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home·artworks·The Poker Game
The Poker Game by William Holbrook Beard

plate no. 9595

The Poker Game

William Holbrook Beard, 1888

oilRomanticismanimal paintingmonkeystablecardsfiguresinteriorclothing
experienced study

Recreating this painting will help students develop skills in rendering realistic textures, capturing subtle lighting effects, and creating a complex composition with multiple figures. Students will also learn how to mix a wide range of browns and earth tones.

technical profile

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

study guide

est. 30 hrs

approach — 8 steps

  1. step 01

    Lightly sketch the overall composition, paying attention to the placement and proportions of the figures and the table.

  2. step 02

    Block in the main shapes and colors, focusing on the overall value structure of the painting.

  3. step 03

    Begin refining the details of the figures, starting with the faces and hands.

  4. step 04

    Add details to the clothing and other objects, such as the cards, glasses, and bottle.

  5. step 05

    Work on the background, adding details to the wall and curtains.

  6. step 06

    Refine the lighting and shadows, paying attention to the way the light falls on the figures and objects.

  7. step 07

    Add final details and highlights to create a sense of realism.

  8. step 08

    Varnish the painting to protect it and enhance the colors.

color palette

primary · burnt umber · raw sienna · ivory black · titanium white

secondary · cadmium red · ultramarine blue · yellow ochre

Mix browns by combining burnt umber, raw sienna, and ivory black. Use titanium white to lighten colors and create highlights. Add small amounts of cadmium red or ultramarine blue to create variations in the browns.

techniques

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

common pitfalls

  • →Getting the proportions of the figures wrong
  • →Overworking the details
  • →Failing to capture the subtle lighting effects
  • →Using too much detail too early
  • →Not establishing a clear focal point

materials

surface · stretched canvas

required

  • ·stretched canvas 18x24
  • ·burnt umber oil paint
  • ·raw sienna oil paint
  • ·ivory black oil paint
  • ·titanium white oil paint
  • ·cadmium red oil paint
  • ·ultramarine blue oil paint
  • ·round brushes (sizes 2, 4, 6)

optional

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

Use high-quality oil paints for best results. A medium such as linseed oil can be used to thin the paints and improve their flow. Turpentine can be used to clean brushes.

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