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home·artworks·Work to lift the ring road: the bridge of the Voûte road, course of Vincennes
Work to lift the ring road: the bridge of the Voûte road, course of Vincennes by Paul Trouillebert

plate no. 5279

Work to lift the ring road: the bridge of the Voûte road, course of Vincennes

Paul Trouillebert

oil, canvasNaturalismcityscapebuildingsskystreetfiguresconstructionbridge
some experience helpful

Recreating this painting will help students develop skills in perspective drawing, color mixing to achieve muted tones, and capturing the texture of aged structures with visible brushstrokes.

technical profile

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

study guide

est. 12 hrs

approach — 8 steps

  1. step 01

    Lightly sketch the basic shapes and perspective lines of the buildings and bridge structure.

  2. step 02

    Block in the large areas of color for the sky, buildings, and street using thin washes.

  3. step 03

    Establish the darkest and lightest values to create a sense of depth and form.

  4. step 04

    Begin adding details to the buildings, bridge, and figures, paying attention to the light and shadow.

  5. step 05

    Refine the textures of the buildings and street using visible brushstrokes.

  6. step 06

    Mix and apply subtle color variations to create a sense of atmosphere.

  7. step 07

    Add final details such as the figures and small architectural elements.

  8. step 08

    Glaze with thin layers to unify the painting and adjust values.

color palette

primary · raw umber · titanium white · cadmium red light

secondary · ultramarine blue · yellow ochre

Mix raw umber and white for the buildings and street. Add small amounts of red and blue to create variations in the grays and browns. Use yellow ochre to warm the highlights.

techniques

  • ·broken color
  • ·scumbling
  • ·atmospheric perspective
  • ·linear perspective
  • ·dry brushing

common pitfalls

  • →Getting the perspective wrong
  • →Overworking the details
  • →Using colors that are too bright or saturated
  • →Ignoring the subtle value changes

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·raw umber oil paint
  • ·titanium white oil paint
  • ·cadmium red light oil paint
  • ·ultramarine blue oil paint
  • ·yellow ochre oil paint
  • ·#4 round brush
  • ·#8 flat brush

optional

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

Use a medium-grain canvas to allow for texture. Consider using a limited palette to simplify color mixing.

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