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Tree and figure by Giovanni (Nino) Costa

plate no. 3495

Tree and figure

Giovanni (Nino) Costa

oil, cardboardNaturalismlandscapetreeslandscapefigurefoliagegroundforest
some experience helpful

Recreating this painting will help students develop skills in layering colors to create depth and texture, as well as understanding how to depict light and shadow on organic forms. It also provides practice in capturing the essence of a scene with loose, expressive brushstrokes.

technical profile

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

study guide

est. 8 hrs

approach — 8 steps

  1. step 01

    Lightly sketch the basic shapes of the tree trunk, ground, and foliage.

  2. step 02

    Establish the overall value structure with a thin wash of diluted burnt umber.

  3. step 03

    Begin layering in the darker tones of the tree trunk, paying attention to the shadows and crevices.

  4. step 04

    Add the mid-tones and highlights to the tree trunk, blending the colors to create a sense of form.

  5. step 05

    Paint the foliage using a variety of greens, yellows, and browns, using broken brushstrokes to suggest texture.

  6. step 06

    Add the figure in the background, keeping it simple and understated.

  7. step 07

    Refine the details of the ground and foliage, adding highlights and shadows to create depth.

  8. step 08

    Make final adjustments to the overall composition, ensuring that the focal point is the tree trunk.

color palette

primary · burnt umber · raw sienna · titanium white · sap green

secondary · yellow ochre · ultramarine blue · cadmium yellow

Mix various shades of brown by combining burnt umber with raw sienna and white. Achieve greens by mixing sap green with yellow ochre or ultramarine blue. Use white to lighten colors and create highlights.

techniques

  • ·dry brushing
  • ·scumbling
  • ·layering
  • ·broken color
  • ·alla prima

common pitfalls

  • →Overworking the details and losing the loose, expressive quality of the original.
  • →Using too much paint and creating a muddy effect.
  • →Failing to establish a strong value structure.
  • →Ignoring the subtle color variations in the foliage and tree trunk.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·burnt umber oil paint
  • ·raw sienna oil paint
  • ·titanium white oil paint
  • ·sap green oil paint
  • ·round brushes (sizes 2, 4, 6)
  • ·flat brushes (sizes 4, 8)
  • ·linseed oil

optional

  • ·palette knife
  • ·turpentine
  • ·medium gloss
  • ·easel

Use a medium-tooth canvas to allow for good paint adhesion and texture. Consider using a limited palette to simplify the color mixing process.

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