apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·Sir Redmond Barry
Sir Redmond Barry by George Folingsby

plate no. 5135

Sir Redmond Barry

George Folingsby, 1880

oilAcademicismportraitportraitfiguremanheadshouldersneutral background
some experience helpful

Recreating this painting will help students develop skills in portrait sketching, value studies, and limited palette painting. It's a good exercise in capturing likeness and form with minimal color.

technical profile

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

study guide

est. 8 hrs

approach — 8 steps

  1. step 01

    Lightly sketch the basic shapes and proportions of the head and shoulders using charcoal or a light pencil.

  2. step 02

    Establish the overall background tone with a thin wash of burnt umber or a similar earth tone.

  3. step 03

    Block in the main shadow areas on the face and neck using a darker value of the background color.

  4. step 04

    Add highlights to the forehead, nose, and cheekbones using a lighter value, mixed with white.

  5. step 05

    Refine the features, paying attention to the subtle variations in value and tone.

  6. step 06

    Use short, broken brushstrokes to suggest the texture of the hair and beard.

  7. step 07

    Add the white collar using thicker paint and clean brushstrokes.

  8. step 08

    Soften edges and blend transitions where necessary to create a sense of form.

color palette

primary · burnt umber · titanium white · raw sienna

secondary · ivory black · yellow ochre

Mix burnt umber and white for the lighter skin tones. Add a touch of raw sienna for warmth. Use ivory black sparingly to deepen shadows.

techniques

  • ·value study
  • ·limited palette
  • ·dry brushing
  • ·scumbling
  • ·portrait sketching

common pitfalls

  • →Overblending, resulting in a flat, lifeless appearance.
  • →Incorrect proportions in the initial sketch.
  • →Using too much white, making the skin tones look chalky.
  • →Ignoring subtle value changes.
  • →Getting lost in details too early.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·burnt umber oil paint
  • ·titanium white oil paint
  • ·raw sienna oil paint
  • ·round brushes (sizes 2, 4, 6)
  • ·palette
  • ·linseed oil
  • ·mineral spirits

optional

  • ·palette knife
  • ·medium gloss
  • ·ivory black oil paint
  • ·yellow ochre oil paint

A toned canvas will help establish the overall color harmony. Use a medium that promotes smooth blending.

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 a Young Woman

Portrait of a Young Woman

George Demetrescu Mirea

My daughters, Eva and Jeanne

My daughters, Eva and Jeanne

Diogène Maillart

The Reluctant Bride

The Reluctant Bride

Auguste Toulmouche

The Proposal

The Proposal

Wladyslaw Czachorski

The Dressing Room

The Dressing Room

Henri-Pierre Picou

Girl with pinks

Girl with pinks

Wladyslaw Czachorski

Self-Portrait

Self-Portrait

George Demetrescu Mirea

The age

The age

Ludwig Knaus