
plate no. 5845
Graham Sutherland, 1958
Recreating this painting will help students develop skills in portraiture, color mixing for skin tones, and capturing likeness through careful observation. It also provides practice in layering and blending paint to achieve subtle tonal variations.
technical profile
approach — 8 steps
Lightly sketch the basic shapes and proportions of the head and shoulders.
Block in the background with a thin layer of brown paint.
Establish the main areas of light and shadow on the face using a limited palette of earth tones.
Begin layering and blending colors to refine the skin tones, paying attention to subtle variations in hue and value.
Paint the clothing, focusing on the folds and shadows.
Add details to the face, such as the eyes, nose, and mouth, using small brushes.
Refine the edges and contours of the figure to create a sense of depth.
Add final highlights and shadows to enhance the overall realism.
color palette
primary · raw umber · burnt sienna · titanium white
secondary · viridian green · ultramarine blue · yellow ochre
Achieve skin tones by mixing raw umber, burnt sienna, and titanium white. Use small amounts of green and blue to create cooler shadows. Mix viridian green with yellow ochre and white for the jacket.
techniques
common pitfalls
surface · stretched canvas
required
optional
Use a medium-tooth canvas for best results. Consider using a limited palette to simplify the color mixing process.
tips & new artworks in your inbox
no spam — unsubscribe anytime.
or to save artworks, chat, and track progress
in this vein

Dolly Sisters
Kees van Dongen

Nude with Loaves
Jean Helion

My Father
Carlos Botelho

Helen
Chronis Botsoglou

The portrait painter in the country
Albin Egger-Lienz

Marketta on Lázeňská street, Prague
Maria Bozoky

Winter at the Entrepotdok, in Amsterdam city
Paul Werner

Old Woman with Masks (Theatre of Masks)
James Ensor