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home·artworks·Sunday Morning
Sunday Morning by Frederick George Cotman

plate no. 5184

Sunday Morning

Frederick George Cotman, 1879

oilRomanticismgenre paintingfiguresbuildinglandscapechurchtreessky
some experience helpful

Recreating this painting will help students develop skills in atmospheric perspective and rendering figures in a landscape setting. It also provides practice in creating a sense of depth and capturing the soft light of a morning scene.

technical profile

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

study guide

est. 12 hrs

approach — 8 steps

  1. step 01

    Sketch the basic composition, focusing on the placement of the church, figures, and landscape elements.

  2. step 02

    Establish the overall warm color tone of the sky and ground with a thin wash of diluted color.

  3. step 03

    Block in the main shapes of the church, trees, and figures using simplified forms and values.

  4. step 04

    Develop the details of the church, paying attention to the architectural features and the play of light and shadow.

  5. step 05

    Refine the figures, adding details to their clothing and faces, and adjusting their values to create depth.

  6. step 06

    Add details to the landscape, including the trees, foliage, and ground texture, using a variety of brushstrokes.

  7. step 07

    Adjust the overall values and colors to create a sense of atmosphere and depth.

  8. step 08

    Add final highlights and details to complete the painting.

color palette

primary · burnt umber · yellow ochre · titanium white

secondary · cadmium yellow · alizarin crimson · ultramarine blue

Mix burnt umber and yellow ochre to create the warm earth tones. Use titanium white to lighten the colors and create highlights. Add small amounts of alizarin crimson and ultramarine blue to create subtle variations in the shadows and sky.

techniques

  • ·atmospheric perspective
  • ·scumbling
  • ·dry brushing
  • ·blending
  • ·layering

common pitfalls

  • →Overworking the details too early in the process.
  • →Creating too much contrast, which can flatten the image.
  • →Failing to establish a clear focal point.
  • →Not paying attention to the overall color harmony.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·burnt umber oil paint
  • ·yellow ochre oil paint
  • ·titanium white oil paint
  • ·round brushes (various sizes)
  • ·flat brushes (various sizes)
  • ·linseed oil
  • ·palette

optional

  • ·palette knife
  • ·painting medium
  • ·easel

Use a medium-sized canvas for this project. Consider using a toned canvas to help establish the overall color tone of the painting.

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