apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·Leszek I the White
Leszek I the White by Jan Matejko

plate no. 6873

Leszek I the White

Jan Matejko

oilRomanticismportraitportraitfiguremanclothingheadweararmor
some experience helpful

Recreating this painting will help students develop skills in portraiture, including accurate proportions and capturing likeness, as well as rendering textures in clothing and armor using layering and glazing techniques.

technical profile

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

study guide

est. 15 hrs

approach — 8 steps

  1. step 01

    Sketch the basic shapes and proportions of the figure, paying attention to the angle of the head and shoulders.

  2. step 02

    Establish the main light and shadow areas on the face and clothing using a thin wash of burnt umber or a similar neutral tone.

  3. step 03

    Begin layering in the skin tones, starting with the mid-tones and gradually building up the highlights and shadows.

  4. step 04

    Paint the hair, using a variety of brushstrokes to create texture and volume.

  5. step 05

    Block in the colors of the clothing and armor, paying attention to the patterns and details.

  6. step 06

    Refine the details of the face, including the eyes, nose, and mouth.

  7. step 07

    Add highlights and shadows to the clothing and armor to create a sense of depth and dimension.

  8. step 08

    Make final adjustments to the overall composition and color balance.

color palette

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

secondary · cadmium yellow · ultramarine blue · raw sienna

Mix skin tones using yellow ochre, burnt umber, and titanium white. Use ultramarine blue and burnt umber to create grays for the armor and clothing.

techniques

  • ·portraiture
  • ·glazing
  • ·layering
  • ·color mixing
  • ·rendering textures

common pitfalls

  • →Inaccurate proportions
  • →flat or lifeless skin tones
  • →overworking the details
  • →muddy colors
  • →lack of contrast

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·oil paints
  • ·palette
  • ·palette knife
  • ·assorted brushes
  • ·linseed oil
  • ·turpentine

optional

  • ·medium gloss
  • ·retouch varnish
  • ·easel
  • ·photo reference

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

Romantic Landscape

Romantic Landscape

Karl Lessing

Self-portrait with his brother Francesco

Self-portrait with his brother Francesco

Giuseppe Tominz

Oenone Refuse de Secourir Pâris au Siège de Troie

Oenone Refuse de Secourir Pâris au Siège de Troie

Léon Cogniet

Duke of Alba

Duke of Alba

Francisco Goya

Blick Aus Dem Wald Ins Tal

Blick Aus Dem Wald Ins Tal

Andreas Achenbach

Young Girl Fixing Her Hair

Young Girl Fixing Her Hair

Sophie Gengembre Anderson

The Plough Inn

The Plough Inn

William Shayer

Hudson River Landscape

Hudson River Landscape

Johann Hermann Carmiencke