plate no. 1798
The Fur Jacket
Joseph DeCamp, 1910
some experience helpful
Recreating this painting will help students develop skills in portraiture, including capturing likeness and rendering skin tones, as well as understanding value relationships and creating a sense of depth through subtle color variations.
technical profile
palette complexity
4
brushwork visibility
4
value contrast
4
compositional simplicity
4
study guide
est. 15 hrsapproach — 8 steps
- step 01
Sketch the basic shapes and proportions of the figure, hat, and clothing.
- step 02
Establish the overall value structure with a thin wash of burnt umber or a similar neutral color.
- step 03
Block in the main areas of color, focusing on the skin tones, hat, and background.
- step 04
Refine the skin tones by layering and blending colors, paying attention to highlights and shadows.
- step 05
Add details to the hat, clothing, and lace, using smaller brushes and finer strokes.
- step 06
Adjust the values and colors to create a sense of depth and atmosphere.
- step 07
Add final highlights and details to the face and clothing.
- step 08
Review and adjust the painting as needed to achieve a cohesive and balanced composition.
color palette
primary · ivory black · burnt umber · raw sienna · cadmium red light
secondary · titanium white · yellow ochre · alizarin crimson
Skin tones are achieved by mixing white, red, yellow ochre, and a touch of umber. Dark areas are created by mixing black and umber. Subtle variations in color are achieved by adding small amounts of other colors to the base mixtures.
techniques
- ·portraiture
- ·value studies
- ·color mixing
- ·blending
- ·layering
common pitfalls
- →Getting the proportions wrong in the initial sketch.
- →Overworking the skin tones and losing the freshness of the paint.
- →Failing to create a sense of depth and atmosphere.
- →Ignoring the subtle color variations in the shadows and highlights.
materials
surface · stretched canvas
required
- ·stretched canvas (16x20 inches)
- ·oil paints (ivory black, burnt umber, raw sienna, cadmium red light, titanium white, yellow ochre, alizarin crimson)
- ·linseed oil
- ·turpentine or odorless mineral spirits
- ·palette
- ·assorted brushes (round and flat)
- ·palette knife
- ·rags
optional
- ·medium gloss
- ·retouch varnish
- ·easel
Use high-quality oil paints for best results. A medium-grit canvas will provide a good surface for layering and blending.
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