apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·Self Portrait in the Studio
Self Portrait in the Studio by William Holbrook Beard

plate no. 3858

Self Portrait in the Studio

William Holbrook Beard, 1860

oilRomanticismself-portraitartiststudioeaselinteriorskullfigure
experienced study

Recreating this painting will help students develop skills in rendering complex interior spaces, capturing subtle light variations, and painting realistic figures within a scene. It also provides practice in depicting various textures and objects.

technical profile

palette complexity
4
brushwork visibility
3
value contrast
3
compositional simplicity
2

study guide

est. 20 hrs

approach — 8 steps

  1. step 01

    Lightly sketch the basic composition, focusing on the placement of the figure, easel, and major objects.

  2. step 02

    Establish the overall color scheme by applying thin washes of color to the canvas.

  3. step 03

    Block in the main shapes and values of the background, including the wall, drapery, and objects on the shelf.

  4. step 04

    Begin to refine the figure, paying attention to proportions and anatomical details.

  5. step 05

    Develop the details of the easel, canvas, and other objects in the foreground.

  6. step 06

    Add highlights and shadows to create depth and dimension.

  7. step 07

    Refine the textures of the various surfaces, such as the wood, fabric, and fur.

  8. step 08

    Make final adjustments to the composition, color, and values to achieve a cohesive and realistic representation.

color palette

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

secondary · cadmium red · viridian green · yellow ochre

Achieve the warm, muted tones by mixing burnt umber and raw sienna with small amounts of ivory black and titanium white. Use cadmium red to create the vibrant reds of the drapery and the artist's shirt. Mix viridian green with yellow ochre and white for the green drapery.

techniques

  • ·glazing
  • ·scumbling
  • ·chiaroscuro
  • ·rendering textures
  • ·figure drawing

common pitfalls

  • →Incorrect proportions of the figure
  • →Overly bright or saturated colors
  • →Lack of depth and dimension
  • →Inaccurate rendering of textures

materials

surface · stretched canvas

required

  • ·stretched canvas 18x24
  • ·oil paints (burnt umber, raw sienna, ivory black, titanium white, cadmium red, viridian green, yellow ochre)
  • ·assorted brushes (round, flat, filbert)
  • ·palette
  • ·palette knife
  • ·linseed oil
  • ·turpentine
  • ·rags

optional

  • ·medium gloss
  • ·retouch varnish
  • ·easel

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

tips & new artworks in your inbox

no spam — unsubscribe anytime.

or to save artworks, chat, and track progress

related guides

oil painting for beginners →how to learn by studying the masters →
chat about this artwork

in this vein

related artworks

Romantic Landscape

Romantic Landscape

Karl Lessing

Self-portrait with his brother Francesco

Self-portrait with his brother Francesco

Giuseppe Tominz

Oenone Refuse de Secourir Pâris au Siège de Troie

Oenone Refuse de Secourir Pâris au Siège de Troie

Léon Cogniet

Duke of Alba

Duke of Alba

Francisco Goya

Blick Aus Dem Wald Ins Tal

Blick Aus Dem Wald Ins Tal

Andreas Achenbach

Young Girl Fixing Her Hair

Young Girl Fixing Her Hair

Sophie Gengembre Anderson

The Plough Inn

The Plough Inn

William Shayer

Hudson River Landscape

Hudson River Landscape

Johann Hermann Carmiencke