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Milner Gray by Graham Sutherland

plate no. 8686

Milner Gray

Graham Sutherland, 1979

oilExpressionismportraitportraitfiguremanheadgreen backgroundprofile
some experience helpful

Recreating this painting will help students develop skills in portraiture, color mixing for skin tones, and creating depth with subtle value changes. It also provides practice in capturing a likeness and conveying a sense of character.

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 head and shoulders using light pencil lines.

  2. step 02

    Block in the background with a thin layer of green paint, varying the tone slightly.

  3. step 03

    Establish the main shadow areas on the face using a mid-tone brown mix.

  4. step 04

    Begin building up the skin tones with layers of lighter and darker values, blending carefully.

  5. step 05

    Add highlights to the forehead, nose, and cheekbones to create form.

  6. step 06

    Paint the details of the eyes, nose, and mouth, paying attention to their shapes and values.

  7. step 07

    Define the clothing with dark blues and grays, adding subtle highlights.

  8. step 08

    Refine the edges and details of the portrait, making adjustments as needed.

color palette

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

secondary · ultramarine blue · cadmium yellow · alizarin crimson

Achieve skin tones by mixing yellow ochre, burnt umber, and titanium white in varying proportions. Use small amounts of alizarin crimson and ultramarine blue to adjust the warmth and coolness of the skin tones. Mix viridian green with white and a touch of yellow for the background.

techniques

  • ·color mixing
  • ·layering
  • ·blending
  • ·scumbling
  • ·portraiture

common pitfalls

  • →Over-blending, which can result in a flat, lifeless appearance.
  • →Incorrect proportions, which can distort the likeness.
  • →Using too much paint, which can obscure the details.
  • →Ignoring the subtle value changes, which can flatten the form.

materials

surface · stretched canvas

required

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

optional

  • ·medium gloss
  • ·retouch varnish
  • ·easel

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

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