apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·Self Portrait as a Young Man
Self Portrait as a Young Man by Gian Lorenzo Bernini

plate no. 3542

Self Portrait as a Young Man

Gian Lorenzo Bernini, 1623

oil, canvasBaroqueself-portraitportraitmanfacehaircollarself-portrait
some experience helpful

Recreating this painting will help students develop skills in portraiture, including capturing likeness and creating realistic skin tones through layering and blending. It also provides practice in rendering form with subtle value changes.

technical profile

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

study guide

est. 15 hrs

approach — 8 steps

  1. step 01

    Create a light sketch outlining the basic shapes and proportions of the head, shoulders, and collar.

  2. step 02

    Establish the background with a thin layer of dark brown or black.

  3. step 03

    Block in the main areas of light and shadow on the face using a limited palette of earth tones.

  4. step 04

    Begin layering and blending colors to refine the skin tones, paying attention to subtle variations in hue and value.

  5. step 05

    Paint the hair, using short, directional strokes to suggest texture and volume.

  6. step 06

    Define the features of the face, such as the eyes, nose, and mouth, with careful attention to detail.

  7. step 07

    Paint the collar, using a combination of light and shadow to create a sense of depth.

  8. step 08

    Add final highlights and details to complete the painting.

color palette

primary · raw umber · burnt sienna · titanium white

secondary · ivory black · cadmium red light · yellow ochre

Achieve skin tones by mixing white with small amounts of burnt sienna, raw umber, and cadmium red. Use yellow ochre to warm up the skin tones and ivory black to create shadows.

techniques

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

common pitfalls

  • →Getting the proportions wrong in the initial sketch.
  • →Overworking the paint and losing the freshness of the brushstrokes.
  • →Failing to capture the subtle variations in skin tone.
  • →Creating muddy colors by overmixing.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·raw umber oil paint
  • ·burnt sienna oil paint
  • ·titanium white oil paint
  • ·ivory black oil paint
  • ·round brushes (sizes 2, 4, 6)
  • ·palette
  • ·linseed oil

optional

  • ·palette knife
  • ·medium gloss
  • ·easel

Use a canvas with a smooth surface to facilitate blending. Consider using a toned canvas to establish the background color.

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