apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·Portrait of King Charles II of England
Portrait of King Charles II of England by Philippe de Champaigne

plate no. 4858

Portrait of King Charles II of England

Philippe de Champaigne, 1653

oil, canvasBaroqueportraitportraitfigurearmorcurtainseaships
experienced study

Recreating this painting will develop skills in portraiture, particularly rendering realistic skin tones and textures, as well as the ability to depict complex details in clothing and armor. Students will also learn to create depth and atmosphere through subtle color variations and value contrasts.

technical profile

palette complexity
4
brushwork visibility
3
value contrast
4
compositional simplicity
2

study guide

est. 25 hrs

approach — 8 steps

  1. step 01

    Create a detailed sketch of the figure, paying attention to proportions and pose.

  2. step 02

    Block in the main areas of color, starting with the background and then the figure's clothing and skin.

  3. step 03

    Begin to refine the skin tones, using layers of thin paint to create subtle variations in color and value.

  4. step 04

    Add details to the armor, paying attention to the highlights and shadows to create a sense of depth and realism.

  5. step 05

    Paint the details of the face, including the eyes, nose, and mouth, using small brushes and precise strokes.

  6. step 06

    Render the hair, using a combination of short, choppy strokes and longer, flowing strokes to create texture and movement.

  7. step 07

    Add the final details, such as the sword, the sash, and the ships in the background.

  8. step 08

    Glaze the painting to unify the colors and add depth.

color palette

primary · ivory black · titanium white · cadmium red · ultramarine blue

secondary · yellow ochre · raw umber · burnt sienna

Mix ivory black and titanium white for the armor and background. Use cadmium red and titanium white for the sash. Mix ultramarine blue and titanium white for the shirt. Use yellow ochre, raw umber, burnt sienna, and titanium white to create realistic skin tones.

techniques

  • ·glazing
  • ·scumbling
  • ·dry brushing
  • ·chiaroscuro
  • ·portraiture

common pitfalls

  • →Getting the proportions wrong in the initial sketch.
  • →Overworking the skin tones and creating a muddy effect.
  • →Failing to create a sense of depth and realism in the armor.
  • →Ignoring the subtle color variations in the background.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·ivory black oil paint
  • ·titanium white oil paint
  • ·cadmium red oil paint
  • ·ultramarine blue oil paint
  • ·round brushes (sizes 0, 2, 4)
  • ·flat brushes (sizes 6, 8)
  • ·linseed oil

optional

  • ·palette knife
  • ·medium gloss
  • ·retouch varnish

Use high-quality oil paints for best results. A medium-grain canvas will provide a good surface for painting.

tips & new artworks in your inbox

no spam — unsubscribe anytime.

or to save artworks, chat, and track progress

related guides

oil painting for beginners →chiaroscuro →how to learn by studying the masters →
chat about this artwork

in this vein

related artworks

Girl with a Straw Hat

Girl with a Straw Hat

Judith Leyster

Gezicht Op De Laurenskerk Gezien Vanuit Noordoosten

Gezicht Op De Laurenskerk Gezien Vanuit Noordoosten

Abraham Storck

Bathsheba Bathing

Bathsheba Bathing

Francesco Solimena

Repentant Peter

Repentant Peter

Guido Reni

Itinerant Musicians

Itinerant Musicians

Jacob Ochtervelt

Marie Christine

Marie Christine

Marcello Bacciarelli

Santa Cecilia E Due Angeli

Santa Cecilia E Due Angeli

Giulio Cesare Procaccini

Scene from the Life of Saint Benedict

Scene from the Life of Saint Benedict

Philippe de Champaigne