plate no. 5686
Self Portrait
L. S. Lowry, 1925
some experience helpful
Recreating this painting will help students develop skills in portraiture, color mixing for skin tones, and creating depth through subtle value changes. It also provides practice in capturing likeness and expression.
technical profile
palette complexity
3
brushwork visibility
3
value contrast
3
compositional simplicity
4
study guide
est. 12 hrsapproach — 8 steps
- step 01
Lightly sketch the basic shapes and proportions of the head, hat, and clothing on the canvas.
- step 02
Block in the background with a dark green-grey mixture.
- step 03
Establish the main shadow shapes on the face and clothing using a mid-tone brown.
- step 04
Begin layering in lighter skin tones, focusing on the highlights on the forehead, nose, and cheeks.
- step 05
Add details to the eyes, nose, and mouth, paying attention to subtle variations in color and value.
- step 06
Develop the details of the clothing, capturing the folds and textures with varied brushstrokes.
- step 07
Refine the overall composition by adjusting values and adding highlights to create a sense of depth.
- step 08
Add final details and highlights to the face and clothing.
color palette
primary · raw umber · titanium white · burnt sienna
secondary · ultramarine blue · yellow ochre · ivory black
Skin tones are achieved by mixing white, burnt sienna, and a touch of yellow ochre. Shadows are created by adding raw umber and a hint of ultramarine blue to the skin tone mixture. The background is a mix of ivory black, ultramarine blue, and a touch of raw umber.
techniques
- ·layering
- ·blending
- ·scumbling
- ·value control
- ·portraiture
common pitfalls
- →Overmixing colors, resulting in muddy tones.
- →Failing to accurately capture the proportions of the face.
- →Ignoring subtle value changes, leading to a flat appearance.
- →Getting lost in details too early, before establishing the overall composition.
materials
surface · stretched canvas
required
- ·stretched canvas (16x20 inches)
- ·oil paints (raw umber, titanium white, burnt sienna, ultramarine blue, yellow ochre, ivory black)
- ·palette
- ·palette knife
- ·assorted brushes (round and flat, sizes 2-8)
- ·linseed oil
- ·odorless mineral spirits
- ·rags
optional
- ·medium (e.g., Liquin)
- ·varnish
Use a limited palette to simplify color mixing and create a harmonious painting. Consider using a toned canvas to establish a base value.
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