plate no. 0960
Student portrait
Elena Bontea, 1983
some experience helpful
This painting offers practice in capturing a likeness with simplified forms and expressive brushstrokes. Students will learn to mix subtle skin tones and create texture with impasto techniques.
technical profile
palette complexity
3
brushwork visibility
5
value contrast
3
compositional simplicity
4
study guide
est. 8 hrsapproach — 8 steps
- step 01
Lightly sketch the basic shapes of the head, hair, and shoulders.
- step 02
Block in the background with a thin layer of ochre and brown.
- step 03
Establish the main skin tones using a mix of white, yellow, and a touch of red.
- step 04
Define the features (eyes, nose, mouth) with subtle shading and highlights.
- step 05
Build up the hair with thick, textured brushstrokes, varying the color slightly.
- step 06
Add details to the clothing, paying attention to the light and shadow.
- step 07
Refine the edges and add final highlights to create depth.
- step 08
Allow to dry and varnish if desired.
color palette
primary · titanium white · yellow ochre · burnt umber
secondary · cadmium red · raw sienna
Mix skin tones by blending white, yellow ochre, and a small amount of red. Use burnt umber to create shadows and depth. Add white to lighten colors and create highlights.
techniques
- ·impasto
- ·broken color
- ·scumbling
- ·alla prima
common pitfalls
- →Over-blending the colors, resulting in a muddy appearance.
- →Getting the proportions of the face wrong.
- →Using too much detail, losing the expressive quality.
- →Not varying the brushstrokes enough, creating a flat texture.
materials
surface · stretched canvas
required
- ·stretched canvas
- ·acrylic or oil paints
- ·titanium white
- ·yellow ochre
- ·burnt umber
- ·cadmium red
- ·round brushes
- ·flat brushes
optional
- ·palette knife
- ·painting medium
- ·varnish
Use heavy body acrylics or oil paints for impasto effects. A medium can be added to improve blending and flow.
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