plate no. 2640

Salvatore Caputo (low.res.photo)

Alfred Freddy Krupa, 2013

pencilNew Realismportraitportraitfiguremanbow tiecoat of armsformal wear

what to study here

It shows how a face can hold the eye using only soft edges, an even ground and a few small dark accents in graphite.

This is a 2013 pencil portrait, and the vision guide reads it as a lesson in restraint. Light comes from the upper left and models the face softly, with no harsh shadows. The face is the lightest form, running from near-white on the forehead and cheekbones to mid-gray in the eye sockets and under the jaw. The background sits in an even mid-to-light gray, so the head separates by value alone. Squint and you should see three zones: a bright face, a flat neutral ground, and small dark accents in the pupils, brows, nose and mouth. Edges are soft everywhere. The guide says pencil strokes were blended with a stump, leaving no outline around the head. The coat is suggested by directional hatching that stays quiet, and the bow tie gets slightly more definition. A small coat of arms in the upper left stays subordinate to the face. Study how a narrow value range holds a likeness and how the eye is led from the gaze to the bow tie.

key decision

The painter dissolved the edges of the head into an even mid-to-light gray ground with blended pencil. The face separates from the background by value alone, with no outline.

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.

cross-referenced from

Named facts about this artwork and artist were checked against these reference pages.

Wikipedia bio↗
- Alfred Freddy Krupa — applied to Contextualizing the artist's background in New Ink Art and illustration.

Read more about the corpus on the sources page and how the guides are built on the methods page.

read from the painting

observed from the image, not the label

6 dominant colors, measured

what the eye sees

Light falls from the upper left, modeling the face with a soft, diffuse quality that avoids harsh shadows. The head dominates the composition, centered and floating against a neutral ground that recedes evenly. The eye reads the face first—particularly the direct, steady gaze—then travels to the formal bow tie, which anchors the lower portion. The coat of arms in the upper left provides heraldic weight but remains subordinate to the portrait itself.

value structure

The face is the lightest positive form, with values ranging from near-white in the forehead and cheekbones down to mid-gray in the eye sockets and jaw shadows. The background sits in a consistent mid-to-light gray (#bbbbbb–#cfcfcf range), creating clear separation. Darkest accents appear in the pupils, eyebrow definition, and the subtle shadows defining the nose and mouth. Squint: you'll see three distinct zones—bright face, even neutral ground, and punctual dark accents.

observed palette and mixes

#e1e1e1
Titanium white with trace raw sienna or warm gray
Forehead, cheekbones, and the highlighted portions of the bow tie
#bbbbbb
Neutral gray (French ultramarine + burnt sienna + white)
Dominant background and mid-tone passages across the coat
#6e6e6e
Dark gray (ultramarine + burnt umber, minimal white)
Eye pupils, brow shadows, nostril definition, jaw line
#a8a8a8
Mid-light gray (ultramarine + raw sienna + white)
Shadow side of the face, cheek modeling, neck, coat texture

edges and brushwork

Edges are uniformly soft throughout—no hard lines define the face or features. The transition from face to background is gradual; the artist dissolved edges by blending pencil strokes with a stump, leaving no halo or outline. The coat's fabric is suggested through directional hatching that follows form, subtle enough not to distract from the face. The bow tie is rendered with slightly more definition than the coat, but still integrated into the softer overall handling.

a working sequence

01
Establish proportions and the light axis
Lightly sketch the head as a simple oval, marking the horizontal line for eye placement (roughly one-third down from the top). Indicate the centerline of the face. Note that the head sits upright with no tilt. Block in the neck and shoulder line; the coat widens below in a subtle trapezoid. This is your foundation—keep it light and correctable.
02
Map the facial structure and feature placement
Within your oval, refine the jawline—it's squared and strong, not delicate. Position both eyes equidistant from center; they sit at the same level with a calm, direct gaze. Mark the nose as a vertical axis; it's straight and moderate in width. Sketch the mouth line below—firm, with slight asymmetry in the expression. Add the ear position on the side planes.
03
Block in the large shadow planes
Using an HB or 2B pencil, begin shading the shadow side of the face (viewer's left). The cheekbone casts a soft shadow beneath it; the eye sockets and the area under the brow ridge darken notably. Keep these washes broad and soft—no detail yet. Notice the jaw has a subtle shadow line where it turns away. The neck has slight shadow beneath the chin.
04
Develop facial form with mid-tone modeling
Layer a 2B or 4B pencil to deepen the mid-tones: strengthen the eye sockets, define the bridge and underside of the nose, and suggest the cheek planes. The forehead remains mostly light with just a hint of modeling near the temples. Work around the eyes carefully—they are the focal point. The pupils are dark (#6e6e6e), but the whites are not pure white; they read as soft gray-white. Begin suggesting the bow tie's folds with lighter strokes.
05
Refine eyes and the focal point
With a sharp 2B or 4B, place the darkest darks in the pupils. Leave a tiny white catchlight in each eye—this gives life and direction to the gaze. Define the eyebrows with subtle, directional strokes; they are neither heavy nor thin. Soften the eye whites slightly with a blending stump to avoid harshness. The eyes should read as calm and observant, matching the overall dignified expression.
06
Render coat texture and the bow tie
Use directional hatching (following the form of the shoulders and torso) to suggest the coat's woven fabric. Keep this texture subordinate—it should read as fabric, not compete with the face. The bow tie is white with subtle shadows; render it with careful soft edges, allowing the shadow beneath to anchor it. Notice the tie has a geometric, formed quality but still blends into the neck.
07
Establish and balance the background
With an HB or light 2B, lay in the background tone evenly across the entire ground area. It should feel neutral and recessive—not darker than the coat, not lighter than the face. The background has no texture or variation; it's uniform and calm. Use a blending stump to smooth any visible pencil marks, creating an airbrushed, seamless surface. This evenness is crucial—it allows the portrait to float.
08
Integrate the coat of arms and final refinement
Lightly indicate the small heraldic coat of arms in the upper left corner—it reads as a dark, small emblem but should remain subtle. Adjust any value relationships: the face should be the brightest, most defined element; the background should feel like a cohesive, gentle envelope. Use a kneaded eraser to lift highlights on the forehead, cheekbones, and the bow tie. Apply fixative spray in light layers to preserve the pencil work without flattening the subtlety.

where studies of this painting go wrong

Overworking the background—resist the urge to add texture or variation. It must remain calm and uniform to let the face read clearly.
Making the eyes too dark or the pupils too large. They should be observant and penetrating but not staring or aggressive. Restraint here is essential.
Bleeding hard edges where face meets background. The entire perimeter of the head should dissolve softly; use a blending stump generously and avoid outlining the profile.
Neglecting the subtle asymmetry in the expression. The mouth and jaw have a quiet dignity—avoid making the face symmetrical or wooden. Study the slight lift on one side of the mouth carefully.

measured difficulty