The Pied Piper

You should look toward your imagination and try and paint such paintings or perhaps marrying such legends (St. George) to modern events as allegories as I have done with 'Perils of a Chemical Life' below. It is good practice to be working on one or two of such paintings in the background to your usual commissioned or current work. Beauty and the Beast (48x48) Thor God of Thunder (48x48) 'Perils of a Chemical Life'(48x48) - This is a modern day allegory based on the St.George theme where the...

Illustrating Fables and Legends

Painters have been doing this for ever - from cave painters to artists at the end of the 20th Century. Sadly there is little of it today but this gives the versatile and patient painter an excellent chance to fill the gap To understand the importance of such paintings as Gerome's 'Police Verso', shown above, one only needs to understand that the whole visual feel and detail of the very successful 'Gladiators' movie was, according to the director Ridley Scott, based entirely around such 1890's...

Definitions

Before you start painting you must decide on your object in learning to paint. There are many styles and methods of applying paint to a surface but there are three main reasons for doing so. After you have looked at these reasons and the examples I have provided you should be able to follow your purpose and utilize the tools of drawing, color, texture and design to your best advantage. The categories are not definitive as many paintings encompass more than a single element - nor is any...

Beans and toast

Ancient Pictorial View The Universe

Look around, walk in the park, go to the seaside, there are thousands of suitable items. Below are a few examples of mine I have found that made successful and saleable paintings. 'Landscape'(100x50) - I intend to follow up this 'world landscape' with another having the map reversed as if looking from inside out out into the universe. The shapes thus should be vaguely familiar but the 'views' unusual. FILLING THE GAPS OF HISTORY MAKING ORDINARY THINGS EXTRAORDINARY ILLUSTRATING FABLES AND...

Fig

Decoration - I want to paint because I love to decorate. Fig 1.(above) Here color and proportion are made pleasing to the senses. Fig 2 Impressionist decoration. Fig 3 The use of an accent (bright red in a sea of grey) for an eye catching wall decoration I would have you paint decoration for the appreciation of decoration, paint subtlety for the appreciation of subtlety and paint messages for those looking to pictures for meaning. Why deny people their decoration, why deny the high church their...

Making ordinary things extraordinary

The idea here is to take something entirely common and paint it in such a way that viewers are forced to look or 'see' the thing in some other way. Just this morning I purchased a packet of beautiful chopsticks. My aim it to one day paint them in in conjunction with a fork or other eating implements. This might just question the process of getting food from dish to mouth. Anyway painting simple things is also a major obligation of any artist for it promotes lateral thinking and wonder. A small...

Reconstructing Historical Landscapes

Turneresque Landscapes

There is a growing opportunity for painters to make a living by painting historical landscapes using old postcards or photographs as reference material. I recently experimented with this by taking three old faded, black and white postcards and reconstructing the landscape. They were subsequently scanned and printed and sold in the area they were painted. This could be done in any location should you possess the skill of an adequate landscape painter and a modicum of flair for color and drama....

Pearly Luminosity

Luminosity Painting Artists

There are two factors to consider here if your aim is to achieve that luminous pearly look that dominate certain landscapes and seascapes. First we must create the 'pearly' look then give it presence and dominance within a framework (painting). It is the nature of that presence that will make it look luminous. So what makes a mother of pearl shell look pearly If you look closely it is merely a high value grey-white infused with red, blue and yellow or 'rainbow hues' of equal and similar values...

Commissions

Due to 50 years of the press showing works of 'art' being made by elephants with brushes held in their trunks, monkeys, guys riding over canvas with bikes, kindergarten children and anyone else with no talent and no training it is increasingly difficult for any member of the public to believe a professional painter should receive a per hour renumeration that might be similar to what a plumber or an electician might recieve should they spend an equivalent time at a contracted task or job. This...

