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home·artworks·John Loughborough Pearson
John Loughborough Pearson by John Pettie

plate no. 0538

John Loughborough Pearson

John Pettie, 1887

oilRomanticismportraitportraitmanbeardsuitfacehair
some experience helpful

Recreating this portrait will help students develop skills in portraiture, including capturing likeness, rendering realistic skin tones, and creating depth through layering and blending. It also provides practice in depicting textures like hair and fabric.

technical profile

palette complexity
4
brushwork visibility
4
value contrast
3
compositional simplicity
5

study guide

est. 15 hrs

approach — 8 steps

  1. step 01

    Lightly sketch the oval shape and the basic proportions of the head, shoulders, and facial features.

  2. step 02

    Block in the main areas of color: the background, skin tones, hair/beard, and clothing.

  3. step 03

    Begin refining the skin tones by layering different shades of warm and cool colors, paying attention to highlights and shadows.

  4. step 04

    Work on the hair and beard, using short, directional brushstrokes to create texture and volume.

  5. step 05

    Define the features of the face, such as the eyes, nose, and mouth, with careful attention to detail.

  6. step 06

    Add details to the clothing, such as the collar and lapel, using darker values to create contrast.

  7. step 07

    Refine the background, blending the colors to create a soft, atmospheric effect.

  8. step 08

    Add final highlights and shadows to enhance the overall realism of the portrait.

color palette

primary · yellow ochre · burnt umber · titanium white · ivory black

secondary · cadmium red · ultramarine blue

Mix skin tones using yellow ochre, burnt umber, cadmium red, and titanium white. Use ultramarine blue and burnt umber to create the dark tones in the suit. Mix white with a touch of black and yellow ochre for the grey hair.

techniques

  • ·layering
  • ·blending
  • ·dry brushing
  • ·scumbling
  • ·glazing

common pitfalls

  • →Overblending skin tones, resulting in a flat, lifeless appearance.
  • →Using too much black, which can make the painting look muddy.
  • →Neglecting the subtle variations in color and value.
  • →Getting the proportions wrong, which can distort the likeness.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·yellow ochre oil paint
  • ·burnt umber oil paint
  • ·titanium white oil paint
  • ·ivory black oil paint
  • ·#4 round brush
  • ·#6 flat brush
  • ·linseed oil

optional

  • ·palette knife
  • ·medium gloss
  • ·retouch varnish

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

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