Paint the background behind the vase with the original colours and more Titanium White.  The red in the middle is Cadmium Red and the white on the right has a little blue.  Apply roughly and by applying around the objects the background, or negative space, helps to create greater depth and 3D on these.

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Start to develop the lights and darks on the vase.  For the whites use less ultramarine blue.  For darks use titanium white, ultramarine blue plus a small amount of burnt umber and yellow ochre.  This allows for the background to be reflected in the shadow.  As the vase is reflective, your colours are not blended flat but can be left slightly uneven to display this.  The blue on the vase is as before but with more light and dark variation.

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Stage 2

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This is a composition I set up to paint in my studio. 

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When we start learning how to draw and paint, as with any new endeavour we tend to be very cautious and tight.  With painting, I recommend learning to paint freely and over time to control and direct this freedom rather than starting to paint strictly.  Given that both approaches are necessary at different stages, in my experience those who start loosely tend to find it easier in the longer term to adapt to both approaches.  So, to help this here are a few tips and I've shown below a recent demonstration I did for my students putting these tips into practise:

1) Use a larger brush - this way you cannot be too detailed but rather more suggestive.  Also, you can feel more confident with a larger brush, making more immediate strokes.

2) Simplify your composition - don't feel compelled to put in everything you see.  Focus on what is important.

3) Change your palette - not alone does this allow you to be more experimental with colour but using different colours changes how you see or expect to see your composition.

4) Paint at arms length and if painting from a photograph place it further away so that it is not easy to distinguish detail.  This way, you can focus on tonal shapes, light & dark.

5) Use a painting knife.  Unlike a brush, you don't have the same control.  It is a great way to play with paint and convey liveliness of application.

6) Place a time limit from start to finish.  This forces you to apply only the most important elements

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One of the tools I use constantly is visualisation - See it, Believe it, Achieve it.  As an artist this comes easily to me.  I focus on the future as I wish it to be and use these images to help me physically and emotionally.  It works.  However, it is not easy for everybody, but you can develop it.  There is a simple tool I use with clients to strengthen this ability.  Try it for yourself and see if it helps.  It only takes a few moments.  Take a piece of paper and some crayons/markers/coloured pencils - whatever you have to hand.  Choose colours that you enjoy and find uplifting.  Write down your top 3 goals/hopes/dreams/'visions' for the future, using only single words i.e. 'wealth', 'happiness', 'slim', 'marriage', 'children' etc.  Beside these words make a simple symbol that represents this word to you and then colour it in with a colour you associate with it (see sample images).  Now, combine your individual symbols to make one.  This is your 'vision' symbol.  Put this image everywhere around you, in your office, car, bedroom etc.  Remember you can have different symbols to focus on different aspects of your life.

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Here is a small study of a shed door to implement the pencil strokes:

1. Outline the shape of the roof, opening and doorway.  No need to be too perfect.  We are using the strokes to create some of the age and character.



2.  Draw in the tiles on the roof and outline the placement of shadows, stones and the panelling of the door.
3. Now, using a 2b and 5b, start by shading in your dark areas, hatching (6) across the tiles inside the shed and on the door (1) & (3).  The stones and wall are a combination of (2), (4), (5), (6) and (8) remembering that the shadows are cast downward so under the stones etc.



For grass, use strokes (1), (3) and (7).
Until next time, Phelim

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When drawing with pencil you need to be able to create a wide range of textures for surface effects.
Here are some examples created with a 2b pencil.  By varying both the pressure and direction of your strokes you can achieve a texture to suit your needs.
1. Jagged vertical strokes
2. Short, loose, vertical strokes
3. Long, loose, vertical strokes
4. Short, loose, hatching strokes (diagonal strokes)
5. Long, loose, hatching strokes
6. Standard soft hatching and cross-hatching
7. Loose, 'squiggly' lines
8. Dots

Next time I'll do a sample drawing incorporating all of the above.  In the meantime practise these and it will help to improve your pencil control. All the best, Phelim.

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d) Use a combination of hatching and cross hatching lines to shade in the general weight and volume of the hand.  Note I filled it all in as I intend to remove some shading to create light.  I also left in my previous guidelines as I will incorporate these as I go on.

e) From here using a series of graduated shades with a 2b applied with light or heavy pressure I apply more sophistication to the drawing.  To soften some areas I rub in the pencil with my finger. Also use a little water, it strengthens the darks.  Using a rubber I remove some shading to create light.  This creates more textural drama and volume as well as character.  Doing studies like this is a great way to improve not only your drawing but also your visual observation which in turn will enhance your painting.

Until next time, enjoy.
Phelim

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Hands are a complex drawing to make and as such challenge and improve your observation skills.  Rather than copying from a photo, why not use your non-drawing hand as a model.  Don't let the detail confuse you. a) Start with a simple outline to compose your subject.


b) From there, using simple ovals / circles, shape out the fingers, thumb and palm.  This very quickly allows you to get both a good sense of the forms and basic structure without too much trouble.
c) Now, using your foundation, develop the shapes of the fingers etc.


Try this for now.  Next time I'll talk about and demonstrate shading to create character and volume.

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