apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·Cover Design for G. Stein's Picasso
Cover Design for G. Stein's Picasso by Aydin Aghdashloo

plate no. 7959

Cover Design for G. Stein's Picasso

Aydin Aghdashloo

gouache, paperContemporary Realismportraitportraitfacemanheadfigure
some experience helpful

Recreating this painting will help students develop skills in color mixing for skin tones and layering brushstrokes to create form and texture. It also encourages observation of subtle value changes and the use of color to define planes.

technical profile

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

study guide

est. 12 hrs

approach — 8 steps

  1. step 01

    Lightly sketch the basic shapes and proportions of the face and head.

  2. step 02

    Block in the main areas of light and shadow with thin washes of color.

  3. step 03

    Begin layering colors to build up the skin tones, focusing on the warm and cool areas.

  4. step 04

    Define the features of the face, such as the eyes, nose, and mouth, with more detail.

  5. step 05

    Add the colorful abstract shapes on the right side of the face, paying attention to their placement and color relationships.

  6. step 06

    Refine the edges and details of the painting, adding highlights and shadows as needed.

  7. step 07

    Adjust the overall color balance and value contrast to create a cohesive image.

  8. step 08

    Add final details and touch-ups to complete the painting.

color palette

primary · raw sienna · burnt umber · titanium white

secondary · ultramarine blue · yellow ochre · cadmium red light · sap green

Mix various combinations of raw sienna, burnt umber, and titanium white to achieve different skin tones. Use ultramarine blue and burnt umber to create grays for shadows. Mix secondary colors to add vibrancy to the abstract shapes.

techniques

  • ·color layering
  • ·dry brushing
  • ·scumbling
  • ·color mixing
  • ·glazing

common pitfalls

  • →Overmixing colors, resulting in muddy tones.
  • →Failing to accurately capture the proportions of the face.
  • →Applying paint too thickly, obscuring the underlying layers.
  • →Ignoring the subtle value changes in the skin tones.

materials

surface · watercolor paper 140lb

required

  • ·Gouache paints
  • ·Watercolor paper
  • ·Round brushes (various sizes)
  • ·Flat brushes (various sizes)
  • ·Palette
  • ·Water container
  • ·Paper towels
  • ·Pencil

optional

  • ·Palette knife
  • ·Masking tape
  • ·Easel

Use high-quality gouache paints for best results. Experiment with different brush sizes and shapes to achieve various effects.

tips & new artworks in your inbox

no spam — unsubscribe anytime.

or to save artworks, chat, and track progress

related guides

how to learn by studying the masters →
chat about this artwork

in this vein

related artworks

Fifth Ave

Fifth Ave

Pietropoli Patrick

July

July

Fairfield Porter

Tresco

Tresco

John Miller

Pope John Paul II

Pope John Paul II

Nelson Shanks

Dog and Groom

Dog and Groom

Alex Colville

Beach with Palm

Beach with Palm

John Miller

Au Wihlering II

Au Wihlering II

Gazmend Freitag

Dan Cowan

Dan Cowan

Richard Whitney