plate no. 3100
Unfinished portrait. Dad
Alfred Freddy Krupa, 2007
recreation guide
Alfred Freddy Krupa’s 'Unfinished portrait. Dad' (2007) is a work executed in pencil, aligning with the genre of portrait painting which aims to represent a specific human subject and achieve a recognizable likeness (Source 2). As a piece associated with New Realism, it likely emphasizes the 'minute visual expression' and 'artistic accuracy' described in drawing theory, where the goal is not merely scientific replication but the conveyance of emotional significance and form (Source 4). The title 'Unfinished' suggests an adherence to the practice of leaving works in a state that highlights the process or the raw observation, potentially avoiding the 'fatal' over-correction that can obscure lucidity in more finished mediums (Source 1).
estimated time
10-15 hours over 3-5 sessions
materials
4 items
steps
5 in sequence
materials
| item | purpose | modern equivalent |
|---|---|---|
| Graphite pencils (various grades, e.g., 2B-6B) | Primary medium for drawing and shading, allowing for the 'minute visual expression' required for portrait likeness. | — |
| Kneaded eraser or bread | To lift graphite for corrections and highlights. Source 1 notes that charcoal (and by extension dry media like pencil) offers 'none whatever to bread' for correction, emphasizing the need for non-destructive editing tools. | — |
| High-quality drawing paper or toned paper | Surface for the pencil work. While the source specifies 'canvas' for oil, pencil portraits typically require a textured surface to hold graphite. | — |
| Hand-mirror | To compare the drawing with the sitter's face, as advised in Source 1 to 'obviate the doubt' regarding scale and proportion. | — |
preparation
surface prep
Since the medium is pencil, traditional oil ground preparation is not applicable. However, consistent with the artist's general practice of New Realism, the surface should be clean and free of dust to allow for precise graphite application. If using toned paper, ensure it is properly sized to prevent excessive graphite absorption.
underdrawing
The entire work is the underdrawing. Source 3 notes that for portraits, artists may first do a 'complete pencil... sketch' which is particularly useful if the sitter's time is limited. In this case, the pencil sketch *is* the final work. The artist should focus on establishing the 'general form, then a rough likeness' (Source 3) before refining details.
underpainting
Not applicable. The medium is dry pencil. Source 1 advises against putting down paint with 'obvious errors in construction or drawing,' implying that the drawing stage is critical and must be resolved before any wet media is applied. Here, the drawing is the final layer.
color palette
Graphite Gray/Black
Pure graphite pigment
Creating tonal values, shadows, and highlights. Source 4 emphasizes that drawing must present form in a 'more vivid manner than we ordinarily see them in nature,' requiring a full range of tonal values.
Paper White (Negative Space)
Unmarked paper surface
Highlights and light areas. Source 1 suggests using a 'dry brush to model with,' which in pencil terms translates to leaving white space or lifting graphite to create light.
composition
While specific compositional details of 'Dad' are not described in the sources, general portrait composition principles apply. Source 7 suggests that the 'prominent subject should be off-centre' unless a formal composition is desired, and that 'exact bisections of the picture space should be avoided.' The artist should ensure there is a 'center of interest' (likely the eyes or face) to prevent the work from becoming a mere pattern. The direction of the viewer's eye should lead around the elements before leading out (Source 7).
step by step
underdrawing→refining→finishing
underdrawing
step 01
Position the sitter and the drawing surface on the same level. Use a hand-mirror to compare the drawing with the sitter's face, holding the mirror at arm's length to check proportions.
Tip — Source 1 advises to 'go back as far as you can to compare the drawing — with nature, through the hand-glass' to avoid scale errors.
Mirror comparison for proportion
step 02
Sketch the general form and rough likeness using light graphite strokes. Focus on the head and hands first, as these are the most critical areas for likeness (Source 3).
Tip — Source 3 notes that in many studios, the master does only the head and hands. Prioritize these areas for accuracy.
Blocking in forms
refining
step 03
Make all corrections while in the graphite stage. Use a kneaded eraser or bread to lift graphite where needed. Do not proceed to heavy shading until the construction is correct.
Tip — Source 1 warns that 'much correcting in paint is fatal to lucidity,' and while this is pencil, the principle of fixing errors early applies to maintain clarity.
Corrective erasing
step 04
Develop tonal values to create depth and form. Use 'minute visual expression' to capture the emotional significance of the subject, rather than just scientific accuracy (Source 4).
Tip — Source 4 states that artistic accuracy depends on conveying 'particular emotional significance,' so focus on the character of the 'Dad' rather than just photorealism.
Tonal modeling
finishing
step 05
Leave the work 'unfinished' as per the title. Avoid over-working the details. Source 1 suggests that 'one painting will not suffice to complete the study,' implying a layered approach, but for a pencil work, stopping before it becomes 'over-finished' preserves the immediacy.
Tip — Ensure the 'center of interest' remains clear (Source 7). Do not add unnecessary detail to background or clothing if it distracts from the face.
Controlled incompleteness
critical techniques
Mirror Comparison
Used to verify proportions and likeness by comparing the drawing to the sitter via reflection. This helps avoid the 'doubt that often arises when the picture is nearer to one than the sitter' (Source 1).
Artistic Accuracy over Scientific Accuracy
Focusing on the 'emotional significance' and 'vivid manner' of the form rather than just factual replication. This aligns with the New Realism style's attention to detail but with expressive intent (Source 4).
Early Correction
Fixing errors in the initial drawing stage using erasers/bread before committing to heavy shading. This prevents 'fatal' loss of lucidity (Source 1).
common pitfalls
- →Over-correcting in the final stages: Source 1 warns that 'much correcting in paint is fatal to lucidity.' In pencil, heavy reworking can muddy the graphite and lose clarity.
- →Ignoring scale: Source 1 notes that placing the drawing too close to the eye can create illusions of incorrect scale. Always use the mirror at arm's length.
- →Focusing on background too early: Source 3 suggests the face is often completed first. Do not get distracted by clothing or background details before the likeness is established.
what the sources don't tell us
Where the corpus is silent, we say so rather than guess. These are the gaps a complete recreation guide would normally cover that our source passages don't.
- ·Specific visual details of the subject 'Dad' (clothing, expression, pose) are not described in the sources, so the artist must rely on a live model or reference photo.
- ·The specific pencil grades or paper type preferred by Alfred Freddy Krupa are not detailed in the provided sources.
- ·The exact definition of 'New Realism' in Krupa's context is not fully elaborated in the sources, though general portrait and drawing principles are provided.
grounded in
The technical procedure in this guide traces to the following classical art-instruction texts.
The Practice of Oil Painting↗
- PAINTING FROM LIFE — applied to Mirror comparison technique, correction methods, and the importance of resolving drawing errors early.
The Practice and Science of Drawing↗
- FROM A STUDY BY BOTTICELLI — applied to Concept of artistic accuracy and emotional significance in drawing.
cross-referenced from
Named facts about this artwork and artist were checked against these reference pages.
Wikipedia: Portrait painting↗
- Portrait painting — part 1 — applied to Definition of portrait genre and the goal of achieving likeness.
- Portrait painting — part 5 — applied to Process of sketching general form first, focusing on head and hands.
Wikipedia: Composition (visual arts)↗
- Composition (visual arts) — part 6 — applied to General composition principles like center of interest and avoiding bisection.
Read more about the corpus on the sources page and how the guides are built on the methods page.
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