plate no. 2640

Salvatore Caputo (low.res.photo)

Alfred Freddy Krupa, 2013

pencilNew Realismportraitportraitfiguremanbow tiecoat of armsformal wear

recreation guide

This artwork is a 2013 pencil portrait by Alfred Freddy Krupa, executed in the style of New Realism. Krupa is a Croatian painter and illustrator known for his work in the New Ink Art movement, having published a manifesto on the subject in 1996 (Source 6). While the provided sources do not describe the specific visual content of this particular portrait (such as the subject's identity or background), they emphasize the importance of tone value over color in rendering texture and form, particularly in photographic or realistic representations (Source 1). The recreation focuses on the disciplined use of pencil to achieve fidelity in light, half-tone, and shadow, treating the drawing as an expression of feeling through material vitality rather than mere deception (Source 3).

estimated time

20-30 hours over 5-7 sessions

materials

4 items

steps

4 in sequence

materials

item	purpose	modern equivalent
High-quality graphite pencils (range of hardness, e.g., 2H to 6B)	To achieve the necessary range of tone values for light, half-tone, and shadows without relying on color.	—
Smooth, acid-free drawing paper	To support fine detail and tonal gradation required for New Realism portraiture.	—
Kneaded eraser	To lift graphite and create highlights, allowing for the 'eye-closing method' of contrasting values.	—
Blending stump or tortillon	To smooth transitions between tones, aiding in the rendering of flesh textures as described in tone-value studies.	—

preparation

surface prep

Ensure the drawing surface is clean and free of dust. While the sources discuss oil painting grounds, for pencil work, the paper should be taut if mounted, or flat and stable. The artist must understand the 'vital qualities' of the paper and pencil combination, ensuring the medium is not pushed beyond its capacity to deceive the eye into seeing 'real nature' rather than a drawn symbol (Source 3).

underdrawing

Begin with a light structural sketch. The sources advise that knowledge of linear perspective is assumed (Source 1). For a portrait, this involves mapping the proportions of the face and the placement of features. The underdrawing should be minimal enough to allow for the subsequent layering of tone, which is the primary vehicle for texture and form in this medium (Source 1).

underpainting

Not applicable for pencil drawing. However, the concept of establishing 'broad masses' before 'finish' is relevant (Source 2). In pencil, this translates to blocking in the major shadow shapes and mid-tones before refining details.

color palette

Graphite Black/Gray

Pure graphite

General use. The source notes that 'colour plays no part here, but tone alone is sufficient to render with the utmost fidelity such textures' (Source 1).

composition

The sources do not describe the specific composition of this portrait. However, consistent with the artist's background in New Ink Art and illustration, the composition likely relies on strong linear definition and tonal contrast. The artist is known for precise execution, suggesting a composition that balances the subject's features with careful attention to the 'relative values of the objects' to create depth (Source 1).

step by step

underdrawing→first pass→refining→finishing

underdrawing

step 01
Lightly sketch the outline of the face and major features using a hard pencil (e.g., 2H). Focus on accurate proportions and linear perspective.
Tip — Ensure the knowledge of linear perspective is adequate before proceeding (Source 1).
Linear Perspective

first pass

step 02
Block in the darkest shadows and the brightest highlights. Establish the 'tone value of their light, half-tone, and shadows' to define the form.
Tip — Contrast the relative values carefully. The goal is to render textures like flesh through tone alone (Source 1).
Tone Value Modeling

refining

step 03
Build up mid-tones and refine the transitions between light and shadow. Use blending tools to smooth the 'half-tone' areas, particularly on the skin.
Tip — Study photographs to learn lessons about textures and modeling, but avoid becoming a 'camera fiend' by relying solely on mechanical reproduction (Source 1).
Modeling

finishing

step 04
Add fine details and sharpen contrasts where necessary. Ensure the drawing retains the 'vitality possessed by the medium' and does not become a mere deceptive illusion (Source 3).
Tip — Remember that art is an expression of feeling, not just a substitute for nature. Keep the viewer aware it is a drawing (Source 3).
Medium Vitality

critical techniques

Tone Value Control

The primary method for rendering texture and form. The artist must master the gradation from light to shadow to depict flesh and other textures faithfully (Source 1).

Aerial Perspective

Used to create depth. The artist should contrast the relative values of objects to indicate distance, ensuring that nearest lights and shadows are stronger in tone (Source 1).

Material Awareness

Understanding the limits and capabilities of the pencil. The artist should not attempt more than the medium is capable of doing, avoiding 'misdirected effort' toward pure deception (Source 3).

common pitfalls

→Becoming a 'camera fiend' by relying illegitimately on photographic reproduction without understanding the underlying tone values (Source 1).
→Attempting to create a 'meretricious attempt to deceive the eye' rather than expressing the vitality of the medium (Source 3).
→Over-modeling or being too tied down to the outline, which can result in a stiff or unnatural appearance (Source 2).
→Ignoring the importance of tone value in favor of color, which is irrelevant in a pencil drawing (Source 1).

what the sources don't tell us

Where the corpus is silent, we say so rather than guess. These are the gaps a complete recreation guide would normally cover that our source passages don't.

·The specific subject matter and facial expression of the portrait are not described in the sources.
·The exact pencil grades and paper type preferred by Alfred Freddy Krupa for this specific 2013 work are not detailed.
·The specific lighting setup or direction of light in the original artwork is not specified.
·The artist's specific preparatory sketches or underdrawing methods for this piece are not documented in the provided texts.

grounded in

The technical procedure in this guide traces to the following classical art-instruction texts.

The Practice of Oil Painting↗
- LIGHT AND SHADE — applied to Understanding the importance of tone value over color in rendering texture and form.
- ON COPYING — applied to Guidance on avoiding over-modeling and being too tied to outlines.
The Practice and Science of Drawing↗
- XX MATERIALS — applied to Understanding the vitality of the medium and avoiding mere deception.