apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·May Margaret
May Margaret by Frederick Sandys

plate no. 7317

May Margaret

Frederick Sandys, 1866

oil, canvasRomanticismportraitportraitfigurehairflowersclothingjewelry
some experience helpful

Recreating this painting will help students develop skills in portraiture, including capturing likeness and rendering skin tones, as well as practicing subtle blending techniques to create soft transitions.

technical profile

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

study guide

est. 20 hrs

approach — 8 steps

  1. step 01

    Sketch the basic composition, focusing on the proportions of the figure and the placement of key elements.

  2. step 02

    Block in the main areas of color, starting with the background and then moving to the skin, hair, and clothing.

  3. step 03

    Develop the skin tones by layering and blending different shades of pink, white, and yellow.

  4. step 04

    Add details to the hair, using small brushstrokes to create texture and dimension.

  5. step 05

    Refine the clothing, paying attention to the folds and shadows.

  6. step 06

    Paint the flowers, capturing their delicate shapes and colors.

  7. step 07

    Add the jewelry and other accessories, using fine brushstrokes to create detail.

  8. step 08

    Make final adjustments to the values and colors to create a cohesive and harmonious painting.

color palette

primary · titanium white · cadmium red · yellow ochre · burnt umber

secondary · ultramarine blue · alizarin crimson · viridian

Achieve skin tones by mixing white, red, and yellow ochre. Use burnt umber and ultramarine blue for dark shadows. Mix alizarin crimson and ultramarine blue for the purple flowers.

techniques

  • ·portraiture
  • ·blending
  • ·layering
  • ·color mixing
  • ·rendering

common pitfalls

  • →Overblending skin tones, resulting in a flat appearance.
  • →Failing to capture the subtle variations in color and value.
  • →Getting the proportions of the figure incorrect.
  • →Not creating enough contrast between light and shadow.
  • →Oversimplifying the hair texture.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·titanium white oil paint
  • ·cadmium red oil paint
  • ·yellow ochre oil paint
  • ·burnt umber oil paint
  • ·#2 round brush
  • ·#4 filbert brush
  • ·palette

optional

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

Use high-quality oil paints for best results. Consider using a medium to thin the paints and improve blending.

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