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home·artworks·The Letter
The Letter by Frederick McCubbin

plate no. 0768

The Letter

Frederick McCubbin, 1884

oilImpressionismportraitfiguretreeslandscapepathwaterfoliage
some experience helpful

This painting offers a good opportunity to practice rendering light and shadow in a natural setting, as well as capturing the subtle details of foliage and fabric. Students can also develop their skills in portraiture and creating a sense of depth through atmospheric perspective.

technical profile

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

study guide

est. 15 hrs

approach — 8 steps

  1. step 01

    Begin with a light sketch to establish the composition and placement of the figure.

  2. step 02

    Block in the major shapes and values with thin washes of color.

  3. step 03

    Establish the darkest and lightest areas to create a sense of depth.

  4. step 04

    Begin to refine the details of the figure, paying attention to the folds of the dress and the features of the face.

  5. step 05

    Add details to the foliage, using a variety of brushstrokes to create texture.

  6. step 06

    Paint the water, capturing the reflections and movement of the surface.

  7. step 07

    Adjust the values and colors as needed to create a harmonious and unified painting.

  8. step 08

    Add final highlights and details to complete the painting.

color palette

primary · yellow ochre · burnt umber · titanium white · sap green

secondary · cadmium red light · ultramarine blue

Mix greens by combining yellow ochre and ultramarine blue. Create subtle variations in the foliage by adding small amounts of red or brown to the green mixture. Use white to lighten colors and create highlights.

techniques

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

common pitfalls

  • →Overworking the details and losing the overall impressionistic effect.
  • →Failing to establish a strong value structure, resulting in a flat and lifeless painting.
  • →Using colors that are too saturated, creating a jarring and unrealistic effect.
  • →Neglecting the importance of edges, resulting in a painting that lacks depth and dimension.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·oil paints
  • ·palette
  • ·palette knife
  • ·assorted brushes
  • ·linseed oil
  • ·turpentine
  • ·rags

optional

  • ·medium gloss
  • ·easel
  • ·mahl stick

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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