apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·Catherine Vernon, Mrs George Vernon of Sudbury
Catherine Vernon, Mrs George Vernon of Sudbury by John Riley

plate no. 4837

Catherine Vernon, Mrs George Vernon of Sudbury

John Riley

oilBaroqueportraitportraitfiguredresscurtainlandscapetable
experienced study

Recreating this painting will help students develop skills in portraiture, including capturing likeness and rendering realistic skin tones, as well as understanding fabric folds and drapery.

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 figure's pose and major shapes.

  2. step 02

    Block in the background colors, establishing the overall tone.

  3. step 03

    Begin layering the skin tones, starting with mid-tones and gradually adding highlights and shadows.

  4. step 04

    Work on the dress, paying attention to the folds and highlights to create a sense of volume.

  5. step 05

    Paint the drapery, focusing on the subtle color variations and textures.

  6. step 06

    Add details to the face, including the eyes, nose, and mouth, to capture the likeness.

  7. step 07

    Refine the details of the hands and the object being held.

  8. step 08

    Make final adjustments to the values and colors to create a cohesive and realistic painting.

color palette

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

secondary · ultramarine blue · ivory black · raw sienna

Mix skin tones using white, yellow ochre, and a touch of red and umber. Achieve the dress colors by mixing umber, yellow ochre, and white, with touches of blue for the darker areas. Create the blue fabric with ultramarine blue, white, and a touch of black.

techniques

  • ·portraiture
  • ·glazing
  • ·blending
  • ·drapery study
  • ·chiaroscuro

common pitfalls

  • →Overblending the skin tones, resulting in a flat appearance.
  • →Failing to capture the subtle variations in color and value.
  • →Ignoring the underlying structure of the face and body.
  • →Getting lost in the details before establishing the overall composition.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·titanium white oil paint
  • ·yellow ochre oil paint
  • ·burnt umber oil paint
  • ·cadmium red oil paint
  • ·ultramarine blue oil paint
  • ·ivory black oil paint
  • ·assorted brushes (round and flat)

optional

  • ·palette knife
  • ·linseed oil
  • ·turpentine
  • ·medium gloss

Use high-quality oil paints for best results. Consider using a medium to improve the flow and blending of the paints.

tips & new artworks in your inbox

no spam — unsubscribe anytime.

or to save artworks, chat, and track progress

related guides

oil painting for beginners →chiaroscuro →how to learn by studying the masters →
chat about this artwork

in this vein

related artworks

Girl with a Straw Hat

Girl with a Straw Hat

Judith Leyster

Gezicht Op De Laurenskerk Gezien Vanuit Noordoosten

Gezicht Op De Laurenskerk Gezien Vanuit Noordoosten

Abraham Storck

Bathsheba Bathing

Bathsheba Bathing

Francesco Solimena

Repentant Peter

Repentant Peter

Guido Reni

Itinerant Musicians

Itinerant Musicians

Jacob Ochtervelt

Marie Christine

Marie Christine

Marcello Bacciarelli

Santa Cecilia E Due Angeli

Santa Cecilia E Due Angeli

Giulio Cesare Procaccini

Scene from the Life of Saint Benedict

Scene from the Life of Saint Benedict

Philippe de Champaigne