Posted by: phelim
on Feb 25, 2013
Tagged in: Untagged
From there, I apply a soft coat of titanium white to the sky area. I blend into this with a light touch of cadmium yellow at the bottom and cobalt blue at the top. This creates a soft but luminous effect in the sky.
Posted by: phelim
on Dec 12, 2012
Here I have chosen to paint a garden scene with pots and lots of sunlight.
Posted by: phelim
on Aug 29, 2012
Tagged in: Untagged
8. From there we now block in some of the middle and foreground brushes. Those in the middle ground are mostly violet with a hint of green, while those in the foreground are mostly green with a hint of violet. Remember tonal perspective; colours in the background are paler and softer while colours in the foreground are warmer and stronger.
Posted by: phelim
on Aug 14, 2012
Tagged in: Untagged
4. From there I apply the rest of the sky with a mixture of Cobalt, Cerulean, Titanium and a hint of Cadmium Red. I then strengthen the top of the sky with a little Ultramarine Blue.
Posted by: phelim
on Aug 08, 2012
Here is a landscape photo which I will do step by step with you.
Posted by: phelim
on Jun 25, 2012
As an artist one of the most common questions I am asked is "do you paint from your imagination?" The answer to this is "rarely." I usually have some reference to hand. However, it is possible...
Posted by: phelim
on Mar 12, 2012
Start by blocking in all the shadow areas. From here you can start to divide the shadows into light, medium and dark. Remember, you sometimes put in shadows and tone and blend it back with your rubber.
Posted by: phelim
on Feb 27, 2012
Tagged in: Untagged
Drawing the figure is one of the most complex and difficult compositions one can undertake. As a result, it is one of the best ways to improve your overall artistic capabilities.
Posted by: phelim
on Jan 06, 2012
Tagged in: Untagged
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.
Posted by: phelim
on Dec 12, 2011
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.
