apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·Portrait of M. P. Zhdanovich
Portrait of M. P. Zhdanovich by Pavel Fedotov

plate no. 7491

Portrait of M. P. Zhdanovich

Pavel Fedotov, 1847

oil, canvasRealismportraitportraitfiguremilitary uniformmanclothing
some experience helpful

Recreating this painting will help students develop skills in portraiture, including capturing likeness and rendering realistic skin tones, as well as understanding how to create depth and form using subtle value changes.

technical profile

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

study guide

est. 15 hrs

approach — 8 steps

  1. step 01

    Sketch the basic composition, focusing on proportions and placement of the figure.

  2. step 02

    Establish the background with a thin wash of warm brown tones.

  3. step 03

    Block in the main shapes of the figure, including the head, torso, and arms, using simplified values.

  4. step 04

    Begin refining the facial features, paying close attention to the light and shadow on the face.

  5. step 05

    Develop the details of the uniform, including the collar, buttons, and epaulettes.

  6. step 06

    Add highlights and shadows to create form and dimension throughout the painting.

  7. step 07

    Refine the background and edges to create a sense of depth and atmosphere.

  8. step 08

    Add final details and adjustments to complete the painting.

color palette

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

secondary · burnt sienna · cadmium yellow light · alizarin crimson

Mix skin tones by blending white, yellow ochre, and a touch of red. Achieve the dark uniform color by mixing black and burnt umber. Use yellow and white to create the gold accents.

techniques

  • ·portraiture
  • ·underpainting
  • ·glazing
  • ·chiaroscuro
  • ·blending

common pitfalls

  • →Getting the proportions of the face wrong.
  • →Overworking the details too early in the process.
  • →Using too much paint and losing the subtle value changes.
  • →Failing to create a sense of depth and atmosphere.

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
  • ·round brushes (various sizes)
  • ·linseed oil

optional

  • ·palette knife
  • ·medium gloss
  • ·painting easel

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

tips & new artworks in your inbox

no spam — unsubscribe anytime.

or to save artworks, chat, and track progress

related guides

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

in this vein

related artworks

Portrait of James Wright

Portrait of James Wright

Thomas Eakins

Portrait of a lady

Portrait of a lady

Karl Gussow

Sisters

Sisters

Émile Auguste Hublin

Catching Up on the News

Catching Up on the News

Eastman Johnson

At the porter's room

At the porter's room

Vladimir Makovsky

Flowers and Fruit

Flowers and Fruit

Henri Fantin-Latour

Valle de México desde el Molino del Rey

Valle de México desde el Molino del Rey

Jose Maria Velasco

Self-Portrait II

Self-Portrait II

Mihaly Munkacsy