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Study for Self-Portrait by D. Jeffrey Mims

plate no. 2228

Study for Self-Portrait

D. Jeffrey Mims

oilContemporary Realismsketch and studyportraitfiguremanself-portraitheadshoulders
some experience helpful

Recreating this painting will help students develop skills in portraiture, including accurate proportions, capturing likeness, and understanding subtle value shifts to create form. It also provides practice in blending and layering techniques to achieve realistic skin tones and soft edges.

technical profile

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

study guide

est. 15 hrs

approach — 8 steps

  1. step 01

    Lightly sketch the basic shapes and proportions of the head, shoulders, and features.

  2. step 02

    Establish the overall value structure by blocking in the darkest and lightest areas with thin washes.

  3. step 03

    Begin layering in the mid-tones, focusing on the planes of the face and the direction of light.

  4. step 04

    Refine the features, paying close attention to the shapes of the eyes, nose, and mouth.

  5. step 05

    Develop the hair, using a combination of soft blending and sharper strokes to create texture.

  6. step 06

    Work on the clothing and background, maintaining a soft, blurred effect.

  7. step 07

    Add highlights and shadows to enhance the form and create a sense of depth.

  8. step 08

    Make final adjustments to the values and edges to achieve a cohesive and realistic portrait.

color palette

primary · titanium white · burnt umber · raw sienna

secondary · ivory black · ultramarine blue · cadmium red light

Achieve skin tones by mixing white, umber, sienna, and small amounts of red and blue. Use black and umber for shadows, and white with a touch of sienna for highlights.

techniques

  • ·portrait sketching
  • ·value blocking
  • ·layering
  • ·blending
  • ·soft edges

common pitfalls

  • →Getting the proportions wrong in the initial sketch.
  • →Over-blending the skin tones, resulting in a flat, lifeless appearance.
  • →Ignoring the subtle value shifts that create form.
  • →Using colors straight from the tube without mixing them.

materials

surface · stretched canvas

required

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

optional

  • ·palette knife
  • ·medium gloss
  • ·odorless mineral spirits

Use a medium-tooth 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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