apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·Cowboy Singing
Cowboy Singing by Thomas Eakins

plate no. 5625

Cowboy Singing

Thomas Eakins

watercolor, paperRealismgenre paintingfigurecowboybanjohatclothingchair
experienced study

Recreating this painting will help students develop skills in rendering realistic figures, capturing textures with watercolor washes, and understanding light and shadow to create depth. It also provides practice in depicting complex clothing details and facial features.

technical profile

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

study guide

est. 15 hrs

approach — 8 steps

  1. step 01

    Lightly sketch the overall composition, focusing on proportions and placement of the figure and banjo.

  2. step 02

    Establish the background with diluted washes of browns and ochres, creating a sense of depth and atmosphere.

  3. step 03

    Block in the main shapes of the figure, using light washes to define the form and clothing.

  4. step 04

    Begin adding layers of color to the figure, building up the values and defining the details of the face, hat, and clothing.

  5. step 05

    Focus on rendering the textures of the clothing, such as the fringe and the fabric of the shirt, using dry brush techniques.

  6. step 06

    Paint the banjo, paying attention to its shape and the details of the strings and tuning pegs.

  7. step 07

    Add the final details, such as the shadows and highlights, to create a sense of realism and depth.

  8. step 08

    Refine the painting, making any necessary adjustments to the colors, values, and details.

color palette

primary · burnt umber · yellow ochre · raw sienna

secondary · cadmium red · ultramarine blue · ivory black

Achieve the skin tones by mixing yellow ochre, burnt umber, and a touch of cadmium red. Create the background washes by diluting burnt umber and raw sienna with water. Use ultramarine blue and burnt umber to create darker shades.

techniques

  • ·watercolor washes
  • ·dry brush
  • ·layering
  • ·glazing
  • ·lifting

common pitfalls

  • →Overworking the painting and losing the freshness of the watercolor.
  • →Failing to establish a strong value structure.
  • →Getting bogged down in details too early in the process.
  • →Not allowing the washes to dry completely before adding subsequent layers.

materials

surface · watercolor paper (140lb cold press)

required

  • ·watercolor paper (140lb cold press)
  • ·watercolor paints
  • ·round brushes (various sizes)
  • ·flat brushes (various sizes)
  • ·palette
  • ·water container
  • ·paper towels
  • ·sketching pencil

optional

  • ·masking fluid
  • ·palette knife
  • ·spray bottle
  • ·kneaded eraser

Use high-quality watercolor paper to prevent buckling and ensure that the colors blend smoothly. Experiment with different brush sizes and techniques to achieve the desired 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

Portrait of James Wright

Portrait of James Wright

Thomas Eakins

Portrait of a lady

Portrait of a lady

Karl Gussow

Sisters

Sisters

Émile Auguste Hublin

Catching Up on the News

Catching Up on the News

Eastman Johnson

At the porter's room

At the porter's room

Vladimir Makovsky

Flowers and Fruit

Flowers and Fruit

Henri Fantin-Latour

Valle de México desde el Molino del Rey

Valle de México desde el Molino del Rey

Jose Maria Velasco

Self-Portrait II

Self-Portrait II

Mihaly Munkacsy