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home·artworks·New England Editor
New England Editor by Thomas Hart Benton

plate no. 4750

New England Editor

Thomas Hart Benton, 1946

oilRegionalismportraitportraitfigureinteriordeskbooksship
experienced study

Recreating this painting will help students develop skills in portraiture, including accurate proportions and rendering realistic skin tones, as well as understanding how to create depth and form through subtle value changes.

technical profile

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

study guide

est. 20 hrs

approach — 8 steps

  1. step 01

    Begin with a light sketch outlining the main shapes: the figure, desk, chair, and background elements.

  2. step 02

    Establish the overall composition and proportions, paying close attention to the placement of the figure within the frame.

  3. step 03

    Block in the main color areas, starting with the background and then moving to the larger areas of the figure and furniture.

  4. step 04

    Develop the values and tones within each color area, gradually building up the form and depth of the objects.

  5. step 05

    Focus on rendering the skin tones of the figure, using a variety of subtle color mixtures to capture the nuances of light and shadow.

  6. step 06

    Add details such as the facial features, clothing folds, and objects on the desk and bookshelf.

  7. step 07

    Refine the edges and transitions between different areas, creating a sense of realism and depth.

  8. step 08

    Add final highlights and shadows to enhance the overall effect.

color palette

primary · titanium white · burnt umber · ultramarine blue · cadmium red

secondary · yellow ochre · raw sienna · ivory black

Achieve skin tones by mixing white, red, yellow ochre, and a touch of blue or umber for shadows. The background is a mix of blue, white, and a touch of green or yellow.

techniques

  • ·portraiture
  • ·value studies
  • ·color mixing
  • ·blending
  • ·glazing

common pitfalls

  • →Incorrect proportions in the figure.
  • →Overly saturated or unrealistic skin tones.
  • →Lack of depth and form due to insufficient value contrast.
  • →Ignoring subtle color variations within each area.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·oil paints
  • ·palette
  • ·palette knife
  • ·assorted brushes
  • ·linseed oil
  • ·turpentine
  • ·rags

optional

  • ·medium gloss
  • ·retouch varnish
  • ·easel

Use a medium-grain canvas for best results. Consider using a limited palette to simplify color mixing.

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