apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·Head of a Cowboy
Head of a Cowboy by Thomas Eakins

plate no. 2314

Head of a Cowboy

Thomas Eakins

oilRealismportraitportraitmancowboyhatbeardclothing
some experience helpful

Recreating this painting will help students develop skills in portraiture, particularly in capturing likeness and rendering realistic skin tones and textures. It also provides practice in creating depth and form using subtle value changes.

technical profile

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

study guide

est. 15 hrs

approach — 8 steps

  1. step 01

    Sketch the basic shapes and proportions of the head, hat, and shoulders.

  2. step 02

    Establish the overall value structure with a thin wash of burnt umber or a similar earth tone.

  3. step 03

    Block in the main areas of color, focusing on the skin tones, hat, and clothing.

  4. step 04

    Refine the facial features, paying close attention to the eyes, nose, and mouth.

  5. step 05

    Develop the beard and hair, using short, broken brushstrokes to create texture.

  6. step 06

    Add details to the clothing, including the fringe and any patterns.

  7. step 07

    Adjust the values and colors to create a sense of depth and form.

  8. step 08

    Add final highlights and details to complete the painting.

color palette

primary · raw umber · burnt sienna · titanium white

secondary · ultramarine blue · yellow ochre · ivory black

Mix skin tones by blending white, burnt sienna, and a touch of ultramarine blue. Use raw umber and ivory black for shadows and darker areas. Yellow ochre can be added to the skin tone mix for warmth.

techniques

  • ·underpainting
  • ·glazing
  • ·scumbling
  • ·dry brushing
  • ·portraiture

common pitfalls

  • →Failing to establish accurate proportions in the initial sketch.
  • →Overworking the skin tones and losing the subtle value changes.
  • →Creating a flat, lifeless beard by not varying the brushstrokes.
  • →Ignoring the importance of reflected light in the shadows.

materials

surface · stretched canvas

required

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

optional

  • ·medium gloss
  • ·painting easel
  • ·rags

Use high-quality oil paints for best results. Allow each layer to dry before applying the next.

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

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