Fig 4Fig 5Fig

Fine Art - I want to paint to understand and enjoy visual ideas. Here I will quote a respected food and wine judge, 'In summary less is more. The flavours and fragrances we most enjoy are the ones we only just perceive. More than that, they make us sick. Rose scent is a good example.' Fig 4 One of the greatest paintings of all time - sublimely subtle. The viewer knows exactly how the artist felt towards the subject. (note the lips slightly apart - a rarity in northern renaissance portraiture)...

Page Of Theory Before The Practice

Painting a portrait is quite a personal thing. It demands that the artist make some sort of estimation or judgement. The painting opposite a 'detail' from my portrait of John Morgan. After deciding on the client (if not the sitter), why the work is commissioned and what scope is the artist allowed - you then ask yourself 1. What is the essential character of the sitter 2. How does the sitter view his or her own presence in the world 3. Is there a pose that seems natural and expressive of the...

Plato

OK, so you can now see the possibilities should you want to research the subject matter, and have the technical skills to produce a painting that has both feeling, drama and definition. In my atelier my primary duty is usually to give students the skill so they can paint whatever style or method that might suit the period - or otherwise, should they determine something else is required. That is up to them and their reasoning. In this sort of work it is important for future copyright use that...

Practical considerations

Physical likeness - for me this is probably the most enjoyable - if you follow some simple rules and ask yourself and others the questions the cartoonist asks himself every day. Silently ask yourself (in the presence of the sitter) what are the most distinguishing characteristics. Then ask yourself the same question later in with the sitter absent. Try and remember some aspect of the person like thick eyebrows, wavy hair, big ears etc Also try and remember a mannerism like, a pose, smile or use...

What is realism

The real world, you say Now that is novel. Perhaps unique. Why would an artist be interested in reality Of what use is that to the galleries and museums People don't want an exhibition of the truth. They don't want to see the intestines of a cow nailed to a wall. They never do, and they never did. They want magic and illusion. Magic to make them wonder, and illusion to transport them elsewhere. They want to see pictures that make them laugh and cry they want to see good and evil narratives of...

Painting in oils what you need to know about the paint

You can liken making paintings with oil paints as making mud pies with Oil paint usually has 'thickness' so it can be shovelled, spread, pushed, trowelled, brushed and scraped - just like plaster or mud. It can be flattened or piled up and much more. It has all these qualities if mixed correctly. Furthermore it can be made to be spread as thin as gossamer or as thick as clay. All this depends on just two things a) The thinness or thickness of the paint, called its viscosity b) The implement you...

You can try this

Go to the kitchen and get a little powdered saffron, powdered red food or cocoa and add a little oil (sunflower, poppy, walnut, safflower, it dosen't really matter which) and mix it up with a knife or spoon. You have now produced a genuine oil paint ( and unlike many others, one you could eat it without harm). Find some zinc cream (used as a sunscreen) in the bathroom cabinet and now you have a white oil paint - now some black boot polish and you have a decent black oil paint. If it is a little...

Geometric Perspective

Geometric perspective, often referred to as simply perspective, may be defined as the natural law which says the further something is from our eyes, the smaller its image will be. Since there are two types of perspective, the other being atmospheric perspective, it is necessary to distinguish between them by referring to what is normally called perspective as geometric perspective, in reference to the fact that it is a geometric breakdown of a natural optical phenomenon. It is sometimes...

And Using Chaos

Steven Stipelman Illustrations

Let us imagine our life as a room and the room has a partition. On one side of the partition is a continually moving, changing world of disorder and chaos. It is populated by all the creatures of the imagination - and more than a few not invited. It is a world of the surreal, of dreams and nightmares, of anti-logic and senselessness. On the other side of our partition we have order, logic and regular forms. The world of the pyramids, spheres and cubes - the world of habit, pattern and order....

Press for full view

Now for the fun part a name (but I always had someting in mind, you see, for one of my favourite paintings was Giorgione's 'The Tempest' - he died and neglected to name it, and for 400 years art historians have specualted as to the relationship between the two principal players ) I toyed with 'Dr Livingstone decides to stay put and continue his African studies' or 'A sporting woman encounters a sporting man and looks away ' but then, like Giorgione, I thought it best not to be too deep. STUDENT...

