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home·artworks·Boy with a Top
Boy with a Top by Jean-Baptiste-Simeon Chardin

plate no. 0361

Boy with a Top

Jean-Baptiste-Simeon Chardin, 1735

oil, canvasRococogenre paintingfigureboytablebooksquillinkwell
experienced study

Recreating this painting will help students develop skills in portraiture, including capturing likeness and creating realistic skin tones, as well as learning to depict textures of fabric and paper.

technical profile

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

study guide

est. 20 hrs

approach — 8 steps

  1. step 01

    Create a light sketch outlining the main shapes and composition.

  2. step 02

    Block in the background with broad strokes, establishing the overall color and value.

  3. step 03

    Begin painting the figure, starting with the skin tones and gradually building up layers of color.

  4. step 04

    Pay close attention to the subtle variations in skin tone and the way light falls on the face.

  5. step 05

    Paint the clothing, focusing on the folds and textures of the fabric.

  6. step 06

    Add details to the books, quill, and inkwell, paying attention to their shapes and textures.

  7. step 07

    Refine the details and add highlights and shadows to create depth and dimension.

  8. step 08

    Add final glazes to unify the painting and enhance the colors.

color palette

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

secondary · ultramarine blue · burnt sienna · cadmium red light

Mix various shades of browns and grays by combining ivory black, raw umber, and titanium white. Use yellow ochre and burnt sienna to create warm skin tones, and add a touch of cadmium red light for the cheeks and lips. Mix ultramarine blue with white to create the blue accents.

techniques

  • ·glazing
  • ·scumbling
  • ·chiaroscuro
  • ·portraiture
  • ·rendering textures

common pitfalls

  • →Overmixing colors, resulting in muddy tones.
  • →Failing to accurately capture the proportions of the figure.
  • →Ignoring the subtle variations in skin tone.
  • →Overworking the details, resulting in a stiff or unnatural appearance.

materials

surface · stretched canvas

required

  • ·stretched canvas 16x20
  • ·ivory black oil paint
  • ·raw umber oil paint
  • ·titanium white oil paint
  • ·yellow ochre oil paint
  • ·burnt sienna oil paint
  • ·round brushes (#2, #4, #6)
  • ·linseed oil

optional

  • ·palette knife
  • ·medium gloss
  • ·ultramarine blue oil paint
  • ·cadmium red light oil paint

Use high-quality oil paints for best results. Prepare the canvas with a layer of gesso before painting.

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