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home·artworks·Richard Bentley (after James Thornhill)
Richard Bentley (after James Thornhill) by Robert William Buss

plate no. 4034

Richard Bentley (after James Thornhill)

Robert William Buss

oilRomanticismportraitportraitfiguremanclothingfacehair
some experience helpful

Recreating this painting will help students develop skills in portraiture, including capturing likeness and creating realistic skin tones. It also provides practice in rendering clothing and creating a sense of depth through value and color.

technical profile

palette complexity
3
brushwork visibility
3
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 figure, paying attention to the placement of the head, shoulders, and hands.

  2. step 02

    Block in the main areas of color, starting with the darkest values in the background and clothing.

  3. step 03

    Begin to refine the skin tones, using a limited palette of colors to create subtle variations in value and hue.

  4. step 04

    Add details to the face, such as the eyes, nose, and mouth, focusing on capturing the likeness of the subject.

  5. step 05

    Work on the clothing, adding folds and shadows to create a sense of volume.

  6. step 06

    Refine the background, adding subtle details to create depth and atmosphere.

  7. step 07

    Add highlights to the face and clothing to create a sense of light and shadow.

  8. step 08

    Make final adjustments to the composition, ensuring that all elements are in harmony.

color palette

primary · ivory black · burnt umber · raw sienna · titanium white

secondary · cadmium red light · yellow ochre

Achieve skin tones by mixing white, sienna, umber, and a touch of red. Dark clothing is primarily black and umber, lightened with white for highlights.

techniques

  • ·portrait sketching
  • ·value studies
  • ·color mixing
  • ·glazing
  • ·blending

common pitfalls

  • →Getting the proportions wrong in the initial sketch.
  • →Overworking the skin tones and creating a muddy effect.
  • →Failing to create a sense of depth in the background.
  • →Ignoring the subtle variations in value and hue.
  • →Not capturing the likeness of the subject.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·ivory black oil paint
  • ·burnt umber oil paint
  • ·raw sienna oil paint
  • ·titanium white oil paint
  • ·cadmium red light oil paint
  • ·yellow ochre oil paint
  • ·#4 round brush

optional

  • ·palette knife
  • ·linseed oil
  • ·turpentine
  • ·medium gloss

Use a medium-grain canvas for best results. Consider using a toned canvas to help establish the overall value range.

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