plate no. 8993
The Convalescent
Helene Schjerfbeck, 1888
some experience helpful
Recreating this painting will help students develop skills in rendering realistic skin tones and capturing the subtle variations in light and shadow within an interior scene. It also provides practice in depicting textures, such as the woven chair and the smooth surfaces of the table and objects.
technical profile
palette complexity
4
brushwork visibility
3
value contrast
3
compositional simplicity
3
study guide
est. 15 hrsapproach — 8 steps
- step 01
Begin with a light sketch to establish the overall composition and proportions of the figure, chair, table, and other elements.
- step 02
Block in the main shapes and areas of color using thin washes of paint.
- step 03
Establish the darkest and lightest values to create a sense of depth and form.
- step 04
Develop the skin tones of the figure, paying attention to subtle shifts in color and value.
- step 05
Add details to the chair, table, and other objects, focusing on capturing their textures and forms.
- step 06
Refine the lighting and shadows to create a sense of atmosphere and realism.
- step 07
Add the final details, such as the highlights on the objects and the details of the figure's face.
- step 08
Step back and assess the painting, making any necessary adjustments to the composition, color, or value.
color palette
primary · raw umber · titanium white · ivory black
secondary · yellow ochre · burnt sienna · ultramarine blue
Mix various shades of brown and gray by combining raw umber, ivory black, and titanium white. Use yellow ochre and burnt sienna to create warm highlights and skin tones. Add small amounts of ultramarine blue to cool down the shadows.
techniques
- ·underpainting
- ·glazing
- ·scumbling
- ·dry brushing
- ·chiaroscuro
common pitfalls
- →Overworking the painting and losing the freshness of the initial washes.
- →Failing to accurately capture the proportions of the figure and objects.
- →Ignoring the subtle shifts in color and value.
- →Creating harsh lines and edges instead of soft transitions.
- →Not paying attention to the overall composition and balance of the painting.
materials
surface · stretched canvas
required
- ·stretched canvas
- ·raw umber oil paint
- ·titanium white oil paint
- ·ivory black oil paint
- ·yellow ochre oil paint
- ·burnt sienna oil paint
- ·ultramarine blue oil paint
- ·#4 round brush
optional
- ·palette knife
- ·linseed oil
- ·turpentine
- ·medium gloss
Use high-quality oil paints for best results. Consider using a medium to thin the paints and improve their flow.
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