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Two sisters by Tsuguharu Foujita

plate no. 1749

Two sisters

Tsuguharu Foujita, 1959

oilMagic Realismportraitfigureschildrenvinebuildingdogportrait
some experience helpful

Recreating this painting will help students develop skills in rendering figures with subtle shading and creating depth through layering and atmospheric perspective. It also provides practice in depicting fabric folds and textures.

technical profile

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

study guide

est. 15 hrs

approach — 8 steps

  1. step 01

    Create a light pencil sketch outlining the main figures, building, and vine structure.

  2. step 02

    Apply a thin wash of diluted raw sienna or yellow ochre to the entire canvas as a base tone.

  3. step 03

    Begin layering in the skin tones, starting with light washes and gradually building up the shadows.

  4. step 04

    Paint the clothing, focusing on capturing the folds and drapery with varying shades of browns, yellows, and grays.

  5. step 05

    Add details to the background building, using a fine brush to create the architectural elements.

  6. step 06

    Paint the vine and grapes, using a mix of greens, yellows, and purples to create depth and texture.

  7. step 07

    Add the dog, paying attention to its fur texture and form.

  8. step 08

    Refine the details and add final highlights and shadows to complete the painting.

color palette

primary · raw sienna · yellow ochre · burnt umber · titanium white

secondary · ultramarine blue · alizarin crimson · sap green

Achieve skin tones by mixing raw sienna, yellow ochre, and a touch of alizarin crimson with white. Create shadows by adding burnt umber and ultramarine blue to the skin tone mix. Mix greens for the vines by blending yellow ochre and ultramarine blue.

techniques

  • ·glazing
  • ·dry brushing
  • ·blending
  • ·layering
  • ·atmospheric perspective

common pitfalls

  • →Overworking the skin tones and losing the delicate quality.
  • →Creating harsh lines instead of soft transitions.
  • →Ignoring the subtle color variations in the clothing and background.
  • →Failing to establish a clear focal point.

materials

surface · watercolor paper 140lb

required

  • ·watercolor paper 140lb
  • ·watercolor paints
  • ·round brushes (sizes 2, 4, 6)
  • ·flat brush (size 1/2 inch)
  • ·palette
  • ·water container
  • ·paper towels
  • ·pencil

optional

  • ·masking fluid
  • ·kneaded eraser
  • ·ruler

Use high-quality watercolor paints for best results. Consider using a larger sheet of paper to allow for more detail.

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oil painting for beginners →how to learn by studying the masters →
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