plate no. 9114
Frederic Francois Burghard
William Logsdail, 1914
some experience helpful
This painting provides a good exercise in rendering realistic skin tones and fabric textures. Students can practice subtle value changes to create form and depth.
technical profile
palette complexity
3
brushwork visibility
3
value contrast
3
compositional simplicity
4
study guide
est. 15 hrsapproach — 8 steps
- step 01
Sketch the basic proportions and pose of the figure, paying attention to the placement of key features.
- step 02
Establish the background color with a thin wash of burnt umber and red.
- step 03
Block in the main areas of the figure: face, clothing, and hands, using simplified shapes and values.
- step 04
Begin refining the skin tones, mixing subtle variations of color for highlights and shadows.
- step 05
Develop the details of the clothing, focusing on the folds and textures of the fabric.
- step 06
Add details to the face, including the eyes, nose, and mouth, paying close attention to the light and shadow.
- step 07
Refine the hands and gloves, adding details such as wrinkles and creases.
- step 08
Make final adjustments to the overall composition, ensuring that the values and colors are balanced.
color palette
primary · burnt umber · titanium white · cadmium red
secondary · ultramarine blue · yellow ochre
Mix skin tones by combining burnt umber, cadmium red, and titanium white. Use ultramarine blue and burnt umber to create the dark tones in the clothing.
techniques
- ·blending
- ·scumbling
- ·glazing
- ·value studies
- ·portraiture
common pitfalls
- →Overworking the details too early in the process.
- →Failing to establish a strong value structure.
- →Using colors that are too saturated or unnatural.
- →Ignoring the subtle variations in skin tone.
materials
surface · stretched canvas
required
- ·stretched canvas
- ·oil paints (burnt umber, titanium white, cadmium red, ultramarine blue, yellow ochre)
- ·linseed oil
- ·turpentine
- ·assorted brushes (round and flat)
- ·palette
- ·palette knife
optional
- ·retouch varnish
- ·medium (e.g. Liquin)
Use a medium-grain canvas for best results. Consider using a limited palette to simplify the color mixing process.
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