apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·Self Portrait
Self Portrait by Gwen John

plate no. 7225

Self Portrait

Gwen John, 1902

oilPost-Impressionismself-portraitportraitfiguredressfacehairbrooch
some experience helpful

Recreating this painting will help students develop skills in portraiture, including capturing likeness and rendering subtle skin tones. It also provides practice in depicting fabric textures and patterns.

technical profile

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

study guide

est. 12 hrs

approach — 8 steps

  1. step 01

    Create a light sketch of the overall composition, focusing on proportions and placement of the figure.

  2. step 02

    Block in the background with a thin layer of muted brown and green tones.

  3. step 03

    Establish the basic skin tones with a mix of white, red, yellow, and brown, paying attention to highlights and shadows.

  4. step 04

    Paint the dress with a base layer of red, then add the plaid pattern using darker and lighter shades of red and brown.

  5. step 05

    Define the facial features, focusing on the eyes, nose, and mouth, and blend carefully.

  6. step 06

    Add details such as the brooch, earrings, and hair strands.

  7. step 07

    Refine the values and colors throughout the painting to create depth and dimension.

  8. step 08

    Add final highlights and shadows to enhance the overall realism.

color palette

primary · titanium white · burnt umber · cadmium red light

secondary · yellow ochre · ivory black · sap green

Achieve skin tones by mixing white, red, yellow, and a touch of brown. Use burnt umber and ivory black to create the darker shades in the background and dress. Mix red and brown for the plaid pattern.

techniques

  • ·portraiture
  • ·blending
  • ·layering
  • ·color mixing
  • ·rendering fabric

common pitfalls

  • →Overworking the skin tones, resulting in a muddy appearance.
  • →Failing to capture the likeness of the subject.
  • →Ignoring the subtle variations in color and value.
  • →Getting the proportions wrong in the initial sketch.
  • →Making the plaid pattern too uniform and artificial.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·titanium white oil paint
  • ·burnt umber oil paint
  • ·cadmium red light oil paint
  • ·yellow ochre oil paint
  • ·ivory black oil paint
  • ·round brushes size 2 and 4
  • ·flat brush size 6

optional

  • ·palette knife
  • ·linseed oil
  • ·odorless mineral spirits
  • ·medium gloss

Use a medium-grain canvas for best results. Consider using a limited palette to simplify color mixing.

tips & new artworks in your inbox

no spam — unsubscribe anytime.

or to save artworks, chat, and track progress

related guides

oil painting for beginners →color theory for painters →how to learn by studying the masters →
chat about this artwork

in this vein

related artworks

The Dinner Party

The Dinner Party

Jules-Alexandre Grun

La Fleuriste

La Fleuriste

Le Pho

Family on Vacation

Family on Vacation

Roman Selsky

Old wooden cottage in the snow

Old wooden cottage in the snow

Alfred Freddy Krupa

Paris Street

Paris Street

Maurice Utrillo

Grand bouquet of mimosa

Grand bouquet of mimosa

Moise Kisling

Versailles

Versailles

Alexandre Benois

Autumn Landscape with Birches

Autumn Landscape with Birches

Konstantin Gorbatov