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Self-portrait by Émile Auguste Hublin

plate no. 4587

Self-portrait

Émile Auguste Hublin

oil, canvasRealismself-portraitportraitmanfigureclothingself-portrait
some experience helpful

Recreating this portrait will help students develop skills in portrait proportions, mixing realistic skin tones, and creating subtle value gradations to define form. It also offers practice in rendering clothing and background with limited color palettes.

technical profile

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

study guide

est. 15 hrs

approach — 8 steps

  1. step 01

    Lightly sketch the basic proportions of the head, shoulders, and clothing on the canvas.

  2. step 02

    Establish the darkest and lightest values in the painting to create a value map.

  3. step 03

    Block in the background with a dark, neutral color, paying attention to the edges of the figure.

  4. step 04

    Mix a base skin tone and apply it to the face, neck, and hands, focusing on the overall shape.

  5. step 05

    Begin layering in subtle variations in skin tone, paying attention to highlights and shadows.

  6. step 06

    Paint the clothing, starting with the darkest areas and gradually adding highlights.

  7. step 07

    Refine the details of the face, including the eyes, nose, and mouth.

  8. step 08

    Add final touches and adjust values as needed to create a cohesive and realistic portrait.

color palette

primary · ivory black · raw umber · burnt sienna · titanium white

secondary · yellow ochre · cadmium red light

Mix skin tones by combining white, yellow ochre, burnt sienna, and a touch of red. Use ivory black and raw umber to create the dark tones for the clothing and background. Add white to these dark mixtures to create highlights.

techniques

  • ·portrait proportions
  • ·value studies
  • ·glazing
  • ·blending
  • ·chiaroscuro

common pitfalls

  • →Getting the proportions of the face wrong, resulting in an unrealistic likeness.
  • →Overmixing the skin tones, leading to a muddy or flat appearance.
  • →Failing to create enough contrast between the highlights and shadows, resulting in a dull portrait.
  • →Getting lost in the details too early, before establishing the overall form and value structure.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·ivory black oil paint
  • ·raw umber oil paint
  • ·burnt sienna oil paint
  • ·titanium white oil paint
  • ·yellow ochre oil paint
  • ·cadmium red light oil paint
  • ·assorted brushes (round and flat)

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 the color mixing process.

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