Copying a Master painting is a project we are doing with my beginning oil painting students, in order to better understand how the Masters developed composition, form in space, color and value. Start with a good quality reproduction, with the intention of enlarging it somewhat (no larger than @16 x 20″) or copying it the … More Master Painting Copy
This is the second project my Intro to Oil Painting students do, on an 11 x 16″ canvas, using a limited palette and an animal skull as still life. Strong spot light is used, with a darkened space (black box) in which to place the object so that we can see better contrast. Initially, a … More Animal Skull
This oil painting project looks at the form of a big and beautiful natural shell. We follow the same process of creating first a tonal drawing within a grid. Here is Rip’s version: Following are three palettes we are using in this painting: the grisaille (black to white underpainting), warm and cool ultramarine and burnt … More Shell
Continuing with the drape study, we grid the canvas that has already a dry burnt sienna ground, then paint a burnt umber underpainting of the darks cast on the wall, and within the drape itself: Then block in lights using a very light tint of burnt umber (burnt umber mixed with white).
A monochromatic bronzed candlestick, a faded green silk tassel, and a pale blue nut. A wrinkled sheet of sturdy brown packing paper is used as backdrop. A compositional grid is drawn for a preliminary graphite drawing: Next, I place the forms within the grid. …and complete the drawing below. On a burnt sienna oil ground … More Still Life with Tassel Part I
Understanding how to manipulate warm and cool colors can create dynamic painting. Especially when one becomes skilled in mixing them together in different proportions, creating neutral values that consequently are effectively used in building up forms in space. Here is an exercise that will teach the student skill in practicing mixing values using two complementary … More Cool and warm palette: ultramarine blue and burnt sienna chart.
One of my favorite subjects to draw or paint are my oversized gourds, cast in dramatic light. Before painting I create a loose gesture drawing within a structured grid (see earlier post: Sacred Geometry). A light grid with vine charcoal is then made on the canvas paper and the gourd is redrawn. A tonal underpainting … More Painted Gourd Study Part I