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home·artworks·Emily Patmore
Emily Patmore by John Everett Millais

plate no. 8873

Emily Patmore

John Everett Millais, 1851

oil, canvasRealismportraitportraitfigurewomanclothingflowershair
some experience helpful

Recreating this painting will help students develop skills in portraiture, including accurate proportions and subtle value gradations to create form. It also provides practice in rendering fabric and floral details.

technical profile

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

study guide

est. 15 hrs

approach — 8 steps

  1. step 01

    Begin with a light sketch to establish the proportions and placement of the figure, head, and main features.

  2. step 02

    Block in the main shapes and values using thin washes of color, focusing on the overall composition.

  3. step 03

    Develop the skin tones by layering and blending colors, paying attention to highlights and shadows.

  4. step 04

    Refine the details of the eyes, nose, and mouth, capturing the likeness of the subject.

  5. step 05

    Paint the hair, using short, directional brushstrokes to create texture and volume.

  6. step 06

    Render the clothing, focusing on the folds and drapery, and the texture of the fabric.

  7. step 07

    Add the details of the lace collar, bow, and flowers, paying attention to their delicate forms.

  8. step 08

    Adjust the overall values and colors to create a harmonious and balanced composition.

color palette

primary · ivory black · titanium white · cadmium red light · yellow ochre

secondary · raw umber · alizarin crimson · viridian

Skin tones are achieved by mixing white, yellow ochre, and cadmium red light, with touches of raw umber for shadows. The black background is a mix of ivory black and raw umber. The pink bow is a mix of white and cadmium red light, with alizarin crimson for depth.

techniques

  • ·portrait sketching
  • ·value mapping
  • ·color layering
  • ·blending
  • ·rendering fabric

common pitfalls

  • →Incorrect proportions leading to a poor likeness.
  • →Over-blending resulting in a flat, lifeless appearance.
  • →Ignoring subtle value changes in the skin tones.
  • →Getting lost in details too early before establishing the overall composition.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·ivory black oil paint
  • ·titanium white oil paint
  • ·cadmium red light oil paint
  • ·yellow ochre oil paint
  • ·round brushes (sizes 2, 4, 6)
  • ·palette

optional

  • ·palette knife
  • ·linseed oil
  • ·medium gloss
  • ·raw umber oil paint

Use high-quality oil paints for best results. A smooth canvas surface will facilitate blending.

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