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home·artworks·Portrait of a Young Man
Portrait of a Young Man by Bernard Van Orley

plate no. 6883

Portrait of a Young Man

Bernard Van Orley, 1520

canvasNorthern Renaissanceportraitportraitfigurehatfurclothinghands
some experience helpful

Recreating this painting will help students develop skills in portraiture, including accurate proportions, rendering skin tones, and capturing the texture of different materials like fur and fabric. It also provides practice in creating subtle gradations of light and shadow to model form.

technical profile

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

study guide

est. 20 hrs

approach — 8 steps

  1. step 01

    Create a light sketch outlining the basic shapes and proportions of the figure, hat, and fur collar.

  2. step 02

    Establish the background with a thin layer of dark brown or black.

  3. step 03

    Block in the main areas of color for the skin, fur, clothing, and hat, focusing on accurate value relationships.

  4. step 04

    Begin refining the skin tones, using thin layers of paint to build up subtle gradations of light and shadow.

  5. step 05

    Work on the fur collar, paying attention to the direction of the fur and the variations in color and value.

  6. step 06

    Add details to the clothing, including the patterns and folds.

  7. step 07

    Refine the features of the face, focusing on capturing the likeness of the subject.

  8. step 08

    Add final highlights and details to the entire painting.

color palette

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

secondary · yellow ochre · Prussian blue · cadmium red light

Skin tones can be achieved by mixing white, red, yellow ochre, and a touch of brown. Fur is created with layers of brown, white, and yellow ochre. The clothing uses muted greens and blues.

techniques

  • ·glazing
  • ·scumbling
  • ·blending
  • ·chiaroscuro
  • ·layering

common pitfalls

  • →Getting the proportions of the face wrong.
  • →Overworking the skin tones and making them look flat.
  • →Failing to capture the texture of the fur.
  • →Not paying enough attention to the value relationships.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·oil paints
  • ·linseed oil
  • ·turpentine
  • ·palette
  • ·assorted brushes (round and flat)
  • ·palette knife
  • ·rags

optional

  • ·medium gloss
  • ·retouch varnish
  • ·easel

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

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