plate no. 6845
Niño vestido de verde
Andres de Santa Maria, 1913
some experience helpful
This painting is a great exercise in capturing likeness with simplified forms and visible brushstrokes. Students will learn to mix skin tones and create depth through layering.
technical profile
palette complexity
3
brushwork visibility
4
value contrast
3
compositional simplicity
4
study guide
est. 8 hrsapproach — 8 steps
- step 01
Sketch the basic shapes of the head, shoulders, and facial features.
- step 02
Apply a thin wash of red for the background.
- step 03
Block in the main areas of color: skin tones, green clothing, and hair.
- step 04
Begin layering colors to build up form and depth, focusing on the light and shadow.
- step 05
Use short, visible brushstrokes to add texture and detail.
- step 06
Refine the facial features, paying attention to the eyes, nose, and mouth.
- step 07
Add highlights and shadows to create a sense of volume.
- step 08
Make final adjustments to the colors and values to achieve a cohesive look.
color palette
primary · cadmium red · titanium white · viridian green · yellow ochre
secondary · burnt umber · ultramarine blue
Mix skin tones using white, yellow ochre, a touch of red, and a hint of umber. Achieve the green for the clothing by mixing viridian green with ultramarine blue and touches of yellow ochre for variation.
techniques
- ·broken color
- ·scumbling
- ·layering
- ·alla prima
- ·color mixing
common pitfalls
- →Over-blending the colors, resulting in a muddy appearance.
- →Getting the proportions of the face wrong.
- →Not paying attention to the light and shadow.
- →Using too much paint.
- →Ignoring the texture of the brushstrokes.
materials
surface · stretched canvas
required
- ·stretched canvas 12x16
- ·oil paints
- ·#4 round brush
- ·#6 flat brush
- ·palette
- ·linseed oil
- ·odorless mineral spirits
optional
- ·palette knife
- ·painting medium
- ·easel
Use a limited palette to simplify the color mixing process. Consider toning the canvas with a thin wash of burnt umber before starting.
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