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home·artworks·Untitled (Portrait)
Untitled (Portrait) by Albert Huie

plate no. 6267

Untitled (Portrait)

Albert Huie

oilPost-Impressionismportraitportraitfigureheadscarfwomanclothingjewelry
some experience helpful

Recreating this painting will help students develop skills in portraiture, color mixing for skin tones, and capturing the texture of fabric with visible brushstrokes. It also provides practice in creating a sense of depth and form through subtle value changes.

technical profile

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

study guide

est. 12 hrs

approach — 8 steps

  1. step 01

    Lightly sketch the basic shapes and proportions of the figure, focusing on the head, shoulders, and hands.

  2. step 02

    Establish the background color with a thin wash of neutral tones.

  3. step 03

    Block in the main color areas of the skin, headscarf, and clothing, using simplified shapes and values.

  4. step 04

    Begin to refine the skin tones by layering different shades of brown, red, and yellow, paying attention to the light and shadow.

  5. step 05

    Add details to the headscarf, using small brushstrokes to create texture and pattern.

  6. step 06

    Develop the clothing, focusing on the folds and wrinkles to create a sense of volume.

  7. step 07

    Refine the hands, paying attention to the bone structure and the way the light falls on them.

  8. step 08

    Add final details such as the jewelry and any subtle highlights or shadows.

color palette

primary · burnt umber · cadmium red · yellow ochre · titanium white

secondary · ultramarine blue · raw sienna

Achieve skin tones by mixing burnt umber, cadmium red, yellow ochre, and white in varying proportions. Use ultramarine blue to cool down the skin tones in shadow areas. Mix red and white for the pinks in the headscarf and clothing.

techniques

  • ·alla prima
  • ·broken color
  • ·scumbling
  • ·color layering
  • ·portrait sketching

common pitfalls

  • →Overmixing colors, resulting in muddy tones.
  • →Neglecting the underlying structure of the face and hands.
  • →Failing to create a sense of depth and volume.
  • →Getting lost in details too early in the process.

materials

surface · stretched canvas

required

  • ·stretched canvas (16x20 inches)
  • ·oil paints (burnt umber, cadmium red, yellow ochre, titanium white, ultramarine blue, raw sienna)
  • ·palette
  • ·assorted brushes (round and flat)
  • ·linseed oil
  • ·odorless mineral spirits
  • ·palette knife

optional

  • ·painting medium (e.g., Liquin)
  • ·varnish

Use a medium-tooth canvas to allow for visible brushstrokes. Consider using a limited palette to simplify the color mixing process.

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related guides

oil painting for beginners →color theory for painters →how to learn by studying the masters →
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