apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·Bust de jeune fille
Bust de jeune fille by Michel Simonidy

plate no. 6931

Bust de jeune fille

Michel Simonidy, 1925

oilArt Nouveau (Modern)nude painting (nu)figureportraitnudeskin tonesfemale
some experience helpful

Recreating this painting will help students develop skills in rendering realistic skin tones and understanding subtle variations in light and shadow on the human form. It also provides practice in creating a soft, atmospheric background.

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 basic proportions and pose of the figure on the canvas.

  2. step 02

    Establish the background with a thin wash of dark brown and umber tones.

  3. step 03

    Block in the main areas of skin tone with a base color mix of red, yellow, and white.

  4. step 04

    Begin layering in shadows and highlights, paying close attention to the subtle shifts in color temperature.

  5. step 05

    Refine the facial features, focusing on capturing the expression and likeness.

  6. step 06

    Soften edges and blend transitions between light and shadow to create a smooth, naturalistic effect.

  7. step 07

    Add final details, such as subtle highlights on the eyes and lips.

  8. step 08

    Glaze with thin layers of color to unify the painting and enhance the overall luminosity.

color palette

primary · titanium white · burnt sienna · yellow ochre · cadmium red

secondary · ultramarine blue · raw umber

Achieve the skin tones by mixing white, red, yellow ochre, and a touch of burnt sienna. Use ultramarine blue and raw umber to create cooler shadows.

techniques

  • ·glazing
  • ·blending
  • ·color mixing
  • ·chiaroscuro
  • ·scumbling

common pitfalls

  • →Overworking the skin tones, leading to a muddy or unnatural appearance.
  • →Failing to accurately capture the proportions and anatomy of the figure.
  • →Ignoring the subtle shifts in color temperature between light and shadow.
  • →Creating harsh edges that detract from the overall softness of the painting.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·titanium white oil paint
  • ·burnt sienna oil paint
  • ·yellow ochre oil paint
  • ·cadmium red oil paint
  • ·round brushes (various sizes)
  • ·palette
  • ·linseed oil

optional

  • ·palette knife
  • ·medium (e.g., Liquin)
  • ·varnish

Use high-quality oil paints for best results. Consider using a toned canvas to simplify the initial stages of the painting.

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

Kolo Moser

Kolo Moser

Koloman Moser

L'Atelier de Diebold Lauber

L'Atelier de Diebold Lauber

Léo Schnug

Family Gathering in Saint Idesbald

Family Gathering in Saint Idesbald

Georges Lemmen

The Kiss

The Kiss

Rose O'Neill

His grandmother had Told Him (from The Garden of Paradise)

His grandmother had Told Him (from The Garden of Paradise)

Edmund Dulac

Two girls

Two girls

Felice Casorati

Girl with a rose

Girl with a rose

Paul Mathiopoulos

The King

The King

Alexandre Benois