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home·artworks·Self-portrait in a Red Beret
Self-portrait in a Red Beret by Frans van Mieris the Elder

plate no. 4014

Self-portrait in a Red Beret

Frans van Mieris the Elder, 1670

oilBaroqueself-portraitportraitfigurehatclothingfacehair
some experience helpful

Recreating this painting will help students develop skills in portraiture, including capturing likeness and rendering realistic skin tones. It also provides practice in creating soft, diffused lighting and subtle value transitions.

technical profile

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

study guide

est. 12 hrs

approach — 8 steps

  1. step 01

    Sketch the basic oval shape of the head and the placement of the facial features.

  2. step 02

    Lightly block in the main areas of color: the red hat, the skin tones, the white collar, and the dark background.

  3. step 03

    Begin layering the skin tones, starting with the mid-tones and gradually adding highlights and shadows.

  4. step 04

    Work on the red hat, creating depth and dimension with variations in color and value.

  5. step 05

    Define the details of the white collar, paying attention to the folds and highlights.

  6. step 06

    Refine the facial features, adding details such as the eyes, nose, and mouth.

  7. step 07

    Blend the edges of the forms to create a soft, diffused effect.

  8. step 08

    Add final highlights and details to complete the painting.

color palette

primary · red · ivory black · raw umber · titanium white

secondary · yellow ochre · burnt sienna

Achieve skin tones by mixing titanium white, yellow ochre, burnt sienna, and a touch of red. Use ivory black to darken the background and create shadows. Mix red with a touch of black to create the darker shades in the hat.

techniques

  • ·glazing
  • ·scumbling
  • ·blending
  • ·chiaroscuro
  • ·portraiture

common pitfalls

  • →Overworking the skin tones, resulting in a muddy or unnatural appearance.
  • →Failing to create enough contrast between the highlights and shadows.
  • →Losing the likeness of the subject.
  • →Not blending the edges of the forms sufficiently.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·oil paints (red, ivory black, raw umber, titanium white, yellow ochre, burnt sienna)
  • ·linseed oil
  • ·turpentine
  • ·palette
  • ·assorted brushes (round and flat)
  • ·palette knife
  • ·rags

optional

  • ·medium gloss
  • ·retouch varnish
  • ·easel

Use high-quality oil paints for best results. Allow each layer to dry before applying the next.

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related guides

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