apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·Portrait of a Boy
Portrait of a Boy by Adriaen van Ostade

plate no. 9404

Portrait of a Boy

Adriaen van Ostade, 1685

oil, panelBaroqueportraitportraitboyhatfigureclothinghair
some experience helpful

Recreating this painting will help students develop skills in portraiture, including capturing likeness and rendering subtle skin tones. It also provides practice in creating depth and form using a limited color palette.

technical profile

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

study guide

est. 12 hrs

approach — 8 steps

  1. step 01

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

  2. step 02

    Establish the overall background tone with a thin wash of muted browns and grays.

  3. step 03

    Block in the main areas of color for the skin, hair, hat, and clothing, focusing on the general values.

  4. step 04

    Begin refining the skin tones by layering and blending subtle variations of pinks, yellows, and browns.

  5. step 05

    Add details to the hair, using short, broken brushstrokes to suggest texture and movement.

  6. step 06

    Define the features of the face, paying close attention to the highlights and shadows that create form.

  7. step 07

    Paint the hat and clothing, using darker values to create contrast and depth.

  8. step 08

    Add final highlights and details to complete the painting.

color palette

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

secondary · yellow ochre · cadmium red light

Achieve skin tones by mixing white, red, yellow ochre, and a touch of burnt umber. Darken colors with burnt umber or ivory black. Use thin washes of color for the background.

techniques

  • ·layering
  • ·blending
  • ·scumbling
  • ·dry brushing
  • ·chiaroscuro

common pitfalls

  • →Overblending the skin tones, resulting in a flat, lifeless appearance.
  • →Failing to capture the correct proportions of the face.
  • →Using colors that are too saturated or bright.
  • →Ignoring the subtle variations in value that create form.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·burnt umber oil paint
  • ·raw sienna oil paint
  • ·titanium white oil paint
  • ·ivory black oil paint
  • ·round brushes (sizes 2, 4, 6)
  • ·linseed oil
  • ·palette

optional

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

Use a canvas with a smooth surface for easier blending. Consider using a medium to thin the oil paints and speed up drying time.

tips & new artworks in your inbox

no spam — unsubscribe anytime.

or to save artworks, chat, and track progress

related guides

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

in this vein

related artworks

Girl with a Straw Hat

Girl with a Straw Hat

Judith Leyster

Gezicht Op De Laurenskerk Gezien Vanuit Noordoosten

Gezicht Op De Laurenskerk Gezien Vanuit Noordoosten

Abraham Storck

Bathsheba Bathing

Bathsheba Bathing

Francesco Solimena

Repentant Peter

Repentant Peter

Guido Reni

Itinerant Musicians

Itinerant Musicians

Jacob Ochtervelt

Marie Christine

Marie Christine

Marcello Bacciarelli

Santa Cecilia E Due Angeli

Santa Cecilia E Due Angeli

Giulio Cesare Procaccini

Scene from the Life of Saint Benedict

Scene from the Life of Saint Benedict

Philippe de Champaigne