plate no. 0711
The Old Lithographer
Carolus-Duran, 1903
some experience helpful
Recreating this painting will help students develop skills in portraiture, particularly in capturing likeness and rendering form with subtle value changes. It also provides practice in creating a sense of depth and atmosphere with a limited color palette.
technical profile
palette complexity
3
brushwork visibility
4
value contrast
3
compositional simplicity
4
study guide
est. 12 hrsapproach — 8 steps
- step 01
Lightly sketch the basic shapes and proportions of the figure, focusing on the head, shoulders, and the position of the hands and painting.
- step 02
Establish the overall value structure by blocking in the main areas of light and shadow with thin washes of color.
- step 03
Begin to refine the facial features, paying close attention to the shapes of the eyes, nose, and mouth.
- step 04
Develop the beard and hair, using a variety of brushstrokes to create texture and volume.
- step 05
Work on the clothing, using darker values to create depth and form.
- step 06
Add details to the painting, such as the hat, the hands, and the painting itself.
- step 07
Refine the background, using subtle value changes to create a sense of atmosphere.
- step 08
Add final highlights and details to complete the painting.
color palette
primary · burnt umber · ivory black · titanium white
secondary · yellow ochre · raw sienna
Achieve the various skin tones by mixing burnt umber, yellow ochre, and titanium white. Use ivory black to darken values and create shadows. Raw sienna can be used to add warmth to certain areas.
techniques
- ·grisaille underpainting
- ·scumbling
- ·dry brushing
- ·blending
- ·chiaroscuro
common pitfalls
- →Overworking the details too early in the process.
- →Failing to establish a strong value structure.
- →Using too much color and losing the subtle tonal variations.
- →Getting the proportions of the face wrong.
materials
surface · stretched canvas
required
- ·stretched canvas (16x20 inches)
- ·oil paints (burnt umber, ivory black, titanium white, yellow ochre, raw sienna)
- ·linseed oil
- ·turpentine or odorless mineral spirits
- ·palette
- ·assorted brushes (round and flat)
- ·palette knife
optional
- ·medium gloss
- ·retouch varnish
- ·easel
Using a toned canvas (e.g., with a thin wash of burnt umber) can help establish the overall value range and create a more harmonious painting.
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