plate no. 4211

Sir William Petty

oilBaroqueportraitportraitfigureskullbookdraperyhand

some experience helpful

Recreating this painting will help students develop skills in portraiture, particularly in capturing likeness and rendering skin tones. It also provides practice in depicting textures like fabric and bone.

technical profile

palette complexity

brushwork visibility

value contrast

compositional simplicity

study guide

est. 20 hrs

approach — 8 steps

step 01
Prepare a toned canvas with a dark umber wash.
step 02
Lightly sketch the main shapes: the figure, skull, book, and drapery.
step 03
Block in the darkest areas of the background and clothing with dark browns and blacks.
step 04
Establish the mid-tones and highlights on the face and hands, gradually building up the form.
step 05
Paint the skull, focusing on capturing its bony structure and subtle color variations.
step 06
Add details to the book and drapery, paying attention to folds and highlights.
step 07
Refine the details of the face, hair, and clothing, adding subtle highlights and shadows.
step 08
Glaze the painting with thin layers of color to unify the composition and enhance the depth.

color palette

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

secondary · cadmium red light · yellow ochre

Mix skin tones by blending white, sienna, umber, and a touch of red. Use thin glazes of umber and black to create shadows and depth.

techniques

·glazing
·scumbling
·chiaroscuro
·portraiture
·underpainting

common pitfalls

→Overworking the details too early in the process.
→Failing to establish a strong value structure.
→Using too much paint and losing the subtle gradations.
→Getting the proportions of the face or skull wrong.

materials

surface · stretched canvas

required

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

optional

·palette knife
·medium gloss
·retouch varnish

A smooth canvas is recommended for achieving the subtle blending and glazing effects in this painting. Consider using a pre-toned canvas to save time.

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