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
In this next color study, we look at a pair of complementary colors (yellow-orange/blue-violet) and complete a technical and observational exercise, using colored pencil. Technical color scale: top and bottom rows are pure color from dark to light saturation: The middle row is 50/50 %, the rows above and below this are 75/25 respective to … More Drawing with Color 1.2
Recently I have the great fortune to be starting with a new Intro to Oil painting crew! We are working on our first project: a single white object. We will analyze the values, study the form in space and use a limited palette. Here are some examples of the initial value drawings of our simple … More New Crew in Town
Limited palettes are useful for a variety of reasons. In the “less is more” context, the painter gets practice in developing a broad range of color and value using a small arrangement of colors. The palette we are using has these colors: Ultramarine Blue, Burnt Sienna, Cadmium Yellow Light, Ivory Black, and Titanium White. A … More Limited Palette
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.
Above my initial black tonal underpainting of the oversized gourd, I will paint a color layer, using yellow ochre, cobalt blue, white and black. I’ll mix a string of progressively lighter values of both colors. Then I’ll mix a middle row of the two combined 50-50 %. Afterwards, I’ll mix a range of all values … More Painted Gourd Study Part II
This quick study (2 hours) is based on a 19th century botanical illustration, a favorite theme of mine to reference. The first step to painting a copy is to map out the composition using a mathematical division of the space, and placing the image along the sweet spots of diagonals, horizontals, verticals, using … More Botanical Illustration