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home·artworks·Portrait of the Artist in Conversation with Subject (unfinished)
Portrait of the Artist in Conversation with Subject (unfinished) by Elizabeth Coffin

plate no. 2462

Portrait of the Artist in Conversation with Subject (unfinished)

Elizabeth Coffin, 1890

oilAmerican Realismself-portraitfiguresartistmodelpaintinginterioreasel
some experience helpful

Recreating this painting will help students develop skills in portraiture, figure drawing, and capturing soft light and shadow. It also provides practice in creating a sense of depth and atmosphere through color and brushwork.

technical profile

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

study guide

est. 15 hrs

approach — 8 steps

  1. step 01

    Lightly sketch the main shapes and figures, focusing on proportions and placement.

  2. step 02

    Block in the background with broad strokes, establishing the overall tone.

  3. step 03

    Establish the light source and map out the areas of light and shadow on the figures and clothing.

  4. step 04

    Begin building up the skin tones with thin layers of color, paying attention to subtle variations.

  5. step 05

    Define the features of the faces, focusing on accurate proportions and expressions.

  6. step 06

    Add details to the clothing, such as folds and textures, using a variety of brushstrokes.

  7. step 07

    Refine the background and add any remaining details, such as the easel and painting.

  8. step 08

    Add final highlights and shadows to create depth and dimension.

color palette

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

secondary · burnt sienna · alizarin crimson · viridian

Achieve skin tones by mixing white, yellow ochre, and a touch of red or brown. Use raw umber and black for shadows, and white to lighten values. Mix greens with yellow ochre and viridian.

techniques

  • ·blocking in
  • ·layering
  • ·blending
  • ·scumbling
  • ·dry brushing

common pitfalls

  • →Getting the proportions of the figures wrong.
  • →Overworking the details and losing the loose, painterly feel.
  • →Using too much paint and creating a muddy effect.
  • →Failing to capture the subtle variations in skin tone.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·titanium white oil paint
  • ·ivory black oil paint
  • ·raw umber oil paint
  • ·yellow ochre oil paint
  • ·burnt sienna oil paint
  • ·round brushes (various sizes)
  • ·flat brushes (various sizes)

optional

  • ·palette knife
  • ·linseed oil
  • ·odorless mineral spirits
  • ·medium gloss

Use a medium-grain canvas for best results. Consider using a toned canvas to speed up the painting process.

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oil painting for beginners →how to learn by studying the masters →
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