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
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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
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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.
Posted by: phelim
on Nov 30, 2011
Posted by: phelim
on Nov 25, 2011
This is a composition I set up to paint in my studio.
Posted by: phelim
on Sep 09, 2011
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
Posted by: phelim
on Jul 15, 2011
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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.
Posted by: phelim
on May 20, 2011
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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
Posted by: phelim
on May 07, 2011
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.
