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home·artworks·Spellbound
Spellbound by Frederick George Cotman

plate no. 6434

Spellbound

Frederick George Cotman

oilRomanticismgenre paintingfigurefireplacespinning wheelinteriorclothingfire
some experience helpful

Recreating this painting will help students develop skills in rendering form with subtle value changes and creating a sense of atmosphere through soft edges and limited color palette. Students will also learn to depict realistic skin tones in low lighting.

technical profile

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

study guide

est. 15 hrs

approach — 8 steps

  1. step 01

    Sketch the basic composition, focusing on the placement of the figure and the spinning wheel.

  2. step 02

    Establish the dark background using a thin wash of burnt umber and black.

  3. step 03

    Block in the main shapes of the figure and the spinning wheel with mid-tone values.

  4. step 04

    Begin layering in highlights and shadows on the figure, paying attention to the light source from the fire.

  5. step 05

    Develop the details of the spinning wheel, using a smaller brush to create the intricate parts.

  6. step 06

    Add the glow of the fire, using warm colors and soft blending to create a sense of light and heat.

  7. step 07

    Refine the details of the figure's face and hands, paying attention to the expression and gesture.

  8. step 08

    Add final touches and adjust values as needed to create a cohesive and atmospheric painting.

color palette

primary · burnt umber · ivory black · titanium white · yellow ochre

secondary · cadmium red light · raw sienna

Achieve skin tones by mixing white, yellow ochre, and a touch of red. Use burnt umber and black to create the dark background and shadows. Mix small amounts of red and yellow into the browns to create the firelight glow.

techniques

  • ·underpainting
  • ·glazing
  • ·scumbling
  • ·chiaroscuro
  • ·soft blending

common pitfalls

  • →Overworking the details too early in the process.
  • →Creating harsh edges instead of soft transitions.
  • →Failing to establish a strong value structure.
  • →Using too much color and losing the atmospheric effect.

materials

surface · stretched canvas

required

  • ·stretched canvas (16x20 inches)
  • ·oil paints (burnt umber, ivory black, titanium white, yellow ochre, cadmium red light)
  • ·linseed oil
  • ·turpentine or odorless mineral spirits
  • ·assorted brushes (round and flat, sizes 2-8)
  • ·palette
  • ·palette knife
  • ·rags or paper towels

optional

  • ·retouch varnish
  • ·medium (e.g., Liquin)

Use a canvas with a smooth surface for easier blending. Consider using a toned canvas to establish a mid-tone value from the start.

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