plate no. 0060
Capuchin Monk
some experience helpful
Recreating this painting will help students develop skills in portraiture, including capturing likeness and rendering realistic skin tones. It also provides practice in depicting drapery and creating a sense of depth through subtle value changes.
technical profile
palette complexity
3
brushwork visibility
3
value contrast
4
compositional simplicity
4
study guide
est. 15 hrsapproach — 8 steps
- step 01
Lightly sketch the basic shapes of the head, hood, and beard, paying attention to proportions.
- step 02
Establish the overall value structure by blocking in the main areas of light and shadow with thin washes of color.
- step 03
Begin refining the skin tones, mixing subtle variations of color to capture the nuances of light and shadow on the face.
- step 04
Work on the beard, using layering and dry brush techniques to create texture and volume.
- step 05
Develop the folds and shadows in the hood, paying attention to how the fabric drapes and folds.
- step 06
Refine the details of the face, including the eyes, nose, and mouth, to capture the likeness of the subject.
- step 07
Adjust the overall values and colors to create a sense of depth and atmosphere.
- step 08
Add final highlights and details to complete the painting.
color palette
primary · burnt umber · raw umber · titanium white · yellow ochre
secondary · ivory black · cadmium red light
Mix various shades of brown by combining burnt umber, raw umber, and ivory black. Use yellow ochre and cadmium red light to warm up the skin tones. Add titanium white to create highlights and lighten the overall values.
techniques
- ·underpainting
- ·glazing
- ·dry brushing
- ·blending
- ·scumbling
common pitfalls
- →Over-blending the skin tones, resulting in a flat and lifeless appearance.
- →Failing to establish a strong value structure early on.
- →Ignoring the subtle color variations in the skin and beard.
- →Getting lost in details before establishing the overall form.
- →Using too much paint, which can lead to a muddy and overworked appearance.
materials
surface · stretched canvas
required
- ·stretched canvas
- ·burnt umber oil paint
- ·raw umber oil paint
- ·titanium white oil paint
- ·yellow ochre oil paint
- ·ivory black oil paint
- ·#4 round brush
- ·#6 flat brush
optional
- ·palette knife
- ·linseed oil
- ·turpentine
- ·medium gloss
Use a medium-grain canvas for best results. Consider using a toned canvas to speed up the underpainting process.
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