apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·?
? by Martin Ferdinand Quadal

plate no. 1106

?

Martin Ferdinand Quadal

oil, canvasNeoclassicismgenre paintingfigurecandlelightportraithandpaper
experienced study

Recreating this painting will help students understand chiaroscuro and how light affects form. It also provides practice in rendering skin tones under dramatic lighting conditions.

technical profile

palette complexity
3
brushwork visibility
3
value contrast
5
compositional simplicity
4

study guide

est. 20 hrs

approach — 8 steps

  1. step 01

    Sketch the basic composition, focusing on the placement of the figure, hand, and light source.

  2. step 02

    Establish the darkest areas of the background with a dark, neutral tone.

  3. step 03

    Block in the main shapes of the figure and paper lantern with mid-tones.

  4. step 04

    Begin layering in highlights on the face, hand, and paper, paying close attention to the direction and intensity of the light.

  5. step 05

    Refine the shadows and mid-tones, blending carefully to create smooth transitions.

  6. step 06

    Add details to the face and hands, such as the eyes, nose, and wrinkles.

  7. step 07

    Develop the texture of the paper lantern with small, precise brushstrokes.

  8. step 08

    Add final highlights and shadows to enhance the dramatic effect.

color palette

primary · ivory black · raw umber · yellow ochre · titanium white

secondary · burnt sienna · cadmium yellow light

Mix ivory black with raw umber for the dark background. Use yellow ochre and titanium white for the light areas, adding burnt sienna for warmth and cadmium yellow light for the brightest highlights.

techniques

  • ·chiaroscuro
  • ·glazing
  • ·blending
  • ·scumbling
  • ·underpainting

common pitfalls

  • →Failing to establish a strong value contrast.
  • →Over-blending, resulting in a muddy appearance.
  • →Ignoring the subtle variations in skin tone.
  • →Getting the proportions of the figure wrong.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·ivory black oil paint
  • ·raw umber oil paint
  • ·yellow ochre oil paint
  • ·titanium white oil paint
  • ·burnt sienna oil paint
  • ·round brushes (sizes 2, 4, 6)
  • ·linseed oil

optional

  • ·palette knife
  • ·medium gloss
  • ·cadmium yellow light oil paint

Use a high-quality canvas to ensure longevity. Consider using a glazing medium to enhance the luminosity of the colors.

tips & new artworks in your inbox

no spam — unsubscribe anytime.

or to save artworks, chat, and track progress

related guides

oil painting for beginners →how to learn by studying the masters →
chat about this artwork

in this vein

related artworks

Portrait of Sculptor Jean-Antoine Houdon working at the bust of Voltaire

Portrait of Sculptor Jean-Antoine Houdon working at the bust of Voltaire

Marie-Gabrielle Capet

The Roman antiquities, t. 1, Plate XXXI. Temple of Antonius and Faustina.

The Roman antiquities, t. 1, Plate XXXI. Temple of Antonius and Faustina.

Giovanni Battista Piranesi

Portrait of Louis d'Orleans

Portrait of Louis d'Orleans

Franz Xaver Winterhalter

Rooftops in the shadows

Rooftops in the shadows

Pierre-Henri de Valenciennes

The Schmadribach Falls

The Schmadribach Falls

Joseph Anton Koch

A Scene from 'As You Like It' by William Shakespeare

A Scene from 'As You Like It' by William Shakespeare

William Hamilton

Portrait of Klementyna Ostrowska Née Sanguszko

Portrait of Klementyna Ostrowska Née Sanguszko

Vincenzo Camuccini

Self-Portrait

Self-Portrait

Anton Raphael Mengs