plate no. 2449
SANDRA
Edwin Dickinson, 1947
some experience helpful
This painting provides practice in capturing subtle skin tones and creating form with light and shadow. Students will learn to simplify details and focus on the overall impression of the subject.
technical profile
palette complexity
3
brushwork visibility
4
value contrast
4
compositional simplicity
4
study guide
est. 12 hrsapproach — 8 steps
- step 01
Lightly sketch the basic shapes and proportions of the figure.
- step 02
Establish the darkest and lightest areas of the painting with thin washes.
- step 03
Block in the main color areas of the skin, hair, and clothing.
- step 04
Begin to refine the shapes and values, paying attention to the subtle shifts in tone.
- step 05
Develop the details of the face, focusing on the eyes, nose, and mouth.
- step 06
Add highlights and shadows to create depth and dimension.
- step 07
Soften edges and blend colors as needed to create a harmonious effect.
- step 08
Add final details and adjustments to complete the painting.
color palette
primary · titanium white · burnt umber · cadmium red light
secondary · ultramarine blue · yellow ochre
Mix skin tones using white, red, umber, and a touch of yellow ochre. Use ultramarine blue to cool down shadows.
techniques
- ·alla prima
- ·broken color
- ·scumbling
- ·blending
- ·value study
common pitfalls
- →Overworking the details and losing the overall impression.
- →Creating harsh edges and neglecting soft transitions.
- →Failing to accurately capture the proportions of the figure.
- →Getting the skin tones too muddy or artificial.
materials
surface · stretched canvas
required
- ·stretched canvas
- ·titanium white oil paint
- ·burnt umber oil paint
- ·cadmium red light oil paint
- ·ultramarine blue oil paint
- ·yellow ochre oil paint
- ·assorted brushes (rounds and flats)
- ·palette
optional
- ·palette knife
- ·linseed oil
- ·odorless mineral spirits
Use a medium-grain canvas for best results. Consider using a limited palette to simplify the color mixing process.
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