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home·artworks·Portrait of Laurent Froimont
Portrait of Laurent Froimont by Rogier van der Weyden

plate no. 1870

Portrait of Laurent Froimont

Rogier van der Weyden, 1464

oilNorthern Renaissanceportraitportraitfiguremanhandsclothingring
some experience helpful

Recreating this painting will help students develop skills in portraiture, including accurate proportions, subtle value transitions in skin tones, and rendering details like hands and jewelry. It also provides practice in creating a sense of depth and form using chiaroscuro.

technical profile

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

study guide

est. 20 hrs

approach — 8 steps

  1. step 01

    Prepare a toned canvas with a mid-tone grey or brown.

  2. step 02

    Lightly sketch the basic shapes and proportions of the figure, focusing on the head, hands, and clothing.

  3. step 03

    Block in the main areas of color: the background, the skin tones, the clothing, and the hair.

  4. step 04

    Begin layering and blending the skin tones, paying close attention to the subtle shifts in value and color.

  5. step 05

    Refine the details of the face, including the eyes, nose, and mouth.

  6. step 06

    Work on the hands, carefully rendering the fingers and the ring.

  7. step 07

    Add details to the clothing, including the folds and the texture of the fabric.

  8. step 08

    Make final adjustments to the values and colors to create a sense of depth and realism.

color palette

primary · ivory black · raw umber · yellow ochre · titanium white

secondary · burnt sienna · ultramarine blue

Achieve skin tones by mixing white, yellow ochre, and a touch of burnt sienna or raw umber. Use ultramarine blue and ivory black to create the dark background, adjusting the ratio for subtle value changes.

techniques

  • ·glazing
  • ·scumbling
  • ·chiaroscuro
  • ·portraiture
  • ·blending

common pitfalls

  • →Overmixing colors, resulting in muddy tones.
  • →Failing to accurately capture the proportions of the figure.
  • →Ignoring the subtle value shifts in the skin tones.
  • →Getting lost in details too early, before establishing the overall form.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·ivory black oil paint
  • ·raw umber oil paint
  • ·yellow ochre oil paint
  • ·titanium white oil paint
  • ·burnt sienna oil paint
  • ·ultramarine blue oil paint
  • ·round brushes (sizes 0, 2, 4, 6)

optional

  • ·palette knife
  • ·linseed oil
  • ·damar varnish

Use high-quality oil paints for best results. A smooth canvas surface will aid in blending.

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