plate no. 8644

Nude on the rocks

Henry Scott Tuke, 1917

oilImpressionismnude painting (nu)figurerockswaterlandscapenudefoliage

some experience helpful

Recreating this painting will help students develop skills in figure painting, color mixing for skin tones, and creating texture with visible brushstrokes. It also provides practice in depicting light and shadow on a complex form within a natural setting.

technical profile

palette complexity

brushwork visibility

value contrast

compositional simplicity

study guide

est. 15 hrs

approach — 8 steps

step 01
Sketch the basic composition, focusing on the placement and proportions of the figure and the surrounding rocks.
step 02
Establish the main light source and map out the areas of light and shadow on the figure and the rocks.
step 03
Begin blocking in the large areas of color, starting with the background and then moving to the figure.
step 04
Mix skin tones using a limited palette of warm and cool colors, paying attention to subtle variations in hue and value.
step 05
Add details to the figure, such as the facial features, hands, and feet, using smaller brushes and more precise strokes.
step 06
Develop the texture of the rocks and foliage using a variety of brushstrokes, including dry brushing and scumbling.
step 07
Refine the highlights and shadows, adding depth and dimension to the painting.
step 08
Add final details, such as small flowers and reflections in the water, to complete the painting.

color palette

primary · titanium white · yellow ochre · burnt sienna · ultramarine blue

secondary · alizarin crimson · viridian green · purple

Achieve skin tones by mixing white, yellow ochre, and burnt sienna, adding small amounts of alizarin crimson or ultramarine blue to adjust the hue and value. Mix greens for the foliage by combining yellow ochre and ultramarine blue, adjusting the proportions to create different shades.

techniques

·alla prima
·broken color
·scumbling
·dry brushing
·color mixing

common pitfalls

→Overworking the painting and losing the freshness of the initial brushstrokes.
→Failing to accurately capture the proportions and anatomy of the figure.
→Using colors that are too saturated or unnatural.
→Neglecting to create a sense of depth and atmosphere in the background.

materials

surface · stretched canvas

required

·stretched canvas (18x24 inches)
·oil paints (titanium white, yellow ochre, burnt sienna, ultramarine blue, alizarin crimson, viridian green)
·palette
·assorted brushes (round, flat, filbert)
·palette knife
·linseed oil
·odorless mineral spirits
·rags