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Self-portrait by Fedir Krychevsky

plate no. 9155

Self-portrait

Fedir Krychevsky, 1911

oil, canvasImpressionismself-portraitportraitfiguremantreesfoliageclothing
some experience helpful

Recreating this painting will help students develop skills in portraiture, color mixing for skin tones, and creating depth through layering and brushwork. It also provides practice in capturing light and shadow on a face.

technical profile

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

study guide

est. 12 hrs

approach — 8 steps

  1. step 01

    Lightly sketch the basic shapes and proportions of the head, shoulders, and background elements.

  2. step 02

    Establish the overall value structure by blocking in the main areas of light and shadow with thin washes of color.

  3. step 03

    Begin building up the skin tones, mixing a range of colors to capture the subtle variations in light and shadow.

  4. step 04

    Develop the details of the facial features, paying close attention to the shapes and values of the eyes, nose, and mouth.

  5. step 05

    Work on the clothing, using thicker paint and more visible brushstrokes to create texture and form.

  6. step 06

    Add the background elements, using a loose and impressionistic style to suggest foliage and branches.

  7. step 07

    Refine the details and adjust the values to create a sense of depth and realism.

  8. step 08

    Add final highlights and shadows to enhance the overall effect.

color palette

primary · titanium white · burnt umber · cadmium red · yellow ochre

secondary · ultramarine blue · viridian green · alizarin crimson

Achieve skin tones by mixing white, red, yellow ochre, and a touch of umber. Use blue and green sparingly to cool down the skin tones in shadow areas. Mix greens and browns for the foliage, adding touches of red and yellow for variation.

techniques

  • ·broken color
  • ·scumbling
  • ·alla prima
  • ·portraiture
  • ·color mixing

common pitfalls

  • →Overmixing colors and creating muddy tones.
  • →Getting the proportions of the face wrong.
  • →Failing to capture the subtle variations in skin tone.
  • →Overworking the details and losing the freshness of the brushwork.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·oil paints
  • ·palette
  • ·assorted brushes
  • ·linseed oil
  • ·turpentine
  • ·palette knife

optional

  • ·medium gloss
  • ·easel
  • ·rags

Use a medium-sized canvas (e.g., 16x20 inches) for this project. A variety of brush sizes and shapes will be helpful for creating different effects.

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related guides

oil painting for beginners →color theory for painters →how to learn by studying the masters →
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