plate no. 5016
The Funeral of St. Stephen (detail)
Filippo Lippi, 1460
some experience helpful
Recreating this painting will help students develop skills in portraiture, particularly in capturing subtle variations in skin tones and creating a sense of depth through shading. It also encourages careful observation of facial features and the use of a limited color palette.
technical profile
palette complexity
3
brushwork visibility
3
value contrast
3
compositional simplicity
4
study guide
est. 12 hrsapproach — 7 steps
- step 01
Lightly sketch the basic shapes and proportions of the figures and their headwear.
- step 02
Establish the background with a thin wash of muted gray-blue.
- step 03
Block in the main areas of shadow and light on the faces and robes using a limited palette of earth tones.
- step 04
Begin to refine the facial features, paying close attention to the subtle variations in skin tone.
- step 05
Add highlights to the faces and robes to create a sense of volume and depth.
- step 06
Refine the details of the headwear and clothing, adding subtle textures and folds.
- step 07
Adjust the overall values and contrasts to create a cohesive and balanced composition.
color palette
primary · raw umber · ivory black · titanium white
secondary · burnt sienna · yellow ochre
Achieve skin tones by mixing white with small amounts of raw umber, burnt sienna, and yellow ochre. Use black to darken values and create shadows.
techniques
- ·grisaille underpainting
- ·glazing
- ·scumbling
- ·subtle blending
common pitfalls
- →Overworking the details too early in the process.
- →Using too much color and losing the muted, earthy tones.
- →Failing to capture the subtle variations in skin tone.
- →Creating harsh lines and edges instead of soft transitions.
materials
surface · stretched canvas
required
- ·stretched canvas
- ·raw umber oil paint
- ·ivory black oil paint
- ·titanium white oil paint
- ·burnt sienna oil paint
- ·yellow ochre oil paint
- ·round brushes (sizes 2, 4, 6)
- ·linseed oil
optional
- ·palette knife
- ·medium (e.g., Liquin)
- ·retouch varnish
Use high-quality oil paints for best results. Consider toning the canvas with a thin wash of raw umber before starting.
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