Blog entries

Art Tips: Pastel Demonstration (ii)

phelim — Mon, 25 Feb 2013 11:15:20 +0100

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.

Next, with the edge of the pastels I use my greens, blues and yellows to suggest details in the background. These are a combination of loose varied strokes, mostly blue on the right hand side background to convey distance.

Similarly with my yellows,Read More...

Art Tips: Pastel Demonstration (i)

phelim — Wed, 12 Dec 2012 12:38:27 +0100

Here I have chosen to paint a garden scene with pots and lots of sunlight.

I am using a soft violet-brown coloured paper. As you can see I've taped it on all sides so that there is no movement.

I'm working with my 'Rembrandt' soft chalk pastels.

I use a peaRead More...

Art Tips: Simple Knife Painting (iii)

phelim — Wed, 29 Aug 2012 08:53:39 +0100

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.

i - Colours for middle bushes - Ultramarine, ViridianRead More...

Art Tips: Simple Knife Painting (ii)

phelim — Tue, 14 Aug 2012 19:55:13 +0100

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.

With a little more Cadmium Red in the mixture I make a soft violet which I then apply to represent the background mountains.

5. Using the violet as a foundation I add lemon yellow to make a soft, light green whicRead More...

Art Tips: Simple Knife Painting (i)

phelim — Wed, 08 Aug 2012 08:24:21 +0100

Here is a landscape photo which I will do step by step with you.

Remember, when working with the painting knife you give up detail in favour of freedom and texture. While you can use the knife to build controlled texture I feel this defeats its true purpose.

1. To start, I primed my surface with Burnt Sienna thinned with spirits. As you paint, notice from my demonstrations how mRead More...

Art Tips : Painting from your imagination

phelim — Mon, 25 Jun 2012 20:10:32 +0100

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...

As an artist I develop and retain a store of images relating to everything I see in my memory and recall these as and when necessary. But it takes time to build up this imagery and to learn to use your 'minds eye' effectively. For my students who wish to experimenRead More...

Art Tips: How to Draw the Nude Figure (II)

phelim — Mon, 12 Mar 2012 16:54:34 +0100

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.

Start with a hatching stroke using a 2b pencil and graduate to a 5b in the very dark areas.

You can see that light is coming from the right side so the darkest shadows are on the left side.&Read More...

Art Tips: How to Draw the Nude Figure

phelim — Mon, 27 Feb 2012 21:22:23 +0100

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.

As with all drawing, start with simple shapes for general compositional placement. Also, use the head as the unit of measure if required, to understand proportions.

When starting any drawing from life or photo, spend a few minutes observing and if necessary asking yourself questions about poRead More...

Art Tips: Painting a Still Life IV

phelim — Fri, 06 Jan 2012 14:54:17 +0100

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.

On the tablecloths once again apply highlights as before but with more white.&nbRead More...

Art Tips: Painting a Still Life III

phelim — Mon, 12 Dec 2011 20:06:54 +0100

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.

Art Tips: Painting Loosely

phelim — Fri, 09 Sep 2011 12:43:36 +0100

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 bRead More...

Art Tips: Visualisation

phelim — Fri, 15 Jul 2011 15:45:22 +0100

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 ofRead More...

Art Tips: Creating texture in Pencil II

phelim — Fri, 20 May 2011 12:41:06 +0100

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 Read More...

Art Tips: Creating Texture in Pencil

phelim — Sat, 07 May 2011 11:04:42 +0100

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 hatcRead More...

Art Tips: Drawing Hands ii

phelim — Mon, 11 Apr 2011 15:19:27 +0100

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 dRead More...

Art Tips: Drawing Hands

phelim — Fri, 01 Apr 2011 13:35:33 +0100

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 toRead More...

Art Tips: Painting a Sunset Sky II - Oils & Acrylics, part 2

phelim — Mon, 07 Mar 2011 15:42:17 +0100

vi) Now we start to strengthen our lights. Start with the sunlight area and using more white with the cadmium yellow pale, strengthen this area. Follow this through the darker yellow and orange areas each becoming a little brighter and more vibrant by adding more cadmium yellows and red. Using the same bright white yellow, highlight the under side of the clouds on top. A small amount of this colour can also be blended into the bottom of the blue, just above the dark clRead More...

Art Tips: Painting a Sunset Sky II - Oils & Acrylics

phelim — Wed, 16 Feb 2011 10:34:22 +0100

To start, we will block in colour in each area. These basic colours give us a good understanding of the dynamic & influence that they will have on one another. Remember, it is important to keep your colours bright and vibrant in order to capture luminosity, so maintain an individualistic approach in each area. At this stage we are not blending as we will do that in the following stages.
i) For the violet clouds use ultramarine blue, Alizarin Crimson or PermaneRead More...