apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·Newspaper Boy
Newspaper Boy by Edward Mitchell Bannister

plate no. 5830

Newspaper Boy

Edward Mitchell Bannister, 1869

oilTonalismportraitportraitboynewspaperclothinghatfigure
some experience helpful

Recreating this painting will help students develop skills in portraiture, particularly capturing likeness and creating depth through subtle value changes. It also provides practice in rendering textures with visible brushstrokes.

technical profile

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

study guide

est. 12 hrs

approach — 8 steps

  1. step 01

    Sketch the basic shapes and proportions of the figure, focusing on the head, shoulders, and newspaper.

  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, such as the skin tones, clothing, and background, using a limited palette.

  4. step 04

    Begin to refine the details of the face, paying attention to the subtle shifts in value and color.

  5. step 05

    Develop the textures of the clothing and hat with visible brushstrokes, using a dry brush technique.

  6. step 06

    Add highlights and shadows to create depth and dimension.

  7. step 07

    Refine the details of the newspaper, including the lettering and folds.

  8. step 08

    Make final adjustments to the overall composition and color balance.

color palette

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

secondary · cadmium red · yellow ochre · viridian

Achieve skin tones by mixing raw sienna, burnt umber, and titanium white, with small touches of cadmium red for warmth. Create the darks in the clothing by mixing burnt umber and ivory black, and the greens by mixing viridian with yellow ochre and burnt umber.

techniques

  • ·dry brush texture
  • ·scumbling
  • ·glazing
  • ·chiaroscuro
  • ·alla prima

common pitfalls

  • →Overworking the details and losing the overall impressionistic feel.
  • →Failing to capture the subtle value changes in the face, resulting in a flat or lifeless portrait.
  • →Using too much color and creating a painting that is too bright or saturated.
  • →Ignoring the importance of the background and failing to create a sense of depth.

materials

surface · stretched canvas

required

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

optional

  • ·medium (e.g., Liquin)
  • ·varnish

Use a canvas with a medium texture to enhance the brushstroke visibility. Consider using a toned canvas to establish a base value.

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

Spring, Hudson River

Spring, Hudson River

Leon Dabo

Oraibi, Hopi village, Arizona

Oraibi, Hopi village, Arizona

Xavier Martinez

The Farmyard

The Farmyard

Albert Pinkham Ryder

Woodland Vista

Woodland Vista

Ralph Blakelock

Landscape

Landscape

Leon Dabo

Untitled (Moon Over a Harbor)

Untitled (Moon Over a Harbor)

Edward Mitchell Bannister

Afternoon in Piedmont (Elsie Whitaker Martinez)

Afternoon in Piedmont (Elsie Whitaker Martinez)

Xavier Martinez

Near Conway, North Wales

Near Conway, North Wales

Alexander Helwig Wyant