plate no. 5347

Wedding

Zoe Lerman, 1970

oilPost-Impressionismgenre paintingfiguresweddingclothinginteriorflowerscelebration

some experience helpful

Recreating this painting will help students develop skills in painting figures in a group setting and capturing the essence of a scene with loose, expressive brushstrokes. It also provides practice in mixing subtle color variations to depict light and shadow on clothing and skin tones.

technical profile

palette complexity

brushwork visibility

value contrast

compositional simplicity

study guide

est. 15 hrs

approach — 8 steps

step 01
Lightly sketch the basic composition, focusing on the placement and proportions of the figures.
step 02
Establish the background colors and patterns using broad brushstrokes.
step 03
Block in the main color masses for each figure, paying attention to the overall value structure.
step 04
Begin refining the shapes and details of the figures, adding highlights and shadows to create form.
step 05
Mix and apply the colors for the clothing, capturing the folds and textures with varied brushstrokes.
step 06
Add details to the faces, focusing on capturing the expressions and individual characteristics.
step 07
Refine the background details, adding flowers and other decorative elements.
step 08
Add final highlights and shadows to enhance the overall sense of depth and dimension.

color palette

primary · yellow ochre · titanium white · burnt sienna

secondary · ultramarine blue · alizarin crimson · sap green

Achieve skin tones by mixing yellow ochre, burnt sienna, and titanium white, with small amounts of alizarin crimson for warmth. Mix greens by combining yellow ochre and ultramarine blue, adjusting the ratio for different shades.

techniques

·broken color
·scumbling
·alla prima
·color mixing
·figure drawing

common pitfalls

→Overworking the details and losing the freshness of the brushstrokes.
→Failing to establish a strong value structure, resulting in a flat and lifeless painting.
→Getting bogged down in the details of the clothing patterns and losing sight of the overall composition.
→Not paying enough attention to the proportions and anatomy of the figures.