plate no. 9348

The Mock Turtle drew a long breath and said, 'That's very curious'

oilArt Nouveau (Modern)illustrationfiguresturtlegriffinclifffoliagebeach

what to study here

It shows how clear value zones and a shift between crisp and loose edges direct attention to a small figure beside large, textured creatures.

Look at how the picture sorts into three value zones. The darkest darks sit in the cliff face, the Griffin's shadow side and the foliage tangle on the right, and they work as a dark backplane that frames the scene. The creatures form a warm middle band, lit from the upper left, with the Mock Turtle's face and the Griffin's wing catching the highlights. The palest values are kept for the small girl and rabbit at lower left, plus the sunlit sand. Because those figures are isolated and drawn with cleaner contours against the busier, textured creatures, the eye goes to them first. Note the edge handling too: crisp line on the girl's face and hands, softer feathered strokes for fur and feathers, and layered, loose linear marks for cliff and foliage. Fine sepia or black pen lines reinforce contours where forms overlap. The water and beach recede in cooler tones, giving a pause in the middle distance. Squint at the image to check the three zones before studying any detail.

key decision

Rackham reserves the lightest values and cleanest contours for the small girl and rabbit, and sets them against a dark cliff-and-foliage backplane and textured, mid-toned creatures. This makes the smallest figures the first read.

recreation guide

This artwork is an oil illustration by Arthur Rackham, executed in the Art Nouveau style. Rackham’s work is characterized by a distinct vitality that avoids mere photographic deception, instead using the medium to express emotional ideas through painted symbols (Source 1). The painting likely employs the 'fat over lean' principle to ensure structural integrity, where each subsequent layer contains more oil than the previous one to prevent cracking (Source 2). As an illustrator, Rackham’s approach emphasizes the expressive capacity of the brushstroke and the texture of the paint, rather than just the illusion of natural appearances (Source 1). The composition relies on strong contour lines to define form and mass, consistent with the importance of line in conveying three-dimensional perspective and volume (Source 5).

estimated time

20-30 hours over 5-7 sessions

materials

7 items

steps

6 in sequence

materials

item	purpose	modern equivalent
Oil paints (artist grade)	Primary medium for color application and texture	—
Linseed oil	Medium to thin paint and increase oil content in upper layers	Stand oil or refined linseed oil
Mineral spirits or turpentine	Solvent for thinning initial layers and cleaning brushes	Odorless mineral spirits
Canvas or panel	Support surface for the painting	Primed linen or cotton canvas
Charcoal or thinned paint	For initial sketching and underdrawing	Vine charcoal or diluted oil paint
Paintbrushes and palette knives	Application and manipulation of paint texture	—
Rags	Removing wet paint or blending	Lint-free cotton rags

preparation

surface prep

The surface should be prepared to accept oil paint, likely involving a ground that allows for the 'vital qualities' of the medium to be expressed without the paint sinking in too deeply. While specific priming recipes for Rackham are not detailed in the sources, traditional oil painting requires a stable ground to support the layering process described in Source 2.

underdrawing

The artist likely began by sketching the subject onto the canvas using charcoal or thinned paint (Source 2). Given the illustrative nature of the work, contour drawing techniques would be essential to establish the outline and mass of the figures, emphasizing form and volume rather than minor details initially (Source 5).

underpainting

An initial layer of paint, likely 'lean' (mixed with more solvent than oil), would be applied to establish values and composition. This adheres to the 'fat over lean' rule, ensuring that subsequent layers with higher oil content dry properly without cracking (Source 2).

color palette

Earth tones and muted greens

Natural earth pigments mixed with linseed oil

General use in Rackham’s illustrative style, often depicting natural or fantastical settings

Flesh tones

Ochres, reds, and whites

Character skin, adhering to the fixed colors inherent to the model (Source 6)

Dark accents

Umbers and blacks

Defining contours and shadows, creating chiaroscuro effects (Source 6)

composition

The composition likely utilizes strong contour lines to define the figures, as line is a primary element of design that enables the eye to move within the piece (Source 8). Rackham’s style emphasizes the symbolic expression of the subject, so the arrangement of elements serves the emotional idea rather than strict naturalism (Source 1). The use of contrast in tone and color would be employed to create gradations of light and depth, enhancing the visual impact of the illustration (Source 6).

