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home·artworks·Study of the Head and Shoulders of an Old Bearded Man Wearing A Cap
Study of the Head and Shoulders of an Old Bearded Man Wearing A Cap by Jan Lievens

plate no. 8648

Study of the Head and Shoulders of an Old Bearded Man Wearing A Cap

Jan Lievens, 1629

oilBaroqueportraitportraitmanbeardhatold agefigure
some experience helpful

Recreating this painting will help students develop skills in portraiture, particularly in rendering realistic skin tones and textures. It also provides practice in creating depth and form through subtle value changes and blending.

technical profile

palette complexity
4
brushwork visibility
3
value contrast
3
compositional simplicity
5

study guide

est. 15 hrs

approach — 8 steps

  1. step 01

    Sketch the basic shapes and proportions of the head, shoulders, and hat.

  2. step 02

    Establish the overall value structure with a thin wash of burnt umber.

  3. step 03

    Block in the main areas of color: skin, beard, hat, and background.

  4. step 04

    Begin refining the skin tones, paying close attention to subtle shifts in value and color.

  5. step 05

    Develop the beard, using layering and dry brush techniques to create texture.

  6. step 06

    Refine the details of the hat and clothing, adding highlights and shadows.

  7. step 07

    Adjust the background to create depth and atmosphere.

  8. step 08

    Add final highlights and details to bring the painting to life.

color palette

primary · burnt umber · titanium white · ivory black

secondary · yellow ochre · raw sienna · ultramarine blue

Achieve skin tones by mixing white, umber, ochre, and a touch of blue. Use varying amounts of white to create highlights and shadows. The beard is created by layering light and dark tones of ochre, umber, and white.

techniques

  • ·underpainting
  • ·glazing
  • ·dry brushing
  • ·blending
  • ·chiaroscuro

common pitfalls

  • →Over-blending, resulting in a flat, lifeless appearance.
  • →Incorrect proportions in the initial sketch.
  • →Failing to capture the subtle value changes in the skin tones.
  • →Using too much paint, obscuring the underpainting.

materials

surface · stretched canvas

required

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

optional

  • ·palette knife
  • ·medium (e.g., Liquin)
  • ·easel

A smooth canvas surface is recommended for easier blending. Use high-quality oil paints for best results.

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related guides

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