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home·artworks·Numb fingers working while the eye of morn is yet bedimmed with tears
Numb fingers working while the eye of morn is yet bedimmed with tears by Jane Sutherland

plate no. 5369

Numb fingers working while the eye of morn is yet bedimmed with tears

Jane Sutherland, 1888

oilImpressionismlandscapelandscapefieldtreesfigurefoliagemist
some experience helpful

Recreating this painting will help students develop skills in atmospheric perspective and creating depth through subtle value and color shifts. It also provides practice in capturing the texture of foliage with loose brushwork.

technical profile

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

study guide

est. 8 hrs

approach — 8 steps

  1. step 01

    Sketch the basic composition, noting the horizon line and major shapes of the trees and foliage.

  2. step 02

    Establish the sky with a thin wash of muted yellows and grays, blending smoothly.

  3. step 03

    Block in the distant trees with darker, cooler grays, softening the edges to create a sense of distance.

  4. step 04

    Begin layering the field with mixtures of browns, ochres, and greens, using broken brushstrokes to suggest texture.

  5. step 05

    Add the figure with simple shapes, using muted blues and whites.

  6. step 06

    Focus on the foreground foliage, adding details with slightly warmer and more saturated colors.

  7. step 07

    Refine the details and adjust values to enhance the atmospheric perspective.

  8. step 08

    Add final highlights and shadows to create depth and dimension.

color palette

primary · raw umber · titanium white · yellow ochre

secondary · ultramarine blue · burnt sienna · sap green

Achieve the muted tones by mixing complementary colors and adding white. Use more blue and white for distant elements to create atmospheric perspective.

techniques

  • ·atmospheric perspective
  • ·broken color
  • ·dry brushing
  • ·scumbling
  • ·blending

common pitfalls

  • →Overworking the details, which can flatten the image.
  • →Using colors that are too saturated, which can detract from the atmospheric effect.
  • →Neglecting the subtle value shifts that create depth.
  • →Making the brushstrokes too uniform, which can result in a lifeless texture.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·oil paints
  • ·palette
  • ·linseed oil
  • ·turpentine
  • ·#4 round brush
  • ·#6 flat brush
  • ·palette knife

optional

  • ·painting medium
  • ·varnish
  • ·easel

Use a medium-tooth canvas to allow for texture. Consider using a limited palette to simplify color mixing.

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related guides

oil painting for beginners →color theory for painters →how to learn by studying the masters →
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