apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·Trinity triptych
Trinity triptych by Domenico Beccafumi

plate no. 7286

Trinity triptych

Domenico Beccafumi, 1513

temperaHigh Renaissancereligious paintingfiguresreligious scenetriptychcloudsangelscrucifixion
experienced study

Recreating this painting will help students develop skills in figure drawing, drapery rendering, and creating atmospheric perspective. It also provides practice in achieving realistic skin tones and subtle color variations.

technical profile

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

study guide

est. 40 hrs

approach — 8 steps

  1. step 01

    Lightly sketch the basic composition, paying attention to the placement of the figures and the overall proportions of the triptych panels.

  2. step 02

    Block in the main areas of color, starting with the background and then moving to the figures and drapery.

  3. step 03

    Begin to refine the shapes and details of the figures, paying attention to the anatomy and the way the light falls on their bodies.

  4. step 04

    Add the details of the drapery, using subtle color variations to create a sense of depth and volume.

  5. step 05

    Work on the faces, paying attention to the expressions and the subtle details of the features.

  6. step 06

    Add the details of the background, including the clouds, angels, and other elements.

  7. step 07

    Refine the overall composition, making sure that all the elements are working together to create a harmonious whole.

  8. step 08

    Add final highlights and shadows to create a sense of depth and realism.

color palette

primary · ivory black · burnt umber · cadmium red · titanium white

secondary · ultramarine blue · yellow ochre · raw sienna

Achieve skin tones by mixing white, red, yellow ochre, and a touch of burnt umber. Create the atmospheric perspective by adding blue and white to the background colors.

techniques

  • ·figure drawing
  • ·drapery rendering
  • ·glazing
  • ·chiaroscuro
  • ·atmospheric perspective

common pitfalls

  • →Incorrect proportions of the figures
  • →Overly harsh shadows
  • →Lack of subtle color variations
  • →Ignoring the atmospheric perspective
  • →Getting lost in details too early

materials

surface · stretched canvas

required

  • ·Stretched canvas (large)
  • ·Tempera paints
  • ·Assorted brushes (small round, medium flat)
  • ·Palette
  • ·Palette knife
  • ·Linseed oil
  • ·Turpentine
  • ·Rags

optional

  • ·Medium gloss
  • ·Retarder medium
  • ·Easel

Tempera is the original medium, but acrylics or oils could be substituted. Use high-quality paints for best results.

tips & new artworks in your inbox

no spam — unsubscribe anytime.

or to save artworks, chat, and track progress

related guides

how to learn by studying the masters →
chat about this artwork

in this vein

related artworks

The Adoration of the Kings

The Adoration of the Kings

Giorgione

The Annunciation

The Annunciation

Vittore Carpaccio

Madonna and Child with Saints Liberale and Francis (The Castelfranco Madonna)

Madonna and Child with Saints Liberale and Francis (The Castelfranco Madonna)

Giorgione

St. Helena

St. Helena

Cima da Conegliano

St. Nicholas of Tolentino

St. Nicholas of Tolentino

Pietro Perugino

Portrait of Elizabeth Gonzaga

Portrait of Elizabeth Gonzaga

Raphael

Sibyl

Sibyl

Dosso Dossi

Christ in Limbo

Christ in Limbo

Domenico Beccafumi