apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·First Day at the Orphanage
First Day at the Orphanage by Thérèse Schwartze

plate no. 3992

First Day at the Orphanage

Thérèse Schwartze, 1906

oilRealismportraitportraitfiguregirlheadscarfclothingchild
some experience helpful

Recreating this painting will help students develop skills in portraiture, particularly in capturing subtle skin tones and rendering fabric textures. It also provides practice in creating a focal point through careful use of light and shadow.

technical profile

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

study guide

est. 12 hrs

approach — 8 steps

  1. step 01

    Sketch the basic shapes of the head, headscarf, and clothing, paying attention to proportions.

  2. step 02

    Establish the background with a muted green-brown mix, using loose brushstrokes.

  3. step 03

    Block in the main areas of color: skin tones, red and black clothing, and white headscarf.

  4. step 04

    Begin refining the skin tones, layering light and shadow to create form.

  5. step 05

    Develop the details of the headscarf, paying attention to the folds and highlights.

  6. step 06

    Refine the clothing, adding subtle variations in color and texture.

  7. step 07

    Add the final details, such as the eyes, lips, and any stray hairs.

  8. step 08

    Glaze to unify the painting and adjust values as needed.

color palette

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

secondary · burnt umber · ultramarine blue · raw sienna

Skin tones are achieved by mixing white, yellow ochre, and a touch of red. The background is a mix of burnt umber, black, and a touch of green. The red is muted with a touch of black or umber.

techniques

  • ·portraiture
  • ·blending
  • ·layering
  • ·scumbling
  • ·glazing

common pitfalls

  • →Overworking the skin tones, resulting in a flat or lifeless appearance.
  • →Failing to capture the subtle variations in color and value.
  • →Ignoring the importance of the background in creating depth and atmosphere.
  • →Getting the proportions wrong in the initial sketch.

materials

surface · stretched oval canvas

required

  • ·stretched canvas (12x16 inch oval)
  • ·titanium white oil paint
  • ·ivory black oil paint
  • ·cadmium red light oil paint
  • ·yellow ochre oil paint
  • ·burnt umber oil paint
  • ·round brushes (sizes 2, 4, 6)
  • ·linseed oil

optional

  • ·palette knife
  • ·medium (e.g. Liquin)
  • ·turpentine

A smooth canvas surface is recommended for easier blending. Consider using a toned ground to simplify the initial stages.

tips & new artworks in your inbox

no spam — unsubscribe anytime.

or to save artworks, chat, and track progress

related guides

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

in this vein

related artworks

Portrait of James Wright

Portrait of James Wright

Thomas Eakins

Portrait of a lady

Portrait of a lady

Karl Gussow

Sisters

Sisters

Émile Auguste Hublin

Catching Up on the News

Catching Up on the News

Eastman Johnson

At the porter's room

At the porter's room

Vladimir Makovsky

Flowers and Fruit

Flowers and Fruit

Henri Fantin-Latour

Valle de México desde el Molino del Rey

Valle de México desde el Molino del Rey

Jose Maria Velasco

Self-Portrait II

Self-Portrait II

Mihaly Munkacsy