How can we reverse this and stiffen up the paint

We could add more pigment or filler, or we could get rid of some of that excess oil. How do we remove the oil By putting the mixture on blotting or absorbent paper and waiting. The paper will absorb the oil and a little of the pigment. Obviously to make it more runny we could add more oil and to dry faster and spread thinner we could add turpentine, thinners or petrol. Get the general idea One more thing - we can also add other things that are mixable with oil like certain resins and varnishes...

Student Activity Painting the pearls

1) Paint miniature scene as above in a wet medium and allow paint to diffuse. 2) Glaze in a semi-transparent mix of white, with a little red and yellow. 3) While still wet introduce the faintest touches of as many colors of the spectrum you like. 4) Sharpen the outside edges. Allow 40min. The greatest illusion of all could be the illusion you never notice. The greatest magic could well be the magic you are never know. A retired spy once said to me 'You know, not all magicians wear capes and...

Then your artistic slump will vanish just in time for your real torment to begin

Now it becomes what, how, which combination, what is the essence of the feeling and how do I paint (describe) it, how do I start I had a folder here with great color schemes somewhere now which one was that How can I encapsulate the feeling, yet be subtle and convincing What forms lines textures patterns color can I apply But, just think when it is all over - and if it all works out brilliantly, you can wildly celebrate, wake up hungover and start all over again. Now where did I put that red...

Relationships

We don't just paint 'things' we construct visusl relationships. Now approach a topic of which, in art (relationships) I have some knowledge. Obviously in life it is otherwise - single and thrice divorced. Back to safer ground and painting every element in a painting can only be considered in its relationship with the other parts. Below in my portrait of Fletcher Christian the parts that draw the eye are usually the areas of maximum contrast. This portrait has three competing areas of contrast,...

Atmospheric Perspective

As objects recede in space they not only appear to shrink in size, but tend to lose detail, contrast of values, intensity of color, and their edges appear less distinct the greater the distance from the viewer's eyes. This is the principle of Atmospheric Perspective. Some writers call it aerial perspective, but this is misleading, as the term, aerial usually pertains to flying. The visual alteration of images over distance is the direct result of X amount of atmosphere between the eye and the...

Glazing

Glazes allow light to penetrate the layers and enhance color. They also permit the artist to construct the painting in stages. I use a glaze 'medium' (the liquid to add to the paint) of oil (stand linseed or the like) varnish (resin alkyd) and sometimes a little white spirit (turpentine). Modern alkyd lacquers dry rather quickly and may be retarded with more oil or speeded up with the white spirit. Student Activity Make a list of other common products you think might be oil based and therefore...

Modern Frames Accents And Echoes

Echoes Accents

When the print or painting itself is intended as a decorative item - fashion often dictates the frame. It is perilous in this instance to buy a finished item without checking its intended placement. All sorts of factors such as lighting, wall color, furniture etc. can have their unforseen effects. In this section I shall concentrate on those principles of framing that confine themselves to the picture and the frame. The principles of modern framing are the same as principles of the past but...

What now

Like a potter you have now made you clay, only in your case it is called paint. Instead of water you have added oil and some pigment and, instead of a wheel, you will be putting your mixture on a flat vertical surface, although you will mix it on a bench or pallet. There is no rush with your paint though - it is oil based and will mostly take a long time to dry and this you know you can control adding oil or white spirits. One main point before you apply your paint if you first apply a thick...

Surface preparation

I will usually paint on anything that will hold paint but it must be dry, flat, rigid and have a little tooth (roughness). Canvas will also do but it must be laid flat or glued on a board later, otherwise cracking will occur. I like to underpaint the surface with a couple of coats of gesso. I usually use a flat, thick, water based white paint with whiting or some other compatable filler to add body. If it is too thin I will sometimes add PVA glue to bind. If I intend to paint with glazes in the...

