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home·artworks·Two Beauties
Two Beauties by Wilhelm Kotarbinski

plate no. 3976

Two Beauties

Wilhelm Kotarbinski

oilArt Nouveau (Modern)genre paintingfiguresgardentreesflowersclothingarchitecture
some experience helpful

This painting provides practice in rendering figures in a landscape setting, focusing on capturing light and shadow to create form. Students will learn to blend colors to create soft, atmospheric effects and to suggest detail rather than rendering it precisely.

technical profile

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

study guide

est. 15 hrs

approach — 8 steps

  1. step 01

    Sketch the basic composition, focusing on the placement of the figures and the main elements of the background.

  2. step 02

    Establish the overall color scheme by blocking in the large areas of color, such as the sky, foliage, and clothing.

  3. step 03

    Begin to refine the forms of the figures, paying attention to the light and shadow patterns.

  4. step 04

    Add details to the clothing, such as folds and textures, using a variety of brushstrokes.

  5. step 05

    Develop the background, adding details to the trees, flowers, and architecture.

  6. step 06

    Refine the details of the faces, paying attention to the expressions and features.

  7. step 07

    Add highlights and shadows to create depth and dimension.

  8. step 08

    Make final adjustments to the composition and color balance.

color palette

primary · titanium white · ultramarine blue · burnt umber · alizarin crimson

secondary · yellow ochre · viridian green

Mix various shades of green by combining yellow ochre, ultramarine blue, and titanium white. Achieve skin tones by blending titanium white, alizarin crimson, and yellow ochre, with small amounts of burnt umber for shadows.

techniques

  • ·wet-on-wet blending
  • ·scumbling
  • ·glazing
  • ·broken color
  • ·alla prima

common pitfalls

  • →Overworking the details, resulting in a stiff and unnatural appearance.
  • →Failing to establish a clear light source, leading to a lack of depth and dimension.
  • →Using colors that are too saturated, resulting in a garish and unrealistic effect.
  • →Ignoring the importance of edges, leading to a lack of clarity and definition.

materials

surface · stretched canvas

required

  • ·stretched canvas 18x24
  • ·titanium white oil paint
  • ·ultramarine blue oil paint
  • ·burnt umber oil paint
  • ·alizarin crimson oil paint
  • ·yellow ochre oil paint
  • ·#4 round brush
  • ·#8 filbert brush

optional

  • ·palette knife
  • ·linseed oil
  • ·odorless mineral spirits

Use a medium-tooth canvas to allow for a variety of brushstrokes. Consider using a toned ground to create a more unified color scheme.

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