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home·artworks·September Afternoon
September Afternoon by Edward E. Simmons

plate no. 9040

September Afternoon

Edward E. Simmons

oilImpressionismportraitfigureportraitlandscapedressbookchair
some experience helpful

Recreating this painting will help students develop skills in capturing light and shadow on fabric and skin tones, as well as simplifying complex forms into impressionistic brushstrokes. It also provides practice in creating a sense of depth and atmosphere in a landscape.

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 composition, focusing on the placement of the figure and the main elements of the background.

  2. step 02

    Establish the overall color scheme by blocking in large areas of color, paying attention to the light and shadow.

  3. step 03

    Begin to refine the figure, focusing on the shapes and values of the dress and the face.

  4. step 04

    Add details to the background, using loose brushstrokes to create a sense of depth and atmosphere.

  5. step 05

    Refine the details of the face and hands, paying attention to the subtle variations in color and value.

  6. step 06

    Add highlights and shadows to create a sense of form and dimension.

  7. step 07

    Adjust the overall composition and color balance to create a harmonious and unified image.

  8. step 08

    Add final details and touches to complete the painting.

color palette

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

secondary · cadmium yellow · alizarin crimson · viridian

Mix white with yellow ochre and a touch of burnt umber for the warm highlights on the dress and skin. Use ultramarine blue and burnt umber to create the darker tones in the shadows and background. Add small amounts of alizarin crimson and cadmium yellow to the skin tones to create warmth.

techniques

  • ·broken color
  • ·scumbling
  • ·alla prima
  • ·color temperature
  • ·value studies

common pitfalls

  • →Overworking the details
  • →Failing to capture the subtle variations in color and value
  • →Creating a flat or lifeless image
  • →Ignoring the importance of light and shadow

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·titanium white oil paint
  • ·yellow ochre oil paint
  • ·burnt umber oil paint
  • ·ultramarine blue oil paint
  • ·#4 round brush
  • ·#8 filbert brush

optional

  • ·palette knife
  • ·linseed oil
  • ·turpentine

Use a medium-grain canvas for best results. Consider using a limited palette to simplify the color mixing process.

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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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