apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·Ann Biddle Hopkinson
Ann Biddle Hopkinson by Thomas Sully

plate no. 2044

Ann Biddle Hopkinson

Thomas Sully, 1834

oilRomanticismportraitportraitwomanhatfeathersdresshair
some experience helpful

Recreating this painting will help students develop skills in portraiture, including capturing likeness, rendering skin tones, and creating soft, blended transitions. It also offers practice in depicting textures like fabric and feathers.

technical profile

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

study guide

est. 15 hrs

approach — 8 steps

  1. step 01

    Sketch the basic shapes and proportions of the head, hat, and shoulders.

  2. step 02

    Establish the background color with thin washes of brown and red.

  3. step 03

    Block in the main areas of light and shadow on the face, hat, and dress.

  4. step 04

    Refine the skin tones using a limited palette of reds, yellows, and whites, focusing on smooth blending.

  5. step 05

    Add details to the hair, paying attention to the curls and highlights.

  6. step 06

    Paint the hat and feathers, using darker values for the hat and lighter values for the feathers.

  7. step 07

    Add subtle details to the dress and jewelry.

  8. step 08

    Make final adjustments to values and edges to create a cohesive and realistic portrait.

color palette

primary · titanium white · raw umber · cadmium red light

secondary · ivory black · yellow ochre · ultramarine blue

Achieve skin tones by mixing white, red, yellow ochre, and a touch of raw umber. Use ultramarine blue to cool down shadows. Mix black and raw umber for the dark areas of the hat.

techniques

  • ·Blending
  • ·Layering
  • ·Glazing
  • ·Scumbling
  • ·Chiaroscuro

common pitfalls

  • →Overworking the skin tones, leading to a muddy appearance.
  • →Failing to capture the correct proportions of the face.
  • →Using too much detail in the background, distracting from the subject.
  • →Not creating enough contrast between light and shadow.

materials

surface · stretched canvas

required

  • ·Stretched canvas 16x20
  • ·Oil paints (titanium white, raw umber, cadmium red light, ivory black, yellow ochre, ultramarine blue)
  • ·Round brushes (#2, #4, #6)
  • ·Flat brushes (#6, #8)
  • ·Palette
  • ·Palette knife
  • ·Odorless mineral spirits
  • ·Linseed oil

optional

  • ·Retouch varnish
  • ·Medium (e.g., Liquin)

Use high-quality oil paints for best results. A medium can be added to the paint to improve flow and blending.

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

Romantic Landscape

Romantic Landscape

Karl Lessing

Self-portrait with his brother Francesco

Self-portrait with his brother Francesco

Giuseppe Tominz

Oenone Refuse de Secourir Pâris au Siège de Troie

Oenone Refuse de Secourir Pâris au Siège de Troie

Léon Cogniet

Duke of Alba

Duke of Alba

Francisco Goya

Blick Aus Dem Wald Ins Tal

Blick Aus Dem Wald Ins Tal

Andreas Achenbach

Young Girl Fixing Her Hair

Young Girl Fixing Her Hair

Sophie Gengembre Anderson

The Plough Inn

The Plough Inn

William Shayer

Hudson River Landscape

Hudson River Landscape

Johann Hermann Carmiencke