plate no. 8940
The Unicorn in the Forest
Stefan Caltia, 2005
some experience helpful
This painting offers practice in creating smooth gradients and subtle color transitions, as well as rendering organic forms with a limited palette. Students will also learn to create a sense of depth using value and color temperature.
technical profile
palette complexity
3
brushwork visibility
3
value contrast
4
compositional simplicity
3
study guide
est. 12 hrsapproach — 8 steps
- step 01
Sketch the basic composition, focusing on the placement of the figure, unicorn, and tree.
- step 02
Establish the dark background with a thin layer of dark red/brown paint.
- step 03
Block in the main shapes of the figure and unicorn with a base color of yellow ochre and white, respectively.
- step 04
Begin adding shadows and highlights to the figure and unicorn, using burnt sienna, alizarin crimson, and white.
- step 05
Paint the tree trunk with a mix of grey, brown, and green, paying attention to the light and shadow.
- step 06
Add the foliage with small, delicate brushstrokes, using a mix of blue, green, and white.
- step 07
Refine the details of the figure's face and hair, and the unicorn's horn and eyes.
- step 08
Add final touches, such as the small blue flowers and any subtle color variations.
color palette
primary · yellow ochre · titanium white · burnt sienna
secondary · alizarin crimson · ultramarine blue · sap green
Achieve the skin tones by mixing yellow ochre, white, and small amounts of burnt sienna and alizarin crimson. Create the muted greens by mixing ultramarine blue, sap green, and white. The dark background is a mix of alizarin crimson and burnt umber.
techniques
- ·blending
- ·glazing
- ·scumbling
- ·color mixing
- ·value control
common pitfalls
- →Overworking the details too early in the process.
- →Using too much paint and losing the subtle color variations.
- →Failing to establish a strong value structure.
- →Getting the proportions of the figure or unicorn wrong.
materials
surface · stretched canvas
required
- ·stretched canvas
- ·oil paints (yellow ochre, titanium white, burnt sienna, alizarin crimson, ultramarine blue, sap green, burnt umber)
- ·linseed oil
- ·odorless mineral spirits
- ·assorted brushes (round and flat)
- ·palette
- ·palette knife
- ·rags
optional
- ·retouch varnish
- ·painting medium
A toned canvas (with a thin wash of burnt umber) can be helpful for establishing the dark background. Use a soft brush for blending.
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