apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·Blessing Christ
Blessing Christ by Bernardino Luini

plate no. 8733

Blessing Christ

Bernardino Luini, 1525

frescoHigh Renaissancereligious paintingfigurereligiousportraithaloframetext
some experience helpful

Recreating this painting will help students develop skills in portraiture, color mixing for flesh tones, and creating a sense of depth through subtle value changes. Students can also practice rendering drapery and creating a convincing texture.

technical profile

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

study guide

est. 12 hrs

approach — 8 steps

  1. step 01

    Lightly sketch the overall composition, focusing on proportions and placement of the figure within the frame.

  2. step 02

    Establish the background color with a thin wash of reddish-brown.

  3. step 03

    Block in the main shapes of the figure: head, torso, hands, and drapery, using simplified color masses.

  4. step 04

    Begin refining the facial features, paying close attention to the light and shadow on the face.

  5. step 05

    Develop the drapery folds, using darker values to create depth and lighter values to indicate highlights.

  6. step 06

    Add details such as the halo, the decorative border on the clothing, and the lettering at the bottom.

  7. step 07

    Glaze thin layers of color to refine the skin tones and create a sense of luminosity.

  8. step 08

    Add final highlights and shadows to enhance the three-dimensionality of the figure.

color palette

primary · red ochre · ultramarine blue · titanium white

secondary · yellow ochre · burnt umber · viridian green

Flesh tones can be achieved by mixing red ochre, yellow ochre, and titanium white. Use burnt umber to create shadows and ultramarine blue to cool down the skin tones. Mix ultramarine blue and yellow ochre for the green drapery.

techniques

  • ·glazing
  • ·scumbling
  • ·chiaroscuro
  • ·portraiture
  • ·drapery study

common pitfalls

  • →Overworking the details too early in the process.
  • →Creating harsh lines instead of soft transitions.
  • →Failing to establish a clear light source.
  • →Getting the proportions of the figure wrong.

materials

surface · stretched canvas

required

  • ·Stretched canvas
  • ·Acrylic or oil paints
  • ·Red ochre
  • ·Ultramarine blue
  • ·Titanium white
  • ·Yellow ochre
  • ·Burnt umber
  • ·Round brushes (small and medium)

optional

  • ·Palette knife
  • ·Medium (linseed oil or acrylic medium)
  • ·Retarder

Use a canvas with a smooth surface to facilitate blending. Oil paints will allow for longer blending time, but acrylics are also suitable.

tips & new artworks in your inbox

no spam — unsubscribe anytime.

or to save artworks, chat, and track progress

related guides

how to learn by studying the masters →
chat about this artwork

in this vein

related artworks

The Adoration of the Kings

The Adoration of the Kings

Giorgione

The Annunciation

The Annunciation

Vittore Carpaccio

Madonna and Child with Saints Liberale and Francis (The Castelfranco Madonna)

Madonna and Child with Saints Liberale and Francis (The Castelfranco Madonna)

Giorgione

St. Helena

St. Helena

Cima da Conegliano

St. Nicholas of Tolentino

St. Nicholas of Tolentino

Pietro Perugino

Portrait of Elizabeth Gonzaga

Portrait of Elizabeth Gonzaga

Raphael

Sibyl

Sibyl

Dosso Dossi

Madonna with Child and Saints

Madonna with Child and Saints

Raphael