apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·Merry
Merry by John Everett Millais

plate no. 9869

Merry

John Everett Millais, 1893

oil, canvasRealismportraitportraitgirlbirddressplateheadscarf
some experience helpful

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

technical profile

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

study guide

est. 20 hrs

approach — 8 steps

  1. step 01

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

  2. step 02

    Establish the background with broad, blended strokes of dark browns and blacks.

  3. step 03

    Block in the main shapes of the figure, including the dress, bodice, and headscarf, using simplified color masses.

  4. step 04

    Refine the skin tones with subtle layers of color, paying attention to highlights and shadows.

  5. step 05

    Add details to the dress and bodice, such as folds, wrinkles, and textures.

  6. step 06

    Paint the bird, focusing on its shape, color, and texture.

  7. step 07

    Refine the facial features, including the eyes, nose, and mouth, to capture the likeness of the subject.

  8. step 08

    Add final details and highlights to complete the painting.

color palette

primary · burnt umber · titanium white · cadmium red

secondary · yellow ochre · ultramarine blue

Mix various shades of brown for the background by combining burnt umber, ultramarine blue, and white. Achieve skin tones by blending white, red, yellow ochre, and a touch of blue.

techniques

  • ·portraiture
  • ·blending
  • ·glazing
  • ·scumbling
  • ·rendering

common pitfalls

  • →Overworking the skin tones, resulting in a flat or lifeless appearance.
  • →Neglecting the background, causing it to appear too harsh or distracting.
  • →Failing to capture the likeness of the subject.
  • →Getting the proportions wrong in the initial sketch.

materials

surface · stretched canvas

required

  • ·stretched canvas (16x20 inches)
  • ·oil paints (burnt umber, titanium white, cadmium red, yellow ochre, ultramarine blue)
  • ·palette
  • ·assorted brushes (round and flat)
  • ·linseed oil
  • ·turpentine or odorless mineral spirits
  • ·palette knife

optional

  • ·medium gloss
  • ·retouch varnish
  • ·easel

Use high-quality oil paints for best results. A medium-grit canvas will provide a good surface for blending and layering.

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

Portrait of James Wright

Portrait of James Wright

Thomas Eakins

Portrait of a lady

Portrait of a lady

Karl Gussow

Sisters

Sisters

Émile Auguste Hublin

Catching Up on the News

Catching Up on the News

Eastman Johnson

At the porter's room

At the porter's room

Vladimir Makovsky

Flowers and Fruit

Flowers and Fruit

Henri Fantin-Latour

Valle de México desde el Molino del Rey

Valle de México desde el Molino del Rey

Jose Maria Velasco

Self-Portrait II

Self-Portrait II

Mihaly Munkacsy