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home·artworks·Girl with yellow shawl
Girl with yellow shawl by Vittorio Matteo Corcos

plate no. 4600

Girl with yellow shawl

Vittorio Matteo Corcos

oil, canvasRealismportraitportraitfiguregirlshawlclothingflowers
some experience helpful

Recreating this painting will help students develop skills in portraiture, including accurate proportions, skin tone mixing, and rendering fabric textures. It also provides practice in creating a sense of depth and form through subtle value changes.

technical profile

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

study guide

est. 15 hrs

approach — 8 steps

  1. step 01

    Sketch the basic proportions of the figure and the main shapes of the shawl and clothing.

  2. step 02

    Establish the background color with a thin wash of paint.

  3. step 03

    Block in the main areas of color for the skin, hair, shawl, and clothing, focusing on accurate values.

  4. step 04

    Begin refining the facial features, paying close attention to the highlights and shadows that define the form.

  5. step 05

    Develop the folds and textures of the shawl, using a combination of blending and layering techniques.

  6. step 06

    Add the details of the clothing, including the polka dots and any subtle patterns.

  7. step 07

    Paint the small flowers, focusing on their delicate shapes and colors.

  8. step 08

    Refine the overall painting, adjusting values and adding details as needed to create a sense of realism.

color palette

primary · titanium white · yellow ochre · burnt umber · cadmium yellow

secondary · ultramarine blue · alizarin crimson · raw sienna

Skin tones can be achieved by mixing titanium white, yellow ochre, burnt umber, and a touch of alizarin crimson. The yellow shawl is primarily cadmium yellow mixed with a touch of white and yellow ochre. The blue dots are ultramarine blue lightened with white.

techniques

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

common pitfalls

  • →Getting the proportions of the face wrong.
  • →Over-blending the skin tones, resulting in a flat, lifeless appearance.
  • →Failing to capture the subtle value changes that create form.
  • →Making the colors too saturated or unrealistic.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·titanium white oil paint
  • ·yellow ochre oil paint
  • ·burnt umber oil paint
  • ·cadmium yellow oil paint
  • ·ultramarine blue oil paint
  • ·alizarin crimson oil paint
  • ·assorted brushes (round and flat)

optional

  • ·palette knife
  • ·linseed oil
  • ·turpentine
  • ·medium gloss

Use high-quality oil paints for best results. A medium-grain canvas is recommended.

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