apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·Boy in a Yellow Jacket
Boy in a Yellow Jacket by L. S. Lowry

plate no. 1343

Boy in a Yellow Jacket

L. S. Lowry, 1935

oilExpressionismportraitportraitfigureboyjacketclothingface
some experience helpful

Recreating this painting will help students develop skills in portraiture, particularly in capturing likeness and expression using a limited color palette and visible brushstrokes. It also provides practice in creating depth and form through subtle value changes.

technical profile

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

study guide

est. 8 hrs

approach — 8 steps

  1. step 01

    Lightly sketch the basic shapes and proportions of the boy's head, shoulders, and clothing on the canvas.

  2. step 02

    Establish the background color with a dark, muted blue-gray, leaving the figure's outline visible.

  3. step 03

    Block in the main areas of the face with a light flesh tone, paying attention to the planes and shadows.

  4. step 04

    Apply the base color for the jacket, a muted yellow-brown, using visible brushstrokes to create texture.

  5. step 05

    Refine the facial features, adding details to the eyes, nose, and mouth with darker and lighter tones.

  6. step 06

    Develop the shadows and highlights on the jacket to give it form and dimension.

  7. step 07

    Add the white collar and black tie, carefully observing their shapes and values.

  8. step 08

    Make final adjustments to the overall composition, ensuring that the values and colors are balanced.

color palette

primary · raw umber · titanium white · ivory black

secondary · yellow ochre · ultramarine blue

Mix raw umber and white for the skin tones, varying the ratio for highlights and shadows. Use yellow ochre and raw umber for the jacket, adding small amounts of white to lighten. Create the background by mixing ultramarine blue and raw umber.

techniques

  • ·dry brush texture
  • ·scumbling
  • ·limited palette
  • ·portrait sketching
  • ·value studies

common pitfalls

  • →Over-blending the colors, which can result in a flat, lifeless appearance.
  • →Failing to accurately capture the proportions of the face.
  • →Using colors that are too bright or saturated.
  • →Ignoring the subtle value changes that create form and depth.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·raw umber oil paint
  • ·titanium white oil paint
  • ·ivory black oil paint
  • ·yellow ochre oil paint
  • ·ultramarine blue oil paint
  • ·#4 round brush
  • ·#6 flat brush

optional

  • ·palette knife
  • ·linseed oil
  • ·odorless mineral spirits

Use a canvas with a medium texture to enhance the visible brushstrokes. Consider using a limited palette to simplify the color mixing process.

tips & new artworks in your inbox

no spam — unsubscribe anytime.

or to save artworks, chat, and track progress

related guides

oil painting for beginners →how to learn by studying the masters →
chat about this artwork

in this vein

related artworks

Dolly Sisters

Dolly Sisters

Kees van Dongen

Nude with Loaves

Nude with Loaves

Jean Helion

My Father

My Father

Carlos Botelho

Helen

Helen

Chronis Botsoglou

The portrait painter in the country

The portrait painter in the country

Albin Egger-Lienz

Marketta on Lázeňská street, Prague

Marketta on Lázeňská street, Prague

Maria Bozoky

Winter at the Entrepotdok, in Amsterdam city

Winter at the Entrepotdok, in Amsterdam city

Paul Werner

Old Woman with Masks (Theatre of Masks)

Old Woman with Masks (Theatre of Masks)

James Ensor