plate no. 5660
Portrait of Olivier
Martin Yeoman, 2001
some experience helpful
This painting provides a good exercise in capturing likeness and form using a limited palette and expressive brushstrokes. Students will learn to mix realistic skin tones and create depth through subtle value changes.
technical profile
palette complexity
3
brushwork visibility
4
value contrast
4
compositional simplicity
4
study guide
est. 8 hrsapproach — 8 steps
- step 01
Lightly sketch the basic shapes and proportions of the head and shoulders.
- step 02
Establish the darkest values in the hair and background using a mix of burnt umber and black.
- step 03
Block in the mid-tones of the skin with a mix of burnt sienna, yellow ochre, and white.
- step 04
Add highlights to the face, focusing on the forehead, nose, and cheekbones.
- step 05
Refine the features of the face, paying attention to the subtle curves and planes.
- step 06
Paint the clothing with loose, expressive brushstrokes, using a mix of white, yellow ochre, and a touch of burnt umber.
- step 07
Soften edges and blend colors to create a sense of depth and atmosphere.
- step 08
Add final details and highlights to complete the portrait.
color palette
primary · burnt sienna · yellow ochre · titanium white · burnt umber
secondary · ivory black · raw umber
Mix burnt sienna and yellow ochre for warm skin tones; add white to lighten. Use burnt umber and black for dark areas. Raw umber can be used to neutralize colors.
techniques
- ·alla prima
- ·broken color
- ·scumbling
- ·value study
- ·portraiture
common pitfalls
- →Over-blending the colors, resulting in a flat, lifeless appearance.
- →Getting the proportions of the face wrong.
- →Failing to capture the subtle value changes in the skin.
- →Using too much detail, which can make the portrait look overworked.
materials
surface · stretched canvas
required
- ·stretched canvas
- ·burnt sienna oil paint
- ·yellow ochre oil paint
- ·titanium white oil paint
- ·burnt umber oil paint
- ·round brushes (sizes 2, 4, 6)
- ·palette
- ·linseed oil
optional
- ·palette knife
- ·medium gloss
- ·easel
Use a medium-grain canvas for best results. Consider toning the canvas with a thin wash of burnt umber before starting.
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