien Vanuit Noordoosten

Abraham Storck

Bathsheba Bathing

Bathsheba Bathing

Francesco Solimena

Repentant Peter

Repentant Peter

Guido Reni

Itinerant Musicians

Itinerant Musicians

Jacob Ochtervelt

Marie Christine

Marie Christine

Marcello Bacciarelli

Santa Cecilia E Due Angeli

Santa Cecilia E Due Angeli

Giulio Cesare Procaccini

Scene from the Life of Saint Benedict

Scene from the Life of Saint Benedict

Philippe de Champaigne