apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·A boy seated on a bench with a pitcher
A boy seated on a bench with a pitcher by William Henry Hunt

plate no. 2676

A boy seated on a bench with a pitcher

William Henry Hunt, 1839

watercolor, paperNaturalismportraitfigureboypitcherbenchportraitclothing
some experience helpful

Recreating this painting will help students develop skills in portraiture, including capturing likeness and rendering realistic skin tones, as well as understanding subtle color variations in shadows and highlights.

technical profile

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

study guide

est. 12 hrs

approach — 8 steps

  1. step 01

    Lightly sketch the main shapes: the boy, the pitcher, and the bench.

  2. step 02

    Establish the background with a dark, muted wash, leaving the figure area lighter.

  3. step 03

    Block in the basic colors of the boy's clothing and skin, focusing on the overall tones.

  4. step 04

    Begin layering the colors on the face, building up the shadows and highlights gradually.

  5. step 05

    Paint the pitcher, paying attention to the highlights and reflections to create a sense of volume.

  6. step 06

    Add details to the clothing, such as the collar and buttons, using small brushstrokes.

  7. step 07

    Refine the background and add any final details to the bench and surrounding area.

  8. step 08

    Add final highlights and shadows to enhance the form and create depth.

color palette

primary · burnt umber · raw sienna · ivory black · titanium white

secondary · yellow ochre · cadmium red light · cerulean blue

Mix burnt umber and ivory black for the dark background. Use raw sienna and titanium white for the skin tones, adding small amounts of cadmium red light for the cheeks. Mix burnt umber with yellow ochre and a touch of red for the pitcher.

techniques

  • ·glazing
  • ·dry brushing
  • ·scumbling
  • ·portraiture
  • ·chiaroscuro

common pitfalls

  • →Overworking the skin tones, resulting in a muddy appearance.
  • →Failing to capture the subtle variations in color and value.
  • →Ignoring the importance of the background in creating depth.
  • →Getting the proportions of the figure wrong.

materials

surface · watercolor paper 140lb

required

  • ·watercolor paper 140lb
  • ·watercolor paints
  • ·round brushes (sizes 2, 6, 10)
  • ·flat brush (size 1/2 inch)
  • ·palette
  • ·water container
  • ·paper towels
  • ·sketching pencil

optional

  • ·masking fluid
  • ·kneaded eraser
  • ·ruler

Use high-quality watercolor paper to prevent buckling. Experiment with different brush sizes to achieve various effects.

tips & new artworks in your inbox

no spam — unsubscribe anytime.

or to save artworks, chat, and track progress

related guides

watercolor techniques →how to learn by studying the masters →
chat about this artwork

in this vein

related artworks

Nesebar

Nesebar

Felix Philipp Kanitz

View of the city of Nettuno at dawn with fishing boats

View of the city of Nettuno at dawn with fishing boats

Giovanni (Nino) Costa

Koriten Fortress

Koriten Fortress

Felix Philipp Kanitz

A London Jo - the End of the Day

A London Jo - the End of the Day

Augustus Edwin Mulready

Chestnut trees in the autumn in Antagnes, Switzerland

Chestnut trees in the autumn in Antagnes, Switzerland

Hubertine Heijermans

Avenue of Indian Rubber Trees at Peradeniya, Ceylon

Avenue of Indian Rubber Trees at Peradeniya, Ceylon

Marianne North

Paisaje Con Río

Paisaje Con Río

José Santiago Garnelo y Alda

An Oysterman

An Oysterman

William Henry Hunt