step by step

underdrawing→underpainting→first pass→refining→finishing→varnishing

underdrawing

step 01
Sketch the composition using charcoal or thinned paint, focusing on the contour and mass of the figures.
Tip — Ensure the lines convey form and volume, not just outlines (Source 5).
Contour drawing

underpainting

step 02
Apply a lean initial layer of paint to establish basic colors and values.
Tip — Use more solvent than oil in this layer to ensure proper drying and adhesion (Source 2).
Fat over lean

first pass

step 03
Build up color in subsequent layers, increasing the oil content in each layer.
Tip — Each layer should contain more oil than the one below to prevent cracking (Source 2).
Layering

refining

step 04
Refine details and textures, using brushes or palette knives to manipulate the paint.
Tip — Use the vitality of the medium to express the emotional idea, avoiding mere deception (Source 1).
Texture application

finishing

step 05
Adjust contrasts and highlights, ensuring the colors interact optically to enhance luminosity.
Tip — Place contrasting colors close together to increase visual intensity (Source 6).
Simultaneous contrast

varnishing

step 06
Apply a varnish to protect the painting and unify the surface sheen.
Tip — Ensure the painting is completely dry before varnishing.
Varnishing

critical techniques

Fat over lean

Each layer of paint contains more oil than the previous one to ensure proper drying and prevent cracking (Source 2).

Contour drawing

Using lines to define the mass and volume of the subject, emphasizing form over minor details (Source 5).

Simultaneous contrast

Placing contrasting colors or tones next to each other to enhance visual intensity and create gradations of light (Source 6).

common pitfalls

→Applying lean layers over fat layers, which can lead to cracking and peeling (Source 2).
→Focusing too much on realistic deception rather than the expressive vitality of the medium (Source 1).
→Ignoring the importance of contour in defining form and volume (Source 5).

what the sources don't tell us

Where the corpus is silent, we say so rather than guess. These are the gaps a complete recreation guide would normally cover that our source passages don't.

·Specific pigments used by Rackham for this particular illustration are not detailed in the sources.
·The exact dimensions and support material (canvas vs. panel) for this specific work are not provided.
·Detailed information on Rackham’s specific glazing techniques or use of resins/waxes is not available in the provided sources.

grounded in

The technical procedure in this guide traces to the following classical art-instruction texts.

The Practice and Science of Drawing↗
- XX MATERIALS — applied to Understanding the expressive role of oil paint and avoiding mere deception (Source 1)
The Science of Painting↗
- CHAPTER VL OILS, GRINDING OF COLOURS — applied to Context on oil painting materials and grinding colors (Source 3)
Laws of Contrast of Colour↗
- 6. Put beside each other two flat tints — applied to Principles of color contrast and simultaneous contrast (Source 6)

cross-referenced from

Named facts about this artwork and artist were checked against these reference pages.

Wikipedia: Oil painting↗
- part 2 — applied to Techniques for underdrawing, layering, and the 'fat over lean' rule (Source 2)
Wikipedia: Contour drawing↗
- part 1 — applied to Importance of contour in defining form and volume (Source 5)
Wikipedia: Composition (visual arts)↗
- part 1 — applied to General principles of composition and elements of design (Source 8)

Read more about the corpus on the sources page and how the guides are built on the methods page.

read from the painting

observed from the image, not the label

6 dominant colors, measured

what the eye sees

Light falls from the upper left, casting the Mock Turtle's face and the Griffin's wing into warm highlights while their undersides and the cliff face behind them hold deep shadow. The composition anchors the small girl and rabbit figure in the lower left—they draw the eye first because they're isolated and rendered in cleaner contours against the busy, textured forms of the two creatures. The cliff and tangled foliage mass on the right side creates a dark, almost threatening vertical barrier that frames and towers over the scene. The beach and water recede quietly in the middle distance, providing a cool-toned breath of space.

value structure

The darkest darks cluster in the cliff face, the Griffin's shadow side, and the tangle of foliage—these anchor the composition. Mid-tones dominate the creature bodies and the girl's dress, creating a cohesive middle band. The lightest lights are reserved for the girl's face and limbs, the Mock Turtle's eye and snout highlights, and the sun-struck beach sand. Squint and you'll see three distinct value zones: the dark backplane (cliff/foliage), the warm-lit creature mass (middle), and the pale foreground figures and beach.

