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home·artworks·Loves Me, Loves Me Not
Loves Me, Loves Me Not by Ethel Carrick

plate no. 4644

Loves Me, Loves Me Not

Ethel Carrick, 1909

oilImpressionismportraitfigureportraitleavesdressflowerfoliage
some experience helpful

Recreating this painting will help students develop skills in portrait painting, capturing light and shadow on fabric, and using broken color to create texture and depth. It also provides practice in depicting foliage with varied greens and yellows.

technical profile

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

study guide

est. 15 hrs

approach — 8 steps

  1. step 01

    Sketch the basic composition, focusing on the figure's pose and the placement of the foliage.

  2. step 02

    Establish the background foliage using a variety of green and yellow hues, applying broken color with visible brushstrokes.

  3. step 03

    Block in the figure's skin tones, paying attention to the light and shadow on the face and hands.

  4. step 04

    Start building the form of the dress, using light and shadow to create folds and volume.

  5. step 05

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

  6. step 06

    Add the pink ribbons and the flower, paying attention to their color and form.

  7. step 07

    Adjust the overall values and colors to create a sense of harmony and balance.

  8. step 08

    Add final details and highlights to complete the painting.

color palette

primary · titanium white · viridian green · yellow ochre · burnt umber

secondary · cadmium yellow · alizarin crimson · raw sienna

Mix various greens by combining viridian green with yellow ochre and cadmium yellow. Achieve skin tones by blending titanium white, burnt umber, and alizarin crimson. Use white to lighten colors and create highlights.

techniques

  • ·broken color
  • ·scumbling
  • ·alla prima
  • ·portraiture
  • ·color mixing

common pitfalls

  • →Overblending the colors, resulting in a flat and lifeless appearance.
  • →Ignoring the subtle variations in color and value, leading to a lack of depth.
  • →Getting bogged down in details too early in the process.
  • →Not paying enough attention to the light and shadow on the figure's face and clothing.

materials

surface · stretched canvas

required

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

optional

  • ·medium gloss
  • ·easel
  • ·color wheel

Use a medium-sized canvas to allow for sufficient detail. 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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