apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·King Charles II in Boscobel Wood
King Charles II in Boscobel Wood by Isaac Fuller

plate no. 1895

King Charles II in Boscobel Wood

Isaac Fuller, 1669

oilBaroqueportraitfigurestreesforestportraitclothinglandscape
some experience helpful

Recreating this painting will help students develop skills in portraiture, including capturing likeness and rendering clothing folds, as well as understanding atmospheric perspective in a landscape setting.

technical profile

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

study guide

est. 20 hrs

approach — 8 steps

  1. step 01

    Create a rough sketch of the composition, focusing on the placement and proportions of the figures and the main tree trunks.

  2. step 02

    Establish the background using thin washes of browns and greens, creating a sense of depth and atmosphere.

  3. step 03

    Block in the basic shapes and colors of the figures, paying attention to the light and shadow patterns.

  4. step 04

    Refine the facial features and details of the figures, using smaller brushes and more precise strokes.

  5. step 05

    Develop the textures of the clothing and foliage, using a variety of brushstrokes and techniques.

  6. step 06

    Add highlights and shadows to create depth and dimension in the painting.

  7. step 07

    Glaze thin layers of color over the painting to unify the composition and enhance the colors.

  8. step 08

    Add final details and adjustments to complete the painting.

color palette

primary · raw umber · yellow ochre · Prussian blue

secondary · titanium white · burnt sienna · ivory black

Achieve the muted tones by mixing earth tones with white and small amounts of blue. Use glazes of burnt sienna and raw umber to create depth and shadows.

techniques

  • ·underpainting
  • ·glazing
  • ·chiaroscuro
  • ·scumbling
  • ·dry brushing

common pitfalls

  • →Overworking the details too early
  • →Failing to establish a strong value structure
  • →Ignoring the importance of atmospheric perspective
  • →Using colors that are too saturated

materials

surface · stretched canvas

required

  • ·Stretched canvas 18x24
  • ·Oil paints (raw umber, yellow ochre, Prussian blue, titanium white, burnt sienna, ivory black)
  • ·Linseed oil
  • ·Odorless mineral spirits
  • ·Assorted brushes (round, flat, filbert)
  • ·Palette
  • ·Palette knife
  • ·Rags

optional

  • ·Retouch varnish
  • ·Medium (e.g., Liquin)

Use a medium-tooth canvas for best results. Allow each layer of paint to dry before applying the next.

tips & new artworks in your inbox

no spam — unsubscribe anytime.

or to save artworks, chat, and track progress

related guides

oil painting for beginners →chiaroscuro →how to learn by studying the masters →
chat about this artwork

in this vein

related artworks

Girl with a Straw Hat

Girl with a Straw Hat

Judith Leyster

Gezicht Op De Laurenskerk Gezien Vanuit Noordoosten

Gezicht Op De Laurenskerk Gezien Vanuit Noordoosten

Abraham Storck

Bathsheba Bathing

Bathsheba Bathing

Francesco Solimena

Repentant Peter

Repentant Peter

Guido Reni

Itinerant Musicians

Itinerant Musicians

Jacob Ochtervelt

Marie Christine

Marie Christine

Marcello Bacciarelli

Santa Cecilia E Due Angeli

Santa Cecilia E Due Angeli

Giulio Cesare Procaccini

Scene from the Life of Saint Benedict

Scene from the Life of Saint Benedict

Philippe de Champaigne