Picture Frames

Paint Color Buttermilk And Ligh Gold

The classic tradition of museum display is that of the Uffizi - deep gold frames on a salmon red background wall. This is a formula often repeated for many renaissance paintings. It is also one I sometimes use in internet gallerys -but mostly without the frames. For landscape paintings of high contrast and dark greens the salmon red works well particularly if separated by a neutral (off-white, black) or transit (gold) color. This is a handy hint for painting as well as framing. When dealing...

Thick over thin and light over dark is an old painters saying

Brigandines

If we don't want to wait we can paint what is called 'wet in wet'. That means putting wet layers of paint on other wet layers all in the one session (or over the total time it takes the paint to dry). There can still be hours -or days until a 'skin' forms. This is an important point as many painters would like to finish their painting quickly and are thereby forced to paint 'wet in wet'. STUDENT ACTIVITY See next lesson. Using someof the pigments, and oils I have mentioned make up a pallet of...

Design

TRUST YOUR INSTINCTS (and get to the theory later) Let us assume we are faced with the situation where the following picture must be cropped to fit a particular frame. How should it be done You probably have quite definite ideas about your preferred option and if I said I preferred No.2 you may decide I should seek serious counselling or some other form of professional help. But most paintings do have accents or points of natural interest. Sometimes these are the areas of maximum contrast...

Combining computer technology and principles of painting

Artist Steven Stipelman

This is a photograph of a local dignitary that hung on a very light effected wall for twenty or more years. As you can see it is very faded and any blue green has faded out completely. The first move was to scan it into adobe photoshop and remove all color. In other words convert it to a 'greyscale' format. So I searched for a background that might describe the nature of the war the man fought. I wanted a stark, riveting but an atmospheric scene. I found what I wanted but it was tiny. This was...

Silver And Copper

Lamps With Silver And Gold Hues

SILVER Technical Second to gold as most malleable. Oxides are black forming silver sulphide (try egg yolks) - see dark cracks in example. Spitting silver, when silver cools it expels oxygen and spits. Used as an alloy, in photography and for coins. Absorbs most hues equally but seems to reflect minor amounts of most. Conceptionally Precious metal with dull lustre. Jewellery, tableware. Combines well with gold and glass and useful for subtle neutral highlights. Presentation Always try and...

Painting Little Waves

Wave Painting Techniques

Remember the first lesson on the importance of really looking at things and studying them Well this lesson is a reminder of that and will also give you an understanding of how a painter must analyze the smallest things so as to best understand how to paint them in the biggest way. Nothing is more important than understanding this. You might think the figures I put into the following painting are the key. Not so, it is the study of the wave that makes this painting unique. Have you ever wondered...

In this lesson we are going to examine how to do the reverse to put a sparkle back into the eye

To do this we must look at a white grape and a red cherry and see what makes them appear real. First the grape Many artists love putting white grapes in their still life paintings because they have a wonderful transparency which shows up particularly well against a bunch of dark grapes and other items. Many fruits have a light grey covering on their skin I call 'frosting'. This occurrs on the skin of most fresh stone fruit but is particularly noticeable on peaches, plums and grapes. I have...

The Grape The Cherry And The

A friend once wrote 'There is such evident sparkle in the eyes of intelligent people which if often missing in others, but always present to some degree. One of the things that led me to believe this is possible, was when I had the unfortunate experience of having to put one of my cats that had a fatal disease, to sleep. I can't tell you what a horrible experience this was as I loved this animal deeply. As the fatal injection was given, I actually watched the eyes go from sparkling to a dead...

GO TO kissing practice No3 Advanced lesson menu

Men Loincloth Kiss

KISSING PRACTICE - A DEMONSTRATION PAINTING - PART 3 Now for some technical information regarding technique. I used none other than bristle brushes for this painting to this stage. OK we started with a value 4-5 burnt umber with a blue-gray interior for the figures. The blue gray was molded in the chiaroscuro manner and allowed to settle and dry. A higher value mix of light red burnt umber and flake white was used to bring the flesh up to a warmth in the secondary areas (or turning point...