observed palette and mixes

#5c493d
Raw umber + ivory black, high ratio dark
Cliff face crevices, deepest shadows in foliage, the Griffin's wing undershadow, and contour lines defining creature anatomy
#edd7bc
Titanium white + raw sienna + touch of cadmium yellow light
Girl's face, neck, and forearms; the brightest sand; highlights on the Mock Turtle's shell and the Griffin's chest
#c8b29f
Raw sienna + titanium white
Bulk of the creatures' bodies, especially the Mock Turtle's body and the Griffin's feathered areas; middle-tone foliage
#8b7563
Raw umber + ultramarine blue (muted), roughly equal
Water in the middle distance; shadow sides of the creatures; the rabbit's darker tones
#a38d7a
Raw sienna + ultramarine blue + titanium white
Transition tones in the creature fur/feathers; shadows on the girl's dress; cliff face mid-shadows
#f1ddc7
Titanium white + raw sienna (very pale wash)
Overall luminous ground wash visible throughout; the cream-colored paper showing through in places; sky and distant beach

edges and brushwork

Rackham uses a mix of crisp, controlled line-work for anatomical definition—especially the girl's face and hands—and softer, more feathered brushwork in the creatures' fur and feathers where individual strokes suggest texture without describing every hair. The cliff and foliage are built up with layered, somewhat chaotic linear marks that read as dense without being photorealistic. Contours are reinforced with fine pen lines in sepia or black, particularly where forms overlap or need to read clearly against the background.

a working sequence

01
Establish the light-source direction with a value study
Lightly block in the major forms—the girl and rabbit as a small grouped mass lower left, the Mock Turtle's bulbous head and body center-left, the Griffin rising right, and the cliff/foliage wall behind. Use a pale raw umber wash to map where warm light hits (upper left side of creatures) versus shadow. This establishes that light comes from the upper left and slightly forward.
02
Build the darkest anchor—the cliff and foliage backdrop
Work the cliff face and tangled foliage mass in the upper right with dark raw umber + black. Use layered, directional marks to suggest depth and texture—vertical strokes for cliff striations, twisted marks for vegetation. Leave the areas directly behind the creatures' heads slightly lighter so they read as separate forms. This dark plane is your value anchor; everything else reads against it.
03
Model the Mock Turtle's form with warm mid-tones
Apply a warm raw sienna + white mixture to the Turtle's head and body, keeping the light side (facing upper left) brighter and the undershadow side (facing ground) deeper with added ultramarine blue. Observe how the shell has distinct plates and ridges—suggest these with slightly darker lines rather than hard edges. The eye catches bright light; keep it pale and allow it to be the focal point of the creature's character.
04
Paint the Griffin's mass—feathered wing and body texture
Use the same warm earth tones as the Turtle, but render the Griffin's form with softer, more feathery brushwork. The wing that sweeps upward and back should feel lighter and airier than the body; use looser strokes following the direction of feather growth. The body fur transitions from warm highlight on the upper back to cool shadow (raw umber + ultramarine) underneath. Leave some of the pale ground color visible to suggest the feathered texture breaking through.
05
Render the girl and rabbit as luminous focal points
Paint the girl's face, neck, and hands with the palest mix (titanium white + raw sienna, almost white). Her dress is a soft mauve-pink; observe how it catches light on one side and falls into shadow on the other. The rabbit is smaller but equally clear; keep its contours sharp and its local color distinct. These figures should feel like they're lit by the same upper-left light but appear almost porcelain-like in their clarity compared to the textured creatures.
06
Establish the water and distant beach
The water in the middle distance is a cool, muted tone (raw umber + ultramarine blue). Keep it horizontal and calm, receding clearly behind the foreground action. The beach sand is pale but slightly warmer than the water—use the pale cream wash with touches of raw sienna. This cool-toned middle distance creates atmospheric perspective and keeps the eye from wandering.
07
Add linear definition and fine details with pen
Using fine-liner pens in sepia or black, reinforce contours where forms overlap—the girl's profile against the Turtle, the Turtle against the Griffin, both creatures against the cliff. Define anatomical details: the girl's facial features, the Turtle's eye and beak structure, the Griffin's claw. Use varying line weights; keep lines finer on the girl (she's delicate) and bolder where creatures overlap or where cast shadows deepen edges. These lines should feel purposeful, not frantic.
08
Deepen shadow and refine transitions
Go back into shadow areas with slightly darker washes—undersides of creatures, crevices in the cliff, areas where forms cast shadow on each other. Use thin glazes of raw umber + ultramarine blue so previous layers show through. Soften any harsh transitions in the creature bodies by dry-brushing a mid-tone across edges. The overall effect should feel luminous and slightly dreamlike, not flat.

where studies of this painting go wrong

Overworking the creatures' textures—Rackham suggests fur and feathers with directional mark-making, not by rendering every individual strand. Stop before you think you're done; texture comes from restraint.
Making the girl and rabbit too textured or muddy—they must read as clear, bright, almost fragile compared to the monstrous creatures. Keep them simplified and luminous.
Losing the cliff-face behind the creatures—it should feel solid and shadowed, but not so heavy that the creatures feel pasted on top. Let it breathe; vary its darkness subtly.
Flattening the water or beach—keep them cool and recessive so the warm foreground pops. They should feel like a stage set, not compete with the action.

measured difficulty