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home·artworks·A friend in need
A friend in need by Émile Auguste Hublin

plate no. 0739

A friend in need

Émile Auguste Hublin, 1879

oil, canvasRealismportraitfigureportraitgoathayclothingflowers
some experience helpful

Recreating this painting will help students develop skills in portraiture, including accurate proportions and rendering of skin tones, as well as practice blending techniques to create soft transitions and realistic textures.

technical profile

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

study guide

est. 20 hrs

approach — 8 steps

  1. step 01

    Sketch the basic composition, focusing on the proportions of the figure and the placement of the goat and flowers.

  2. step 02

    Establish the background with a dark, muted tone, gradually adding subtle variations in color and value.

  3. step 03

    Block in the main shapes of the figure, paying attention to the folds and drapery of the clothing.

  4. step 04

    Begin layering the skin tones, starting with a base color and gradually building up highlights and shadows.

  5. step 05

    Refine the details of the face, focusing on the eyes, nose, and mouth to capture the likeness of the subject.

  6. step 06

    Paint the goat, using short, broken brushstrokes to create the texture of the fur.

  7. step 07

    Add the flowers and hay, paying attention to the colors and shapes of the individual elements.

  8. step 08

    Make final adjustments to the overall composition, ensuring that the values and colors are balanced.

color palette

primary · ultramarine blue · burnt umber · titanium white · cadmium red

secondary · yellow ochre · raw sienna · ivory black

Achieve skin tones by mixing white, red, yellow ochre, and a touch of blue or umber. Create depth in the clothing by layering different shades of blue and brown.

techniques

  • ·portraiture
  • ·blending
  • ·layering
  • ·scumbling
  • ·glazing

common pitfalls

  • →Getting the proportions of the figure wrong.
  • →Overworking the skin tones, resulting in a flat or lifeless appearance.
  • →Failing to capture the likeness of the subject.
  • →Ignoring the subtle variations in color and value.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·oil paints
  • ·palette
  • ·palette knife
  • ·assorted brushes (round and flat)
  • ·linseed oil
  • ·turpentine
  • ·rags

optional

  • ·medium gloss
  • ·retouch varnish
  • ·easel

Use high-quality oil paints for best results. A medium-grain canvas will provide a good surface for layering.

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