Psychology is the study of human behaviour

Hawaiian Painter Hue

What has this to do with color We must first decide whether there is a genetic or instinctive behavioural element in hue recognition. Then we might ask if there are any environmental aspects that have a universal effect on the human species. 1. Genetic - I have seen no evidence of the first. We are not like bees or birds where the recognition of the hues of flowering plants are somehow passed on from one generation to the next. 2. Environmental - I have seen green associated with health - and...

Front Pictorial And Ambiguous Light

Morning Golden Glow Paint Colors

Front Light - the favorite of photographers, two dimensional artists, children and colorists where emphasis is on color and texture over form and value. Front light can eliminate the need for shading and shadows (which is a pity for they are a great joy and keep many artists from wandering aimlessly about the streets in the dead of night). Front light is also excellent for use in portraits of unremarkable people. Holbein's front light portrait of a Dutch princess eventually caused the schism...

Practical Application Painting Hair

Painting Skincoulors

Was writing the other day about women's hair. This one (attached) is giving me problems trying to make realistic thanks. My reply You are not having trouble with hair, you are just overdoing its rendering. In a painting hair is not drawn, it is colored First decide the general color (try and add a repeat of some deep facial coloring) then block it in as if it were just another part of the face. Add a few individual hairs (not too many) as they fall across the forehead, or as the light...

Iians drawing

After all, why should we declare Bouguereau to be photographic Is it true that the only *real* reality is to be found in photographs - that is obviously utter nonsense The only reality to be found is in reality itself. Bouguereau did not set out to imitate photos, although it is possible he may have spurred himself ever onwards out of the sheer delight of pushing his skills to the limit nevertheless, he wasn't a parasite or a mediocrity -- he painted from REALITY and not from a faded recreation...

Are you in and artistic Slump

Light For Reading Headgear

There are two problems here depending on whether you earn you living as an artist or you do it for enjoyment or other purposes. In the first instance hunger and finding shelter are great motivational tools. In the second you need to be obsessional, like knowing you hid a bottle of Jack Daniels around the house but can't remember exactly where and it's 3am if only you knew where to start to look I suffer both so I find I must plan ahead 1. Always carry a pair of scissors and be prepared to...

Selective Focus

There is a third principle to be observed when creating the illusion of reality, which is closely aligned with atmospheric perspective. This is the Principle of Selective Focus. It is the phenomenon whereby our eyes, directed by the brain, register the highest attention to detail on whatever we consider most important within our cone of vision. Please note that this process is unique to the natural viewing apparatus. A camera does not operate in the same way. The specific differences will be...

Innovations Of Rembrandt

Pieter Lastmann

Rembrandt Harmenszoon Van Rijn, whom many consider the greatest artist of all time, learned all that was then known about oil painting while still a very young man, surpassing his teachers very early in his career, and then proceeded to add his own discoveries to the technical knowledge of his time. To this day his best works remain unsurpassed, and serve as inspiration to the rest of us who paint. This being the case, any book on advanced techniques must address Rembrandt separately and at...

Frames And Other Decorations

Picture Frame Martell

It is useful to understand the evolution of the picture frame. Frames evolved from painted decorations of architraves and cornices that surrounded frescoes on walls and ceilings (as in the Sistine Chapel below), to actual plaster and timber mouldings used when oil paintings became transportable. Today frames have become 'stand alone' items of mass production. From the early renaissance architectural fashion has often determined the design of frames. Popular architrave, cornice and skirting...

To see how this is achieved you must go to the next page

A painting masterpiece is 'a portal or magic window that will draw the imagination.' How is this done and why are we humans drawn to certain paintings like Icarus was to the sun, or Why, because the painter desires the viewer to enter into the painting, and once there, to make them want to dwell awhile. And how do they do this By imagination and the use of all the means, tricks, skill, subterfuge, and techniques at their disposal. The techniques include texture, design, color, chiaroscuro,...

