apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·King George V
King George V by Solomon Joseph Solomon

plate no. 5156

King George V

Solomon Joseph Solomon

oilImpressionismportraitportraitfiguremanclothingfacemustache
some experience helpful

Recreating this painting will help students develop skills in portraiture, particularly in capturing likeness and using a limited palette to create subtle variations in skin tone and form. It also provides practice in loose, expressive brushwork.

technical profile

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

study guide

est. 10 hrs

approach — 8 steps

  1. step 01

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

  2. step 02

    Establish the background color with a thin wash of raw umber and ochre.

  3. step 03

    Block in the main areas of shadow and light on the face and clothing using a mix of browns, reds, and white.

  4. step 04

    Refine the facial features, paying close attention to the shapes of the eyes, nose, and mouth.

  5. step 05

    Add details to the hair, mustache, and clothing, using small, deliberate brushstrokes.

  6. step 06

    Introduce subtle color variations to the skin tones, using a mix of reds, yellows, and blues.

  7. step 07

    Soften edges and blend colors where necessary to create a sense of form and depth.

  8. step 08

    Add final highlights and details to complete the painting.

color palette

primary · raw umber · burnt sienna · titanium white

secondary · yellow ochre · cadmium red light · ultramarine blue

Achieve skin tones by mixing white with small amounts of burnt sienna, raw umber, and cadmium red. Use ultramarine blue to cool down the skin tones in shadow areas.

techniques

  • ·dry brush texture
  • ·scumbling
  • ·alla prima
  • ·color mixing
  • ·portraiture

common pitfalls

  • →Overworking the painting and losing the loose, expressive brushwork.
  • →Getting the proportions of the face wrong.
  • →Using too much detail in the background.
  • →Creating muddy colors by overmixing.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·raw umber oil paint
  • ·burnt sienna oil paint
  • ·titanium white oil paint
  • ·yellow ochre oil paint
  • ·cadmium red light oil paint
  • ·ultramarine blue oil paint
  • ·assorted brushes (round and flat)

optional

  • ·palette knife
  • ·linseed oil
  • ·odorless mineral spirits

Use a medium-grain canvas for best results. Consider toning the canvas with a thin wash of raw umber before starting.

tips & new artworks in your inbox

no spam — unsubscribe anytime.

or to save artworks, chat, and track progress

related guides

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

in this vein

related artworks

View of the Bosphorus and Rumeli Hisarı

View of the Bosphorus and Rumeli Hisarı

Sevket Dag

Paysage du Midi

Paysage du Midi

Armand Guillaumin

Self-Portrait

Self-Portrait

Frederic Bazille

Tip of the Bay

Tip of the Bay

Max Kurzweil

Long Stemmed Lovelies

Long Stemmed Lovelies

Pino Daeni

At Rosetta, Lower Egypt

At Rosetta, Lower Egypt

John Varley II

House from Oltenia

House from Oltenia

Theodor Pallady

Jewish quarter in Amsterdam

Jewish quarter in Amsterdam

Max Liebermann