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home·artworks·Where I made One, The Rubaiyat of Omar Khayyam
Where I made One, The Rubaiyat of Omar Khayyam by Edmund Dulac

plate no. 9371

Where I made One, The Rubaiyat of Omar Khayyam

Edmund Dulac

oilArt Nouveau (Modern)illustrationfigureslandscapefoliageclothingvesselfruit
some experience helpful

Recreating this painting will help students develop skills in figure drawing, rendering fabric textures, and creating a sense of depth through atmospheric perspective. It also provides practice in color mixing to achieve a muted, antique aesthetic.

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

    Lightly sketch the main figures and landscape elements, focusing on proportions and composition.

  2. step 02

    Establish the base tones for the background, including the sky and foliage, using thin washes.

  3. step 03

    Block in the main colors of the figures' clothing and skin tones, paying attention to the light source.

  4. step 04

    Begin adding details to the figures, such as facial features, hands, and folds in the fabric.

  5. step 05

    Develop the textures of the clothing and foliage using layering and dry brushing techniques.

  6. step 06

    Refine the details of the faces and hands, adding highlights and shadows to create form.

  7. step 07

    Add the final details, such as the fruit, vessels, and any decorative elements.

  8. step 08

    Glaze with thin washes to unify the colors and create a cohesive atmosphere.

color palette

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

secondary · alizarin crimson · viridian · ultramarine blue

Achieve the muted tones by mixing earth tones with small amounts of blues and reds. Use white to lighten values and create subtle highlights.

techniques

  • ·figure drawing
  • ·glazing
  • ·dry brushing
  • ·atmospheric perspective
  • ·color layering

common pitfalls

  • →Overworking the details too early in the process.
  • →Using colors that are too bright or saturated.
  • →Ignoring the importance of light and shadow in creating form.
  • →Failing to establish a clear focal point.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·burnt sienna oil paint
  • ·raw umber oil paint
  • ·yellow ochre oil paint
  • ·alizarin crimson oil paint
  • ·ultramarine blue oil paint
  • ·viridian oil paint
  • ·titanium white oil paint

optional

  • ·palette knife
  • ·linseed oil
  • ·turpentine
  • ·medium gloss

Use high-quality oil paints for the best results. Consider using a toned canvas to create a warmer base.

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