Depth Of Field

Fore Gore Middle Ground Background

The human eye, like the camera, has a limited depth of field. In other words we focus on one level and the objects in front or behind are often blurred. When Deigo Velazquez painted Las Meninas he, along with many artists (pre-photography), painted everything in focus. This was part of the magic of painting as the viewers perception was thereby expanded - rather like a hologram. Today wide angle lens may produce something similar but unless you intend to spend hours in a darkroom it is an all...

The painting of fur linen cotton velvet silk satin gauzes and other diaphanous materials

Velvet And Linen

Drawing the edges and the folds the thickness and pliability (softness) of the cloth determines the size and shape of the folds. Fur and thick wool that is soft yet pliant requires little drawing as it is mainly composed of large gentle contours. It usually dominates the form it conceals. Thick heavy linen or damask that resists folding will show straight edges and will stress at the folds with double or even triple indents (see in the acute angles left). It also will override the shape it...

Brushes And Knives And Wet In

Steven Stipelman Illustrations

Here is a simple little (12x 14) painting that anyone can do if they have a favourite figure they can plonk on a beach somewhere. I will show you how it is done then you will be able to see what happens when you paint thin over thick. 1. You will note a pinkish underpainting peeking through the waves. This is because I pre-painted the canvas with a mixture of light red and alizarin red with a little white to lift it up. At the time I painted this it was my usual background for seaside studies...

Painting Little Waves No2

Painting Light Waves

In the detail of the wave shown opposite you may be convinced you are looking through the wave but this is mere illusion. My steps in painting were as follows 1) Paint the whole canvas a thinned mix of dirty sand colored raw sienna mixed with a little raw umber and white. Adjust for a approx value 5 or 6. Let dry to the toutch. 2) With a nice runny flake or lead white with a little ultramarine and cobalt blue and using flowing figure eight horizontal hand movements create the wave tops. 3) Add...

Skin Colors Or Flesh Tones

Flesh Light

I wrote this lesson in response to a number of letters - to quote but one 'Some people have difficulty mixing what are called skin colours. I have seen portraits where no flesh tones were used at all (somewhat like the dutch painter example in your lesson). How do you actually decide what values and hues you will use for a certain person's skin tones Do you think cool and warm colours Do you decide the hue based on the shadowed colours or the colours in the light, or perhaps you use some other...

Principles Of Visual Reality

Discipline With Empathy Art

The greatest art is that which moves the viewer in a positive way, which touches perhaps dormant sensibilities inherent in human nature, and awakens and or fortifies man's better qualities in so doing. Great performances in all the arts accomplish this same goal. A well-written operatic aria, for example, sung brilliantly and with feeling by a virtuoso soprano, can move an audience profoundly, raising the hair on the neck and bringing tears to the eyes, leaving at least some of them gasping and...

Inside out

When painting a head and shoulders portrait I usually establish the rough proportions of the sitter by way of freehand line. I plan the future positions of the areas of maximum contrast and interest. Next I paint the eyes mouth and nose. In other words I work from inside the overal shapes. As I reach the boundaries I find they often suggest themselves. Some I might like to edge or define while others I let fade away. In general it is appropiate to paint inside out if the figure inhabits more...

Abstract And Texture Painting

Light Texture Paint

Many confuse abstract painting with modern painting or modern 'art'and wars and battles rage in the 'art' world We are concerned here only with painting. In truth, an abstract design is one that has no pattern and an abstract painting is one that has no form. The painting above is not a photograph but its realism is undeniable. It has form but no pattern repitition . In a previous lesson I stated 'the human mind does not like to be overloaded with detail, particularly in a painting. It revels...

Pattern And Repetition

Rapetion And Pattern

Some of the most effective designs are the simplest. The head is centrally positioned. The horizontal line of the eyes is 'golden' approx 3 5 up the canvas. The two vertical straight lines provide the 'discord' to the circular patterns. The hard edges of the pearl which I think is really a silver ball eyes, and face make them all equally smooth and spherical. Here again we encounter repetition. The eyes and the pearl, because they are more reflective, have sharper and more defined highlights....

