apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·George B. Cox
George B. Cox by Henry Mosler

plate no. 9164

George B. Cox

Henry Mosler

oilRealismportraitportraitfiguremanclothingsuitbow tie
some experience helpful

Recreating this portrait will help students develop skills in portrait proportions, rendering form with subtle value changes, and creating realistic skin tones. It will also provide practice in painting clothing and details like the bow tie and chain.

technical profile

palette complexity
3
brushwork visibility
3
value contrast
3
compositional simplicity
5

study guide

est. 15 hrs

approach — 8 steps

  1. step 01

    Sketch the basic proportions of the head and shoulders, paying attention to the placement of features.

  2. step 02

    Establish the overall value structure with a thin wash of burnt umber or a similar earth tone.

  3. step 03

    Block in the main areas of color: skin, hair, suit, and background.

  4. step 04

    Refine the skin tones by layering and blending different shades of flesh color.

  5. step 05

    Add details to the face, such as the eyes, nose, and mouth, focusing on accurate shapes and values.

  6. step 06

    Paint the suit and bow tie, paying attention to the folds and highlights.

  7. step 07

    Refine the background, ensuring it complements the figure without distracting from it.

  8. step 08

    Add final details, such as the hair highlights and the chain.

color palette

primary · ivory black · raw umber · titanium white · cadmium red light

secondary · yellow ochre · ultramarine blue

Mix skin tones by blending white, red, yellow ochre, and a touch of umber. Use black and umber for the suit, adding white for highlights. The background is a mix of umber, black, and a touch of blue.

techniques

  • ·portrait sketching
  • ·value blocking
  • ·layering
  • ·blending
  • ·glazing

common pitfalls

  • →Getting the proportions wrong in the initial sketch.
  • →Over-blending the skin tones, resulting in a flat, lifeless appearance.
  • →Making the values too uniform, lacking contrast and depth.
  • →Neglecting the details, which can add realism and character.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·oil paints
  • ·palette
  • ·palette knife
  • ·assorted brushes
  • ·linseed oil
  • ·odorless mineral spirits

optional

  • ·medium gloss
  • ·varnish
  • ·easel

Use a medium-grain canvas for best results. Consider using a limited palette to simplify the color mixing process.

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