apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·The Abdication of Mary, Queen of Scots
The Abdication of Mary, Queen of Scots by Gavin Hamilton

plate no. 3554

The Abdication of Mary, Queen of Scots

Gavin Hamilton

oilNeoclassicismhistory paintingfiguresinteriorcrowntablearmorwindow
experienced study

Recreating this painting will help students develop skills in rendering complex figures and drapery, as well as understanding the use of light and shadow to create depth and drama. It also provides practice in color mixing to achieve realistic skin tones and fabric textures.

technical profile

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

study guide

est. 30 hrs

approach — 8 steps

  1. step 01

    Sketch the basic composition, focusing on the placement and proportions of the figures and key elements.

  2. step 02

    Establish the overall value structure by blocking in the dark and light areas with thin washes of color.

  3. step 03

    Begin refining the figures, paying attention to anatomical accuracy and the fall of light and shadow.

  4. step 04

    Develop the drapery, using highlights and shadows to create a sense of volume and texture.

  5. step 05

    Add details to the armor, crown, and other objects, using small brushes and precise strokes.

  6. step 06

    Refine the background and surrounding environment, ensuring that it complements the figures and enhances the overall composition.

  7. step 07

    Glaze thin layers of color to adjust the values and create subtle color variations.

  8. step 08

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

color palette

primary · burnt umber · yellow ochre · titanium white · ultramarine blue

secondary · cadmium red · ivory black

Achieve skin tones by mixing yellow ochre, burnt umber, and titanium white. Use ultramarine blue and burnt umber to create dark shadows. Mix cadmium red and burnt umber for the red drapery.

techniques

  • ·underpainting
  • ·glazing
  • ·chiaroscuro
  • ·drapery rendering
  • ·portraiture

common pitfalls

  • →Incorrect proportions of figures
  • →Overblending, resulting in a flat appearance
  • →Inaccurate color mixing
  • →Ignoring the importance of light and shadow

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·oil paints
  • ·linseed oil
  • ·turpentine
  • ·palette
  • ·assorted brushes
  • ·palette knife

optional

  • ·medium gloss
  • ·retouch varnish
  • ·easel

Use high-quality oil paints for best results. Allow each layer to dry before applying the next.

tips & new artworks in your inbox

no spam — unsubscribe anytime.

or to save artworks, chat, and track progress

related guides

oil painting for beginners →how to learn by studying the masters →
chat about this artwork

in this vein

related artworks

Portrait of Sculptor Jean-Antoine Houdon working at the bust of Voltaire

Portrait of Sculptor Jean-Antoine Houdon working at the bust of Voltaire

Marie-Gabrielle Capet

The Roman antiquities, t. 1, Plate XXXI. Temple of Antonius and Faustina.

The Roman antiquities, t. 1, Plate XXXI. Temple of Antonius and Faustina.

Giovanni Battista Piranesi

Portrait of Louis d'Orleans

Portrait of Louis d'Orleans

Franz Xaver Winterhalter

Rooftops in the shadows

Rooftops in the shadows

Pierre-Henri de Valenciennes

The Schmadribach Falls

The Schmadribach Falls

Joseph Anton Koch

A Scene from 'As You Like It' by William Shakespeare

A Scene from 'As You Like It' by William Shakespeare

William Hamilton

Portrait of Klementyna Ostrowska Née Sanguszko

Portrait of Klementyna Ostrowska Née Sanguszko

Vincenzo Camuccini

Self-Portrait

Self-Portrait

Anton Raphael Mengs