Fabric Texture

Texture this is the roughness or smoothness of the material and us usually apparent in two places, the boundaries or edges of the garment or at its general mass where light values change turning points -basic lesson on texture . a Edge silk obviously can combine the highest degree of smoothness with thinness of material so its edge treatment is the sharpest. Next would be linen or cotton gauze where the edge would appear a thin line. Note - light will often reflect from a cut or bare edge....

Painting Decorative paintings

Desire Painting

When everything else fails So how do you do formula paintings, and what are the formulas that always sell In the business we call these 'potboilers' and the problem is not in painting them it is disguising them sufficiently so they seem fresh and new, one off originals instead of formula paintings. There are of course certain things that have universal appeal and I will show you two variations of them in this lesson. Understand however, this universality needs to be tweaked and adapted...

Painting Glow And Light

Sources Light Activity

Glow is essentially a factor of value rather than color. How is this achieved Paint a black canvas and let it dry. On your finger place a little white and with small circular smudging motion apply it somewhere to the canvas. It should now look like a milky smudge. Next take a pinpoint of paint on the end of your finger and touch it once in the middle of the smudge. The result is the essence of glow, total value differential as well as the milky area being a transmission area that will...

Rollover perspective

Famous Distorted Landscape Paintings

Here is a painting that utilizes a single vanishing point without unduly discomforting the eye. I call this roll-over perspective. My aim in this painting was to paint the total extent of the landscape beyond what the camera or the eye would see, and without moving the eye's cone of vision. As the landscape is essentially flat the illusion needed is one that combines in the perspective mode a plan view with an elevation. Also to make the transition as seamless as possible Secondly the...

Shadow And Transparency

Reflective Shiny Copper Chrome Surfaces

Let us recall our lesson on sunset and sunrise and remember the effect of atmosphere on light rays. Remember how the motes in the sky or mist intercepted the long blue rays and let the red through Now we will treat that 'mist' as a piece of glass or plastic a solid yet semi -transparent medium. In the first example below the reddish pigment particles suspended in the glass are sparsely arranged. As with the earth's atmosphere at sunset the pigment particles in the glass absorb the blue-green...

Basic Oil Painting Cont

How Paint Light Source Oils

This lesson is a summation of the practical demonstration I sometimes give to further explain some of the points made in the previous lesson. My purpose is to use common household materials to make an oil painting while my method of teaching this is similar to those cooking shows you see on TV. My desire is to familiarize the students with what 'might' have happened during the 'invention' of oil painting back in the sixteenth century and thus remove some of the hesitation from trying the method...

Likely To Scumble

Teen White Opaques

As the judge remarked about my life. 'Its like paint parts are opaque, parts transparent, and parts somewhere in between, according to how much light is able to pass through the tiny particles of your credibility.' But he was right about the paint. It can be opaque, transparent, and somewhere in between, according to how much light is able to pass throught the tiny particles of pigment. Transparent pigments are like tiny colored crystals, whereas opaque pigments are like little colored or white...

Value differences Tonal this is the value difference on the grey scale between the highlights and the shadows of the

Grey Scale And Value With Hues

This factor should be approached completely independently of any color considerations and for practical purposes we shall assume one light source and one direction not backlighting . The artist will usually limit these tonal divisions to a minimum of two and a maximun of four with the following approximations Fur and wool - two - with little value difference between highlight and shadow Flax-linen and heavy cotton - three - values between highlights and middletones closest Satin - three -...

Refined Painting The most advanced concepts go beyond words VE

Advanced Light Source

Rembrandt developed the technique of glazing over dried impasto for a bas- relief effect, wiping the wet glaze off the high spots and allowing it to remain in the nooks and crannies for a heightened three-dimensional effect. Used in this manner, impasto can actually enhance the illusion of the third dimension. Gerome below insisted on a perfectly smooth surface to the painting, and forbade his students to use impasto anywhere. My first instructor, who happened to be my mother, told me it makes...

