apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·Georg Spalatin
Georg Spalatin by Lucas Cranach the Elder

plate no. 7105

Georg Spalatin

Lucas Cranach the Elder, 1509

oilNorthern Renaissanceportraitportraitfiguremanhairclothingrenaissance
some experience helpful

Recreating this painting will help students develop skills in portraiture, including accurate proportions, subtle skin tone variations, and rendering realistic fabric folds. It also provides practice in creating a smooth, blended finish.

technical profile

palette complexity
3
brushwork visibility
2
value contrast
3
compositional simplicity
4

study guide

est. 15 hrs

approach — 8 steps

  1. step 01

    Lightly sketch the basic shapes and proportions of the head, shoulders, and clothing.

  2. step 02

    Block in the background with a dark, even tone.

  3. step 03

    Establish the main skin tones using a limited palette of earth tones and white.

  4. step 04

    Begin layering and blending the skin tones, paying attention to subtle variations in color and value.

  5. step 05

    Paint the hair, focusing on the overall shape and volume before adding individual strands.

  6. step 06

    Render the clothing, paying attention to the folds and highlights.

  7. step 07

    Add details such as the eyes, nose, and mouth, refining the likeness.

  8. step 08

    Add the text in the upper corners with a fine brush.

color palette

primary · ivory black · raw umber · burnt sienna · titanium white

secondary · yellow ochre · ultramarine blue · cadmium red light

Mix skin tones by blending white with small amounts of raw umber, burnt sienna, and yellow ochre. Use ultramarine blue to cool down the skin tones in shadow areas. For the hair, mix burnt sienna with yellow ochre and a touch of red.

techniques

  • ·portraiture
  • ·glazing
  • ·blending
  • ·scumbling
  • ·value studies

common pitfalls

  • →Getting the proportions wrong in the initial sketch.
  • →Overworking the skin tones and creating a muddy effect.
  • →Failing to capture the likeness of the subject.
  • →Making the hair look flat and lifeless.

materials

surface · stretched canvas

required

  • ·Stretched canvas (12x16 inches)
  • ·Oil paints (ivory black, raw umber, burnt sienna, titanium white, yellow ochre, ultramarine blue, cadmium red light)
  • ·Palette
  • ·Assorted brushes (round and flat)
  • ·Linseed oil
  • ·Odorless mineral spirits
  • ·Palette knife

optional

  • ·medium gloss
  • ·retouch varnish
  • ·easel

Use high-quality oil paints for best results. Consider using a medium to improve the flow of the paint and reduce brushstrokes.

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

Aristotle

Aristotle

Justus van Gent

The Man of Sorrows with the Virgin Mary and St. John the Evangelist

The Man of Sorrows with the Virgin Mary and St. John the Evangelist

Martin Schongauer

The pride of the beggar sitting on the train of haughtiness

The pride of the beggar sitting on the train of haughtiness

Albrecht Altdorfer

Adoration of the Magi

Adoration of the Magi

Quentin Matsys

Christ on the Cross

Christ on the Cross

Albrecht Altdorfer

Frühling - Das Bereiten Der Blumenbeete

Frühling - Das Bereiten Der Blumenbeete

Pieter Brueghel the Younger

Group of Men

Group of Men

Rogier van der Weyden

Madonna and Child Holding a Pear

Madonna and Child Holding a Pear

Bernard Van Orley