apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·The spinner
The spinner by Niccolo Cannicci

plate no. 6461

The spinner

Niccolo Cannicci, 1890

oil, cardboardRealismportraitportraitfigureheadscarfclothingspinner
some experience helpful

Recreating this painting will help students develop skills in portraiture, including capturing likeness and creating realistic skin tones, and also practice loose, expressive brushwork to suggest form and texture.

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 figure on the cardboard.

  2. step 02

    Block in the main areas of color: skin, headscarf, clothing, and background.

  3. step 03

    Start refining the skin tones, paying attention to subtle shifts in color and value.

  4. step 04

    Work on the headscarf, capturing its texture and folds with expressive brushstrokes.

  5. step 05

    Develop the details of the clothing, using a combination of blending and visible brushwork.

  6. step 06

    Add highlights and shadows to create depth and dimension.

  7. step 07

    Refine the background, using loose brushstrokes to suggest a sense of atmosphere.

  8. step 08

    Make final adjustments to the overall composition and color balance.

color palette

primary · yellow ochre · burnt umber · titanium white · cadmium red light

secondary · ivory black · sap green · raw sienna

Mix skin tones using white, red, yellow ochre, and a touch of umber. Achieve the headscarf color by mixing yellow ochre with small amounts of burnt umber and white. Use burnt umber and black for the dark clothing, lightened with white for highlights.

techniques

  • ·portrait painting
  • ·alla prima
  • ·scumbling
  • ·glazing
  • ·color mixing

common pitfalls

  • →Over-blending the skin tones, resulting in a flat, lifeless appearance.
  • →Failing to capture the correct proportions of the figure.
  • →Using colors that are too saturated or intense.
  • →Ignoring the subtle shifts in value that create depth and dimension.

materials

surface · cardboard panel

required

  • ·Oil paints (yellow ochre, burnt umber, titanium white, cadmium red light, ivory black)
  • ·Cardboard panel (12x16 inches)
  • ·Palette
  • ·Assorted brushes (round and flat)
  • ·Odorless mineral spirits
  • ·Linseed oil
  • ·Palette knife

optional

  • ·medium gloss
  • ·retouch varnish
  • ·easel

Prepare the cardboard panel with a gesso layer for better paint adhesion. Use a limited palette to simplify the color mixing process.

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