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home·artworks·Dr Andrew Gifford (1700–1784), Assistant Librarian (1756–1784)
Dr Andrew Gifford (1700–1784), Assistant Librarian (1756–1784) by John Russell

plate no. 7386

Dr Andrew Gifford (1700–1784), Assistant Librarian (1756–1784)

John Russell, 1774

oilRococoportraitportraitfiguremanwigclothingdocument
some experience helpful

Recreating this painting will help students develop skills in portraiture, including accurate proportions, skin tone mixing, and rendering of fabrics. It also provides practice in creating a sense of depth and form through subtle value changes.

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

    Sketch the basic oval composition and the figure's pose, paying attention to proportions.

  2. step 02

    Block in the main areas of color: background, clothing, skin, and wig.

  3. step 03

    Begin refining the skin tones, mixing subtle variations of color and value.

  4. step 04

    Develop the details of the face, focusing on the eyes, nose, and mouth.

  5. step 05

    Add details to the wig, using highlights and shadows to create volume.

  6. step 06

    Refine the clothing, paying attention to the folds and drapery.

  7. step 07

    Paint the hand and the document, adding subtle details.

  8. step 08

    Add final highlights and shadows to enhance the sense of depth and form.

color palette

primary · ivory black · raw umber · titanium white · cadmium red light

secondary · yellow ochre · burnt sienna

Skin tones are achieved by mixing white, red, yellow ochre, and a touch of umber. The background is primarily raw umber with subtle variations. Black is used for the clothing, lightened with white for highlights.

techniques

  • ·portrait painting
  • ·glazing
  • ·scumbling
  • ·blending
  • ·value studies

common pitfalls

  • →Incorrect proportions in the initial sketch.
  • →Overmixing skin tones, resulting in a muddy appearance.
  • →Failing to create a sense of depth and form through value changes.
  • →Getting lost in details before establishing the overall composition.

materials

surface · stretched canvas

required

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

optional

  • ·palette knife
  • ·linseed oil
  • ·odorless mineral spirits
  • ·medium gloss

Use high-quality oil paints for best results. A medium-tooth canvas will provide a good surface for blending and layering.

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oil painting for beginners →how to learn by studying the masters →
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