GO TO Painterly effect No2 main menu

Rembrandt Chiaroscuro

KISSING PRACTICE - A DEMONSTRATION PAINTING - PART 2 In Fig.5 I have brought some of the highlights forward by use of a higher value blue-gray and added some wings. This stage you could call 'molding' the forms or to use its proper terminology you could call it the application of chiaroscuro. This was the method made famous by the Renaissance painter Carravaggio and copied in the north by painters such as Rembrandt, Rubens and Vermeer. Adding wings and cool grays Scumbling with some highlights...

All Paintings on this page are by William Whitaker

William Whitaker Painting

STUDENT ACTIVITY Write a short essay on the relationship between size and wall presence, colors and wall presence, design and wall presence. Give examples of each. Also explain how you think William Whitaker gives his paintings such great wall presence. Allow 40min. GO TO Bill's demonstration painting lesson menu In these lessons I do not hesitate to assert that art is about illusion and great art is the total presentation of the greatest illusion. This brings me to the 'painterly effect' or...

Iian Neil writes

'Certainly Bouguereau does have a certain Romantic flavour to his works, but by and large he did not work in the style of Delacroix, David-Freidrich, or Gericault, to name a few exponents of that style. When I look at Bouguereau's work, the overwhelming impression I receive is of Classical polish and perfection, its potential severity softened with aspects of Romanticism. One must understand that by describing Bouguereau's work as Photo-Idealism one risks classing him amongst those who merely...

Direct Painting

The Direct Painting Method differs from the Venetian Technique and the Flemish Technique in that the artist paints in full color from the very beginning, without requiring an elaborate under drawing or underpainting, and without resorting to the use of glazes or scumbles. All paints except the deepest darks are used as if they were opaque, and are usually applied heavily enough as to appear so. The object, ideally, is to paint the entire picture wet into wet, from start to finish. Terms such as...

Virgil Elliott

Virgil Elliott Paintings

Detail from The Songstress by Virgil Elliott GO TO Techniques of Painting in Oil KISSING PRACTICE - A DEMONSTRATION PAINTING One of the most difficult painting tasks it that of actually painting realistic flesh. Nowhere was this excelled but by the French Academy painters of the late nineteenth century or their counterparts across the channel such as Leighton, Waterhouse and Alma-Tadema. Perhaps the most sublime of all these was William Bouguereau whose paintings of people were so convincing it...

The Flemish Technique

The earliest oil painting method evolved from the earlier discipline of egg tempera painting, as an attempt to overcome the difficulties and limitations inherent in that medium. As this took place initially in Flanders, the method is referred to as the Flemish Technique. Essential to this method of painting are a rigid surface primed pure white, and a very precise line drawing. The Flemish painted on wood panels primed with a glue chalk ground, which caused the transparent passages to glow with...

The Venetian Technique

Titian and Giorgione are generally credited with originating what became known as the Venetian Method of oil painting. The Venetian Method, or Venetian Technique, shares with the Flemish Method the use of transparent glazes for the shadows, darker darks and for certain special effects, and opaque highlights, but differs from the Flemish method in several important ways. The method evolved out of necessity, as the church desired large paintings of religious scenes for cathedrals, and wealthy...

In Fig4 I suggest a background Here since the figures will dominate the painting I place

This will place a high contrast area across the middle of the picture. To further amplify the drama I shall eventually create within this background the three definite distances, far, middle-ground and fore-ground. One of the secrets of creating a super-realism is to allow the eye to be able to comprehend all distances at once. Of course this cannot be accomplished by a camera or by the eye without refocusing. GO TO kissing practice No2 Advanced lesson menu

Techniques Of Painting In Oils

The Book Sounder Painting

From the earliest days of oil painting to the time of this writing late Twentieth Century, into the early Twenty-first , a number of oil painting techniques have evolved. A great deal has been learned through the processes of trial and error and from the experiments of various artists through the centuries. From Jan and Hubert Van Eyck, possibly the first innovators to paint pictures in oils, in the late Fourteenth and early Fifteenth Century, to William Bouguereau, Jean L on G r me, Alexandre...