plate no. 6231

Elizabeth II, in Full Regalia on 7 April 1964, Granting the Charter to the Newly Created London Borough of Kingston Upon Thames (the Right to Be a 'Royal' Borough)

Arthur Pan, 1963

oil, canvasRealismportraitportraitfigureregaliacrowndressbackground

advanced study

Recreating this painting will help students develop skills in portraiture, rendering complex textures and fabrics, and understanding light and shadow on a human figure. It also provides practice in detailed brushwork and color mixing to achieve realistic skin tones and fabric details.

technical profile

palette complexity

brushwork visibility

value contrast

compositional simplicity

study guide

est. 40 hrs

approach — 8 steps

step 01
Create a preliminary sketch outlining the main shapes and proportions of the figure, chair, and background.
step 02
Establish the basic values and color blocks for the background, figure, and clothing.
step 03
Begin refining the facial features, paying close attention to accurate proportions and subtle value changes.
step 04
Develop the details of the dress, crown, and other regalia, focusing on capturing the textures and patterns.
step 05
Work on the drapery and background details, adding depth and dimension to the composition.
step 06
Refine the light and shadow areas, creating a sense of volume and form.
step 07
Add final details and highlights to enhance the realism and visual impact of the painting.
step 08
Varnish the painting to protect it and enhance the colors.

color palette

primary · titanium white · yellow ochre · ultramarine blue · alizarin crimson

secondary · burnt umber · cadmium yellow · viridian

Achieve skin tones by mixing titanium white, yellow ochre, and alizarin crimson, adjusting proportions for highlights and shadows. Create fabric colors by mixing primary colors with white and umber for muted tones.

techniques

·portraiture
·fabric rendering
·glazing
·scumbling
·color mixing

common pitfalls

→Inaccurate proportions of the figure and facial features.
→Oversimplifying the complex textures and patterns of the clothing.
→Failing to capture the subtle value changes in the skin tones.
→Ignoring the importance of light and shadow in creating form.

materials

surface · stretched canvas

required

·stretched canvas 24x36
·oil paints (titanium white, yellow ochre, ultramarine blue, alizarin crimson, burnt umber, cadmium yellow, viridian)
·assorted brushes (round, flat, filbert)
·palette
·palette knife
·linseed oil
·turpentine
·rags