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home·artworks·Spiritual father Ghevont Alishan in his study
Spiritual father Ghevont Alishan in his study by Noè Bordignon

plate no. 6552

Spiritual father Ghevont Alishan in his study

Noè Bordignon, 1900

oil, canvasRealismportraitportraitfigurebooksdeskinteriorwriting
some experience helpful

Recreating this painting will help students develop skills in portraiture, capturing light and shadow on skin tones, and creating depth through layering and blending. It also offers practice in rendering textures like paper and book covers.

technical profile

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

study guide

est. 15 hrs

approach — 8 steps

  1. step 01

    Sketch the basic composition, focusing on the placement of the figure, desk, and key objects.

  2. step 02

    Establish the background with a thin wash of gray, paying attention to subtle variations in tone.

  3. step 03

    Block in the main shapes of the figure, using a limited palette of earth tones and white.

  4. step 04

    Develop the skin tones, layering and blending colors to create a sense of volume and light.

  5. step 05

    Add details to the beard and hair, using small brushstrokes to capture the texture.

  6. step 06

    Paint the books and papers on the desk, focusing on accurate shapes and values.

  7. step 07

    Refine the details of the face, paying attention to the eyes and mouth.

  8. step 08

    Add final highlights and shadows to enhance the overall depth and realism.

color palette

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

secondary · yellow ochre · ultramarine blue

Achieve skin tones by mixing white with small amounts of burnt sienna, raw umber, and yellow ochre. Use ultramarine blue to cool down the grays and create shadows.

techniques

  • ·underpainting
  • ·layering
  • ·blending
  • ·scumbling
  • ·dry brushing

common pitfalls

  • →Overblending the skin tones, resulting in a flat and lifeless appearance.
  • →Ignoring the subtle variations in color and value, leading to a monotonous painting.
  • →Getting lost in the details too early, before establishing the overall composition and values.
  • →Failing to capture the likeness of the figure.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·ivory black oil paint
  • ·raw umber oil paint
  • ·burnt sienna oil paint
  • ·titanium white oil paint
  • ·yellow ochre oil paint
  • ·ultramarine blue oil paint
  • ·assorted round and flat brushes

optional

  • ·palette knife
  • ·linseed oil
  • ·turpentine

Use a medium-grain canvas for best results. Consider using a limited palette to simplify the color mixing process.

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oil painting for beginners →how to learn by studying the masters →
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