apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·Noia Resant
Noia Resant by Joan Brull

plate no. 6161

Noia Resant

Joan Brull

oilSymbolismportraitportraitfiguregirlhairhandsclothing
some experience helpful

This painting offers a great opportunity to practice portraiture and capturing subtle skin tones. Students can develop skills in blending and creating soft edges to achieve a realistic and ethereal effect.

technical profile

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

study guide

est. 15 hrs

approach — 8 steps

  1. step 01

    Sketch the basic shapes and proportions of the figure, focusing on the head, shoulders, and hands.

  2. step 02

    Establish the background with a thin wash of warm, muted yellow.

  3. step 03

    Block in the main areas of color for the skin, hair, and clothing, using a limited palette.

  4. step 04

    Begin to refine the skin tones by layering and blending colors, paying attention to the subtle shifts in value and hue.

  5. step 05

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

  6. step 06

    Work on the clothing, focusing on the folds and shadows.

  7. step 07

    Refine the hands, paying attention to the anatomy and the way the light falls on them.

  8. step 08

    Add final highlights and details to the face and hair, ensuring the eyes are expressive.

color palette

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

secondary · ultramarine blue · ivory black

Mix skin tones by blending white, yellow ochre, and a touch of red. Use burnt umber and a hint of blue for shadows. Add small amounts of red to the cheeks and lips for warmth.

techniques

  • ·blending
  • ·layering
  • ·scumbling
  • ·soft edges
  • ·glazing

common pitfalls

  • →Overworking the skin tones, resulting in a muddy or unnatural appearance.
  • →Failing to capture the subtle shifts in value and hue, leading to a flat or lifeless portrait.
  • →Neglecting the importance of soft edges, creating harsh transitions between colors.
  • →Getting the proportions wrong in the initial sketch, resulting in an inaccurate likeness.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·titanium white oil paint
  • ·yellow ochre oil paint
  • ·burnt umber oil paint
  • ·cadmium red light oil paint
  • ·round brushes (sizes 2, 4, 6)
  • ·palette
  • ·linseed oil

optional

  • ·palette knife
  • ·medium gloss
  • ·turpentine

Use high-quality oil paints for best results. A medium-grain canvas will provide a good surface for 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

Satan Addressing his Potentates

Satan Addressing his Potentates

William Blake

Self-portrait in studio

Self-portrait in studio

Franz Stuck

Tajik

Tajik

Kuzmá Petrov-Vodkin

View from the studio in Eerbeek

View from the studio in Eerbeek

Jan Mankes

Harlequin's garden

Harlequin's garden

Serge Sudeikin

Incantation

Incantation

Felicien Rops

Anzac, the Landing

Anzac, the Landing

George Washington Lambert

Paisatge

Paisatge

Joan Brull