apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·Old man's head
Old man's head by Jan Matejko

plate no. 8414

Old man's head

Jan Matejko, 1858

oilRomanticismportraitportraitmanbeardheadoldfigure
some experience helpful

Recreating this painting will help students develop skills in portraiture, particularly in rendering realistic skin tones and textures, and understanding light and shadow to create depth and form. It also provides practice in capturing the likeness and character of a subject.

technical profile

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

study guide

est. 15 hrs

approach — 8 steps

  1. step 01

    Sketch the basic shapes and proportions of the head and beard.

  2. step 02

    Establish the overall value structure with a thin wash of burnt umber.

  3. step 03

    Block in the main areas of light and shadow on the face and beard using a limited palette.

  4. step 04

    Begin to refine the skin tones by layering and blending colors, paying attention to subtle variations.

  5. step 05

    Add details to the eyes, nose, and mouth, focusing on capturing the likeness of the subject.

  6. step 06

    Develop the texture of the beard using dry brush techniques and varying the direction of the brushstrokes.

  7. step 07

    Refine the background, ensuring it remains dark and does not distract from the main subject.

  8. step 08

    Add final highlights and shadows to enhance the sense of depth and realism.

color palette

primary · burnt umber · raw sienna · titanium white · ivory black

secondary · cadmium red light · yellow ochre

Mix skin tones by blending raw sienna, burnt umber, and titanium white. Use small amounts of cadmium red for warmth and ivory black to cool down the tones. Create the beard color by mixing white with small amounts of burnt umber and yellow ochre.

techniques

  • ·value blocking
  • ·layering
  • ·blending
  • ·dry brush
  • ·scumbling

common pitfalls

  • →Over-blending, resulting in a lack of texture and depth.
  • →Incorrect proportions, leading to an inaccurate likeness.
  • →Ignoring subtle color variations in the skin tones.
  • →Creating a background that is too light or distracting.

materials

surface · stretched canvas

required

  • ·stretched canvas 16x20
  • ·burnt umber oil paint
  • ·raw sienna oil paint
  • ·titanium white oil paint
  • ·ivory black oil paint
  • ·cadmium red light oil paint
  • ·yellow ochre oil paint
  • ·#4 round brush
  • ·#6 filbert brush

optional

  • ·palette knife
  • ·linseed oil
  • ·odorless mineral spirits
  • ·medium gloss

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

Romantic Landscape

Romantic Landscape

Karl Lessing

Self-portrait with his brother Francesco

Self-portrait with his brother Francesco

Giuseppe Tominz

Oenone Refuse de Secourir Pâris au Siège de Troie

Oenone Refuse de Secourir Pâris au Siège de Troie

Léon Cogniet

Duke of Alba

Duke of Alba

Francisco Goya

Blick Aus Dem Wald Ins Tal

Blick Aus Dem Wald Ins Tal

Andreas Achenbach

Young Girl Fixing Her Hair

Young Girl Fixing Her Hair

Sophie Gengembre Anderson

The Plough Inn

The Plough Inn

William Shayer

Hudson River Landscape

Hudson River Landscape

Johann Hermann Carmiencke