apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·Richard Oxenden
Richard Oxenden by John Riley

plate no. 3271

Richard Oxenden

John Riley

oilBaroqueportraitportraitfigureclothinghairovaldrapery
some experience helpful

Recreating this painting will help students develop skills in portraiture, including capturing likeness and rendering realistic skin tones, as well as understanding how to depict fabric folds and textures.

technical profile

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

study guide

est. 15 hrs

approach — 8 steps

  1. step 01

    Lightly sketch the oval and the basic shapes of the figure, focusing on proportions.

  2. step 02

    Block in the main areas of color: background, face, hair, clothing.

  3. step 03

    Start refining the skin tones, building up layers of color to create depth and form.

  4. step 04

    Work on the hair, using small brushstrokes to suggest individual strands and curls.

  5. step 05

    Develop the folds and shadows in the clothing, paying attention to how light interacts with the fabric.

  6. step 06

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

  7. step 07

    Refine the background, adding subtle variations in color and tone.

  8. step 08

    Add final highlights and shadows to enhance the overall realism of the painting.

color palette

primary · burnt umber · raw sienna · titanium white · cadmium red

secondary · ivory black · yellow ochre · ultramarine blue

Achieve skin tones by mixing white, sienna, and a touch of red. Use ultramarine blue and burnt umber to create dark shadows. Add yellow ochre to sienna for highlights.

techniques

  • ·portraiture
  • ·glazing
  • ·scumbling
  • ·blending
  • ·chiaroscuro

common pitfalls

  • →Getting the proportions of the face wrong.
  • →Overworking the skin tones, resulting in a muddy appearance.
  • →Failing to capture the subtle variations in color and tone.
  • →Ignoring the importance of light and shadow in creating form.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·oil paints
  • ·palette
  • ·palette knife
  • ·assorted brushes (round and flat)
  • ·linseed oil
  • ·turpentine
  • ·rags

optional

  • ·medium gloss
  • ·retouch 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 →chiaroscuro →how to learn by studying the masters →
chat about this artwork

in this vein

related artworks

Girl with a Straw Hat

Girl with a Straw Hat

Judith Leyster

Gezicht Op De Laurenskerk Gezien Vanuit Noordoosten

Gezicht Op De Laurenskerk Gezien Vanuit Noordoosten

Abraham Storck

Bathsheba Bathing

Bathsheba Bathing

Francesco Solimena

Repentant Peter

Repentant Peter

Guido Reni

Itinerant Musicians

Itinerant Musicians

Jacob Ochtervelt

Marie Christine

Marie Christine

Marcello Bacciarelli

Santa Cecilia E Due Angeli

Santa Cecilia E Due Angeli

Giulio Cesare Procaccini

Scene from the Life of Saint Benedict

Scene from the Life of Saint Benedict

Philippe de Champaigne