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home·artworks·Portrait of Totila
Portrait of Totila by Francesco de' Rossi (Francesco Salviati), "Cecchino"

plate no. 6427

Portrait of Totila

Francesco de' Rossi (Francesco Salviati), "Cecchino", 1549

oilMannerism (Late Renaissance)portraitportraitfigurecrownbeardclothingstaff
experienced study

Recreating this painting will help students develop skills in portraiture, including accurate proportions, capturing likeness, and rendering realistic textures like fabric and metal. It also provides practice in creating depth and form through subtle value changes.

technical profile

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

study guide

est. 20 hrs

approach — 8 steps

  1. step 01

    Begin with a light sketch to establish the basic proportions and composition.

  2. step 02

    Block in the main shapes and values using thin washes of color.

  3. step 03

    Gradually build up the layers of paint, focusing on the light and shadow patterns.

  4. step 04

    Refine the details of the face, clothing, and accessories.

  5. step 05

    Pay close attention to the textures of the beard, hair, and fabric.

  6. step 06

    Add highlights and shadows to create a sense of depth and dimension.

  7. step 07

    Glaze with thin layers of color to unify the painting and create subtle color variations.

  8. step 08

    Add final details and adjust values as needed.

color palette

primary · red ochre · burnt umber · ivory black · titanium white

secondary · cadmium red · yellow ochre · raw sienna

Achieve the skin tones by mixing red ochre, burnt umber, and titanium white. Use yellow ochre and raw sienna to create the gold tones of the crown and embellishments. Mix cadmium red with burnt umber and ivory black for the deep reds of the clothing.

techniques

  • ·portraiture
  • ·glazing
  • ·scumbling
  • ·chiaroscuro
  • ·rendering textures

common pitfalls

  • →Incorrect proportions can ruin the likeness.
  • →Overworking the details can make the painting look stiff.
  • →Using too much paint in the early layers can prevent proper layering.
  • →Ignoring the subtle value changes can flatten the image.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·oil paints (red ochre, burnt umber, ivory black, titanium white, cadmium red, yellow ochre, raw sienna)
  • ·linseed oil
  • ·turpentine
  • ·palette
  • ·assorted brushes (round and flat)
  • ·palette knife
  • ·rags

optional

  • ·medium gloss
  • ·retouch varnish
  • ·easel

Use high-quality oil paints for best results. Allow each layer of paint to dry before applying the next.

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