apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·Self-portrait (May, 29th)
Self-portrait (May, 29th) by Francesco Paolo Michetti

plate no. 8203

Self-portrait (May, 29th)

Francesco Paolo Michetti, 1888

oilRealismself-portraitportraitmanbeardhatfaceclothing
some experience helpful

Recreating this painting will help students develop skills in portraiture, particularly in capturing likeness and rendering subtle tonal variations in skin tones. It also provides practice in creating depth and form using soft blending techniques.

technical profile

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

study guide

est. 15 hrs

approach — 8 steps

  1. step 01

    Sketch the basic proportions and placement of the head, shoulders, and hat.

  2. step 02

    Establish the overall value structure with a thin wash of neutral color.

  3. step 03

    Block in the main areas of color: skin tones, hair, beard, hat, and background.

  4. step 04

    Begin refining the facial features, paying close attention to the shapes of the eyes, nose, and mouth.

  5. step 05

    Develop the beard and hair, using short, directional brushstrokes to suggest texture.

  6. step 06

    Refine the clothing and background, softening edges and adding subtle details.

  7. step 07

    Add highlights and shadows to create depth and dimension.

  8. step 08

    Glaze with thin layers of color to unify the painting and enhance the overall effect.

color palette

primary · raw umber · titanium white · burnt sienna

secondary · ivory black · cadmium red light · yellow ochre

Mix skin tones by blending white, raw umber, burnt sienna, and a touch of cadmium red light. Use ivory black and raw umber to create the dark tones in the beard and hat. Yellow ochre can be used to warm up the skin tones and add highlights.

techniques

  • ·portrait painting
  • ·tonal painting
  • ·soft blending
  • ·scumbling
  • ·glazing

common pitfalls

  • →Overworking the painting and losing the freshness of the brushstrokes.
  • →Failing to capture the likeness of the subject.
  • →Using colors that are too saturated or intense.
  • →Creating harsh edges and lines.

materials

surface · stretched canvas

required

  • ·stretched canvas 16x20
  • ·raw umber oil paint
  • ·titanium white oil paint
  • ·burnt sienna oil paint
  • ·ivory black oil paint
  • ·round brushes (sizes 2, 4, 6)
  • ·linseed oil
  • ·palette

optional

  • ·palette knife
  • ·medium gloss
  • ·easel

Use high-quality oil paints for best results. A medium-grit canvas will provide a good surface for the painting.

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

Portrait of James Wright

Portrait of James Wright

Thomas Eakins

Portrait of a lady

Portrait of a lady

Karl Gussow

Sisters

Sisters

Émile Auguste Hublin

Catching Up on the News

Catching Up on the News

Eastman Johnson

At the porter's room

At the porter's room

Vladimir Makovsky

Flowers and Fruit

Flowers and Fruit

Henri Fantin-Latour

Valle de México desde el Molino del Rey

Valle de México desde el Molino del Rey

Jose Maria Velasco

Self-Portrait II

Self-Portrait II

Mihaly Munkacsy