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home·artworks·Portrait of a Naval Officer, Harry Kelman
Portrait of a Naval Officer, Harry Kelman by Frederick Varley

plate no. 3022

Portrait of a Naval Officer, Harry Kelman

Frederick Varley, 1943

oilExpressionismportraitportraitfigureofficeruniformmanhat
some experience helpful

Recreating this painting will help students develop skills in portraiture, including capturing likeness and rendering skin tones with subtle color variations. It also provides practice in depicting fabric textures and details.

technical profile

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

study guide

est. 12 hrs

approach — 8 steps

  1. step 01

    Lightly sketch the basic shapes and proportions of the figure, paying attention to the head, shoulders, and hands.

  2. step 02

    Establish the background with broad, loose strokes of warm neutral colors.

  3. step 03

    Block in the main areas of color for the face, uniform, and hat, focusing on the overall value structure.

  4. step 04

    Begin refining the facial features, using subtle color variations to create form and volume.

  5. step 05

    Add details to the uniform, including the collar, tie, and any insignia.

  6. step 06

    Develop the hands and arms, paying attention to the folds of the fabric and the highlights on the skin.

  7. step 07

    Refine the background, adding depth and interest with subtle color variations and brushstrokes.

  8. step 08

    Add final details and highlights to complete the painting.

color palette

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

secondary · ultramarine blue · cadmium yellow · alizarin crimson

Achieve skin tones by mixing burnt umber, raw sienna, and titanium white, with small amounts of alizarin crimson and ultramarine blue for subtle variations. Darken colors with ivory black and lighten with titanium white.

techniques

  • ·alla prima
  • ·broken color
  • ·scumbling
  • ·color mixing
  • ·portraiture

common pitfalls

  • →Overworking the details too early in the process.
  • →Failing to establish a strong value structure.
  • →Using colors that are too saturated or intense.
  • →Ignoring the subtle color variations in the skin tones.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·oil paints
  • ·palette
  • ·palette knife
  • ·assorted brushes
  • ·linseed oil
  • ·turpentine
  • ·rags

optional

  • ·painting medium
  • ·varnish
  • ·easel

Use a medium-grain canvas for best results. Consider using a limited palette to simplify the color mixing process.

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oil painting for beginners →how to learn by studying the masters →
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