plate no. 8267

Self Portrait

Richard Whitney, 1973

oil, canvasContemporary Realismself-portraitportraitfigureself-portraitmanbrushesclothing

experienced study

Recreating this painting will help students develop skills in portraiture, including accurate proportions, subtle color mixing for skin tones, and rendering realistic fabric textures. It also provides practice in capturing likeness and creating a sense of depth through value changes.

technical profile

palette complexity

brushwork visibility

value contrast

compositional simplicity

study guide

est. 20 hrs

approach — 8 steps

step 01
Create a light sketch of the figure, paying close attention to proportions and angles.
step 02
Establish the background with a thin wash of dark brown and subtle variations.
step 03
Block in the main areas of the face, shirt, and hands with basic color mixtures.
step 04
Begin layering and blending colors to create smooth transitions and accurate skin tones.
step 05
Refine the details of the eyes, nose, and mouth, capturing the subject's likeness.
step 06
Add highlights and shadows to the shirt to create a sense of volume and texture.
step 07
Paint the details of the brushes, paying attention to their shape and form.
step 08
Make final adjustments to values and colors to achieve a cohesive and realistic painting.

color palette

primary · titanium white · ultramarine blue · burnt umber · yellow ochre

secondary · cadmium red light · ivory black

Skin tones are achieved by mixing white, yellow ochre, burnt umber, and a touch of red. The blue shirt is created by mixing ultramarine blue with white and small amounts of other colors to adjust the hue and value. The background is primarily burnt umber with subtle variations created by adding small amounts of other colors.

techniques

·portraiture
·color mixing
·blending
·glazing
·value control

common pitfalls

→Inaccurate proportions can ruin the likeness.
→Over-blending can result in a flat, lifeless painting.
→Using too much paint can make the painting look muddy.
→Ignoring subtle color variations can make the skin tones look unnatural.

materials

surface · stretched canvas

required

·stretched canvas (16x20 inches)
·oil paints (titanium white, ultramarine blue, burnt umber, yellow ochre, cadmium red light, ivory black)
·assorted brushes (round and flat)
·palette
·linseed oil
·turpentine or odorless mineral spirits
·palette knife