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home·artworks·Triple Portrait
Triple Portrait by Lucian Freud

plate no. 0709

Triple Portrait

Lucian Freud, 1987

oil, canvasExpressionismgenre paintingfiguredogsinteriorportraitfabric
experienced study

Recreating this painting will help students develop skills in rendering complex forms with visible brushstrokes and understanding subtle color variations to create realistic skin tones and textures. It also encourages observation of light and shadow to define shapes.

technical profile

palette complexity
4
brushwork visibility
5
value contrast
4
compositional simplicity
3

study guide

est. 25 hrs

approach — 8 steps

  1. step 01

    Lightly sketch the main shapes: the figure, the dogs, and the pile of fabric.

  2. step 02

    Establish the overall value structure by blocking in the dark areas with thin washes of dark colors.

  3. step 03

    Begin building up the skin tones of the figure and dogs, focusing on the subtle shifts in color and value.

  4. step 04

    Work on the fabric, using short, directional brushstrokes to create the illusion of folds and texture.

  5. step 05

    Refine the details of the faces and hands, paying close attention to the light and shadow.

  6. step 06

    Add highlights to the dogs' fur and the fabric to create a sense of depth.

  7. step 07

    Continue to refine the painting, adjusting the colors and values as needed.

  8. step 08

    Add final details and adjust the overall composition.

color palette

primary · raw umber · titanium white · ivory black

secondary · yellow ochre · burnt sienna · ultramarine blue

Achieve skin tones by mixing white, umber, ochre, and a touch of sienna. Use blue and black to create the dark tones of the clothing and background. Mix white with small amounts of other colors to create highlights.

techniques

  • ·alla prima
  • ·scumbling
  • ·broken color
  • ·glazing
  • ·impasto

common pitfalls

  • →Over-blending the colors, resulting in a flat, lifeless appearance.
  • →Failing to observe the subtle color variations in the skin tones.
  • →Ignoring the importance of light and shadow in defining the forms.
  • →Getting lost in the details of the fabric and losing the overall composition.

materials

surface · stretched canvas

required

  • ·Stretched canvas (24x30 inches)
  • ·Oil paints (raw umber, titanium white, ivory black, yellow ochre, burnt sienna, ultramarine blue)
  • ·Bristle brushes (various sizes)
  • ·Palette
  • ·Linseed oil
  • ·Odorless mineral spirits
  • ·Palette knife
  • ·Rags

optional

  • ·Retouch varnish
  • ·Painting medium

Use high-quality oil paints for best results. Consider using a medium to improve the flow of the paint.

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