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home·artworks·Self-portrait in Souzhou
Self-portrait in Souzhou by Consuelo Hernández

plate no. 5248

Self-portrait in Souzhou

Consuelo Hernández

graphite, tusche, paperRealismself-portraitfigurewindowinteriorportraitpatternarchitecture
some experience helpful

Recreating this painting will help students develop skills in rendering realistic skin tones, capturing subtle light and shadow, and creating depth through perspective and value changes.

technical profile

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

study guide

est. 20 hrs

approach — 8 steps

  1. step 01

    Create a light sketch outlining the main shapes: figure, window frames, and the pattern within the windows.

  2. step 02

    Establish the darkest values first, focusing on the shadows within the room and the dark window frames.

  3. step 03

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

  4. step 04

    Render the details of the clothing, paying attention to the folds and wrinkles to create a sense of volume.

  5. step 05

    Carefully paint the pattern within the windows, using a combination of blue and beige/cream colors.

  6. step 06

    Add subtle details to the background and floor to create a sense of depth and atmosphere.

  7. step 07

    Refine the highlights and shadows throughout the painting to enhance the realism.

  8. step 08

    Add final details and adjust values as needed to achieve a cohesive and balanced composition.

color palette

primary · Prussian Blue · Burnt Umber · Titanium White

secondary · Yellow Ochre · Raw Sienna

Mix Prussian Blue and Burnt Umber to create the dark browns for the window frames. Use Titanium White to lighten the blues and browns for highlights. Mix Yellow Ochre and Raw Sienna to create the beige/cream color for the window pattern.

techniques

  • ·hatching
  • ·cross-hatching
  • ·layering
  • ·blending
  • ·value shading

common pitfalls

  • →Overworking the details too early in the process.
  • →Failing to establish a strong value structure.
  • →Ignoring the subtle color variations in the skin tones.
  • →Not paying attention to the perspective of the room and window.

materials

surface · watercolor paper 140lb

required

  • ·Graphite pencils (HB, 2B, 4B, 6B)
  • ·Tusche ink
  • ·Watercolor paper 140lb
  • ·Fine liner brushes (various sizes)
  • ·Palette for mixing inks
  • ·Water container
  • ·Paper towels

optional

  • ·Kneaded eraser
  • ·Blending stumps
  • ·Ruler

Use high-quality graphite pencils and tusche ink for best results. Experiment with different blending techniques to achieve smooth transitions.

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