apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·Old man
Old man by Vasily Perov

plate no. 0598

Old man

Vasily Perov, 1874

oilRealismportraitportraitfigureold manclothinghandsface
some experience helpful

Recreating this painting will help students develop skills in portraiture, particularly in rendering realistic skin tones and capturing subtle facial expressions. It also provides practice in creating depth and form using chiaroscuro.

technical profile

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

study guide

est. 15 hrs

approach — 8 steps

  1. step 01

    Begin with a light sketch outlining the basic shapes and proportions of the figure.

  2. step 02

    Establish the overall value structure by blocking in the dark areas of the background and clothing.

  3. step 03

    Start building up the skin tones using thin layers of paint, focusing on the highlights and shadows.

  4. step 04

    Carefully blend the transitions between light and dark areas to create a smooth, realistic effect.

  5. step 05

    Add details to the face, such as wrinkles and subtle variations in skin tone.

  6. step 06

    Refine the details of the clothing, paying attention to the folds and textures.

  7. step 07

    Add the highlights on the hands and face to create a focal point.

  8. step 08

    Make final adjustments to the values and colors to achieve a cohesive and realistic portrait.

color palette

primary · ivory black · raw umber · titanium white · yellow ochre

secondary · burnt sienna · ultramarine blue

Mix skin tones by blending white, yellow ochre, and a touch of burnt sienna. Use raw umber and ivory black for the dark areas of the clothing and background. Add small amounts of ultramarine to darken the shadows.

techniques

  • ·portraiture
  • ·chiaroscuro
  • ·glazing
  • ·blending
  • ·value studies

common pitfalls

  • →Overworking the skin tones, resulting in a muddy or unnatural appearance.
  • →Failing to establish a strong value structure, leading to a flat and lifeless portrait.
  • →Neglecting the subtle details of the face, resulting in a generic or unconvincing likeness.
  • →Ignoring the importance of accurate proportions, leading to a distorted or unrealistic figure.

materials

surface · stretched canvas

required

  • ·stretched canvas (16x20 inches)
  • ·oil paints (ivory black, raw umber, titanium white, yellow ochre, burnt sienna, ultramarine blue)
  • ·palette
  • ·assorted brushes (round and flat)
  • ·linseed oil
  • ·odorless mineral spirits
  • ·palette knife

optional

  • ·medium gloss
  • ·easel
  • ·rags

Use high-quality oil paints for best results. Allow each layer of paint to dry before applying the next.

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