plate no. 3036

St. John the Evangelist

oil, woodMannerism (Late Renaissance)religious paintingfigureportraitreligiousbeardrobecircle

experienced study

This painting offers a good opportunity to practice portraiture, particularly rendering skin tones and drapery. Students can also develop their skills in creating a sense of depth and form through subtle shading and highlighting.

technical profile

palette complexity

brushwork visibility

value contrast

compositional simplicity

study guide

est. 20 hrs

approach — 8 steps

step 01
Lightly sketch the circular frame and the basic figure proportions within it.
step 02
Block in the main areas of color: skin, robe, background.
step 03
Begin layering skin tones, focusing on the subtle variations in light and shadow.
step 04
Work on the drapery, paying attention to the folds and how they catch the light.
step 05
Refine the facial features, focusing on the eyes, nose, and mouth.
step 06
Add details to the beard, creating texture and volume.
step 07
Adjust the values and colors to create a sense of depth and realism.
step 08
Add final highlights and details to complete the painting.

color palette

primary · raw umber · burnt sienna · titanium white

secondary · ivory black · yellow ochre · cadmium yellow light

Achieve skin tones by mixing burnt sienna, raw umber, and titanium white. Use small amounts of yellow ochre or cadmium yellow light to warm the skin tones. Mix ivory black with raw umber for the dark background.

techniques

·glazing
·scumbling
·blending
·chiaroscuro
·portraiture

common pitfalls

→Overmixing colors, leading to muddy tones.
→Failing to establish a strong value structure.
→Getting the proportions of the figure wrong.
→Oversimplifying the skin tones.

materials

surface · stretched canvas

required

·Stretched canvas (16x20 inch)
·Oil paints (raw umber, burnt sienna, titanium white, ivory black, yellow ochre, cadmium yellow light)
·Round brushes (sizes 2, 4, 6)
·Flat brushes (sizes 4, 8)
·Palette
·Linseed oil
·Odorless mineral spirits
·Rags