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Carlo Rimbotti by Francesco de' Rossi (Francesco Salviati), "Cecchino"

plate no. 7823

Carlo Rimbotti

Francesco de' Rossi (Francesco Salviati), "Cecchino", 1548

oilMannerism (Late Renaissance)portraitportraitfigurebeardbookclothing
some experience helpful

Recreating this painting will help students develop skills in portraiture, including accurate proportions and subtle value transitions for rendering skin tones. It also provides practice in creating a sense of depth and form using chiaroscuro.

technical profile

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

study guide

est. 15 hrs

approach — 8 steps

  1. step 01

    Lightly sketch the basic shapes and proportions of the figure, book, and background.

  2. step 02

    Establish the overall value structure with a thin wash of burnt umber or a similar earth tone.

  3. step 03

    Begin layering in the darker values of the background and clothing, gradually building up the depth.

  4. step 04

    Block in the skin tones using a limited palette of earth tones, white, and a touch of red.

  5. step 05

    Refine the facial features, paying close attention to the subtle shifts in value and color.

  6. step 06

    Add details to the beard and hair, using small brushstrokes to create texture.

  7. step 07

    Paint the book, focusing on the highlights and shadows to give it form.

  8. step 08

    Add final highlights and details to the face and hands to complete the portrait.

color palette

primary · burnt umber · titanium white · cadmium red

secondary · yellow ochre · ivory black

Achieve skin tones by mixing white, burnt umber, and a touch of red. Use yellow ochre to warm up the skin tones and ivory black to create shadows. Mix red with a touch of black to create the color of the book.

techniques

  • ·glazing
  • ·scumbling
  • ·chiaroscuro
  • ·portraiture
  • ·value studies

common pitfalls

  • →Getting the proportions wrong in the initial sketch.
  • →Overworking the skin tones and losing the subtle value transitions.
  • →Making the background too light and flattening the composition.
  • →Failing to capture the likeness of the subject.

materials

surface · stretched canvas

required

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

optional

  • ·palette knife
  • ·retouch varnish
  • ·medium gloss

Use high-quality oil paints for best results. A medium-grain canvas will provide a good surface for layering paint.

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