apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·Charles Robert Darwin
Charles Robert Darwin by John Collier

plate no. 0128

Charles Robert Darwin

John Collier, 1883

oilRealismportraitportraitfiguremanbeardclothinghat
some experience helpful

Recreating this painting will help students develop skills in portraiture, including capturing likeness and rendering realistic skin tones and textures. It also provides practice in creating depth and form using subtle value changes.

technical profile

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

study guide

est. 20 hrs

approach — 8 steps

  1. step 01

    Sketch the basic shapes and proportions of the figure, focusing on the head, shoulders, and overall pose.

  2. step 02

    Establish the background with a thin layer of dark brown paint, gradually building up the darker values.

  3. step 03

    Block in the main areas of the figure, including the face, beard, cloak, and hat, using simplified color masses.

  4. step 04

    Begin refining the facial features, paying close attention to the highlights and shadows that define the form.

  5. step 05

    Develop the texture of the beard using small, broken brushstrokes and varying shades of white and gray.

  6. step 06

    Add details to the cloak and hat, focusing on the folds and creases that create a sense of depth.

  7. step 07

    Refine the overall composition, adjusting values and colors as needed to create a cohesive and balanced image.

  8. step 08

    Add final highlights and details to the face and clothing to enhance the realism and bring the portrait to life.

color palette

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

secondary · raw sienna · alizarin crimson · ultramarine blue

Mix various shades of brown and gray by combining burnt umber, ivory black, and titanium white. Use small amounts of yellow ochre and alizarin crimson to warm up the skin tones. Add ultramarine blue to darken shadows and create cooler tones.

techniques

  • ·portraiture
  • ·value studies
  • ·blending
  • ·scumbling
  • ·glazing

common pitfalls

  • →Getting the proportions wrong in the initial sketch.
  • →Overworking the details too early in the process.
  • →Failing to create a convincing sense of depth and form.
  • →Using colors that are too saturated or unnatural.
  • →Not paying enough attention to the lighting and shadows.

materials

surface · stretched canvas

required

  • ·stretched canvas 18x24
  • ·#2 round brush
  • ·#6 flat brush
  • ·burnt umber oil paint
  • ·ivory black oil paint
  • ·titanium white oil paint
  • ·linseed oil

optional

  • ·palette knife
  • ·medium gloss
  • ·odorless mineral spirits
  • ·painting easel

Use a medium-grain canvas for best results. Consider using a limited palette to simplify the color mixing process.

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

Portrait of James Wright

Portrait of James Wright

Thomas Eakins

Portrait of a lady

Portrait of a lady

Karl Gussow

Sisters

Sisters

Émile Auguste Hublin

Catching Up on the News

Catching Up on the News

Eastman Johnson

At the porter's room

At the porter's room

Vladimir Makovsky

Flowers and Fruit

Flowers and Fruit

Henri Fantin-Latour

Valle de México desde el Molino del Rey

Valle de México desde el Molino del Rey

Jose Maria Velasco

Self-Portrait II

Self-Portrait II

Mihaly Munkacsy