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Lily Sterling by Tom Roberts

plate no. 6170

Lily Sterling

Tom Roberts, 1890

oilImpressionismportraitportraitfiguregirlhatclothingbackground
some experience helpful

Recreating this painting will help students develop skills in portraiture, particularly capturing likeness and subtle color variations in skin tones and clothing. It also provides practice in impressionistic brushwork and creating soft, diffused light effects.

technical profile

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

study guide

est. 12 hrs

approach — 8 steps

  1. step 01

    Sketch the basic shapes and proportions of the figure, focusing on the head, hat, and body.

  2. step 02

    Block in the background with broad strokes of green and brown, creating a sense of depth.

  3. step 03

    Establish the main areas of light and shadow on the figure's face and clothing using thin washes of color.

  4. step 04

    Begin building up the skin tones with subtle layers of pink, yellow, and white, paying attention to the highlights and shadows.

  5. step 05

    Paint the hat and clothing, capturing the texture and folds with loose, expressive brushstrokes.

  6. step 06

    Add details to the face, such as the eyes, nose, and mouth, using small, precise strokes.

  7. step 07

    Refine the background and foreground, adding details and adjusting the values to create a sense of atmosphere.

  8. step 08

    Add final touches and highlights to complete the painting.

color palette

primary · titanium white · yellow ochre · raw umber · viridian

secondary · cadmium red light · ultramarine blue · ivory black

Mix various shades of white with small amounts of yellow ochre, raw umber, and cadmium red to create the skin tones. Use viridian and raw umber to create the green background. Add ultramarine blue to white to create the hat and clothing.

techniques

  • ·broken color
  • ·scumbling
  • ·dry brushing
  • ·glazing
  • ·alla prima

common pitfalls

  • →Overworking the details and losing the impressionistic feel.
  • →Using too much white and creating a chalky effect.
  • →Failing to capture the subtle color variations in the skin tones.
  • →Incorrect proportions in the initial sketch.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·titanium white oil paint
  • ·yellow ochre oil paint
  • ·raw umber oil paint
  • ·viridian oil paint
  • ·cadmium red light oil paint
  • ·ultramarine blue oil paint
  • ·assorted brushes

optional

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

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

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related guides

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