apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·Retrato do Professor João Barreira
Retrato do Professor João Barreira by Columbano Bordalo Pinheiro

plate no. 9460

Retrato do Professor João Barreira

Columbano Bordalo Pinheiro, 1900

oilRealismportraitportraitmanclothingfacehistorical figure
some experience helpful

Recreating this painting will help students develop skills in portraiture, including capturing likeness and creating depth through subtle value changes. It also provides practice in rendering fabric and facial hair.

technical profile

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

study guide

est. 15 hrs

approach — 8 steps

  1. step 01

    Sketch the basic shapes and proportions of the head, shoulders, and collar.

  2. step 02

    Establish the main light and shadow areas using a thin wash of burnt umber or raw sienna.

  3. step 03

    Block in the skin tones using a limited palette of earth tones and white.

  4. step 04

    Refine the facial features, paying close attention to the eyes, nose, and mouth.

  5. step 05

    Add details to the hair, mustache, and beard, using short, broken brushstrokes.

  6. step 06

    Paint the collar and clothing, focusing on the folds and highlights.

  7. step 07

    Adjust the background to create a sense of depth and atmosphere.

  8. step 08

    Add final highlights and details to complete the painting.

color palette

primary · burnt umber · raw sienna · titanium white

secondary · yellow ochre · ivory black · cadmium red light

Mix skin tones by blending burnt umber, raw sienna, and white. Use yellow ochre and cadmium red light to add warmth to the cheeks and lips. Create shadows by adding ivory black to the skin tone mixture.

techniques

  • ·grisaille underpainting
  • ·scumbling
  • ·dry brushing
  • ·blending
  • ·chiaroscuro

common pitfalls

  • →Getting the proportions wrong in the initial sketch.
  • →Overworking the skin tones and losing the subtle value changes.
  • →Failing to capture the likeness of the subject.
  • →Creating harsh lines and edges instead of soft transitions.

materials

surface · stretched canvas

required

  • ·stretched canvas (16x20 inches)
  • ·oil paints (burnt umber, raw sienna, titanium white, yellow ochre, ivory black, cadmium red light)
  • ·palette
  • ·assorted brushes (round and flat)
  • ·linseed oil
  • ·turpentine or odorless mineral spirits
  • ·palette knife

optional

  • ·medium (e.g., Liquin)
  • ·varnish
  • ·easel

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