apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·Saint Eufemia
Saint Eufemia by Francisco de Zurbaran

plate no. 6080

Saint Eufemia

Francisco de Zurbaran

oilBaroquereligious paintingfiguresaintdraperyhaloreligious
some experience helpful

Recreating this painting will help students develop skills in portraiture, particularly in rendering skin tones and drapery folds with subtle gradations. It also provides practice in achieving a sense of depth through value and color.

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

    Sketch the basic composition, focusing on the figure's pose and proportions.

  2. step 02

    Establish the background color with a thin wash of burnt umber and raw sienna.

  3. step 03

    Block in the main shapes of the figure, including the face, hair, clothing, and drapery.

  4. step 04

    Begin to develop the skin tones, using a limited palette of white, yellow ochre, and a touch of red.

  5. step 05

    Add shadows and highlights to the face and hands to create form.

  6. step 06

    Work on the drapery, paying attention to the folds and how they catch the light.

  7. step 07

    Refine the details of the clothing and the saw, adding texture and definition.

  8. step 08

    Add the halo and any final details.

color palette

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

secondary · ultramarine blue · yellow ochre

Achieve the skin tones by mixing white, yellow ochre, and a small amount of red. Use burnt umber and ultramarine blue to create the darker tones in the drapery. Add white to lighten the colors and create highlights.

techniques

  • ·glazing
  • ·scumbling
  • ·chiaroscuro
  • ·blending
  • ·underpainting

common pitfalls

  • →Overworking the skin tones and creating a muddy effect.
  • →Failing to establish a strong value structure.
  • →Ignoring the subtle color variations in the drapery.
  • →Getting the proportions of the figure wrong.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·oil paints (burnt umber, raw sienna, titanium white, red ochre, ultramarine blue, yellow ochre)
  • ·linseed oil
  • ·turpentine or odorless mineral spirits
  • ·palette
  • ·assorted brushes (round and flat)
  • ·palette knife
  • ·rags

optional

  • ·retouch varnish
  • ·medium gloss
  • ·easel

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

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