apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·Edward Alexander Wadsworth
Edward Alexander Wadsworth by Edward Wadsworth

plate no. 2099

Edward Alexander Wadsworth

Edward Wadsworth, 1937

oilPost-Impressionismself-portraitportraitfiguremanberetfaceclothing
some experience helpful

Recreating this painting will help students develop skills in portraiture, color mixing for skin tones, and creating form through subtle value changes. It also provides practice in rendering textures and details in clothing and accessories.

technical profile

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

study guide

est. 15 hrs

approach — 8 steps

  1. step 01

    Sketch the basic shapes and proportions of the head, shoulders, and beret.

  2. step 02

    Establish the background color with a thin wash.

  3. step 03

    Block in the main areas of light and shadow on the face and neck using a limited palette.

  4. step 04

    Refine the skin tones by layering and blending colors, paying attention to subtle variations.

  5. step 05

    Add details to the eyes, nose, and mouth, focusing on capturing the likeness.

  6. step 06

    Paint the beret, rendering its texture and form with careful brushstrokes.

  7. step 07

    Define the clothing, paying attention to the folds and shadows.

  8. step 08

    Add final highlights and details to complete the painting.

color palette

primary · yellow ochre · burnt sienna · ultramarine blue · titanium white

secondary · cadmium red · ivory black

Achieve skin tones by mixing yellow ochre, burnt sienna, and titanium white. Add small amounts of cadmium red for warmth and ultramarine blue for shadows. The background is a mix of ultramarine blue and ivory black with a touch of white.

techniques

  • ·color mixing
  • ·layering
  • ·blending
  • ·scumbling
  • ·portraiture

common pitfalls

  • →Oversimplifying the skin tones and losing the subtle variations.
  • →Getting the proportions wrong in the initial sketch.
  • →Using too much paint and creating a muddy effect.
  • →Ignoring the importance of light and shadow in creating form.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·oil paints (yellow ochre, burnt sienna, ultramarine blue, titanium white, cadmium red, ivory black)
  • ·palette
  • ·palette knife
  • ·assorted brushes (round and flat)
  • ·linseed oil
  • ·turpentine or odorless mineral spirits

optional

  • ·medium gloss
  • ·retouch varnish
  • ·easel

Use high-quality oil paints for best results. A medium-grain canvas is recommended.

tips & new artworks in your inbox

no spam — unsubscribe anytime.

or to save artworks, chat, and track progress

related guides

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

in this vein

related artworks

The Dinner Party

The Dinner Party

Jules-Alexandre Grun

La Fleuriste

La Fleuriste

Le Pho

Family on Vacation

Family on Vacation

Roman Selsky

Old wooden cottage in the snow

Old wooden cottage in the snow

Alfred Freddy Krupa

Paris Street

Paris Street

Maurice Utrillo

Grand bouquet of mimosa

Grand bouquet of mimosa

Moise Kisling

Versailles

Versailles

Alexandre Benois

Autumn Landscape with Birches

Autumn Landscape with Birches

Konstantin Gorbatov