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home·artworks·Portrait of a young aviator
Portrait of a young aviator by Yiannis Tsaroychis

plate no. 1842

Portrait of a young aviator

Yiannis Tsaroychis, 1954

oilExpressionismportraitportraitfiguremanclothingfacehair
some experience helpful

Recreating this painting will help students understand how to use value and color temperature to create form and dimension. It also provides practice in capturing a likeness with expressive brushstrokes.

technical profile

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

study guide

est. 8 hrs

approach — 8 steps

  1. step 01

    Lightly sketch the basic proportions and placement of the figure on the canvas.

  2. step 02

    Block in the large shapes of the background, clothing, and skin tones with thin washes of color.

  3. step 03

    Establish the darkest and lightest values to create a sense of depth and form.

  4. step 04

    Begin to refine the facial features, paying close attention to the shapes of the eyes, nose, and mouth.

  5. step 05

    Add details to the clothing and background, using thicker paint and more visible brushstrokes.

  6. step 06

    Mix and apply subtle color variations to the skin tones to create a more realistic and nuanced effect.

  7. step 07

    Add highlights and shadows to enhance the three-dimensionality of the figure.

  8. step 08

    Make final adjustments to the composition and details as needed.

color palette

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

secondary · ultramarine blue · cadmium red light

Mix various shades of gray and brown by combining ivory black, raw umber, and titanium white. Use small amounts of cadmium red light to warm up the skin tones. Add ultramarine blue to create cooler shadows.

techniques

  • ·blocking in
  • ·dry brushing
  • ·scumbling
  • ·color temperature variation
  • ·chiaroscuro

common pitfalls

  • →Overblending the colors, resulting in a flat and lifeless appearance.
  • →Failing to establish a strong value structure, leading to a lack of depth.
  • →Getting bogged down in details too early in the painting process.
  • →Ignoring the subtle color variations in the skin tones.

materials

surface · stretched canvas

required

  • ·stretched canvas (12x16 inches)
  • ·oil paints (ivory black, raw umber, burnt sienna, titanium white, ultramarine blue, cadmium red light)
  • ·palette
  • ·palette knife
  • ·assorted brushes (round and flat)
  • ·linseed oil
  • ·odorless mineral spirits

optional

  • ·painting medium (e.g., Liquin)
  • ·varnish

Use a limited palette to simplify the color mixing process. Consider using a toned canvas to create a more unified and harmonious effect.

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