I have a collection of various bones from animals in my studio. Mostly found in the desert or given to me by friends. This project is of deer antlers that I found in the desert near Oracle, AZ some years ago. The drawing time is about 1 hour. The supplies used were black, white and … More Drawing antlers in black, white and sepia charcoal.
September – December course schedule is out! Click on this link for full class information and enrollment. Janis and her painting of Otis, for her son and his wife (Ben Aaron/news personality and Ginger Zee/Good Morning America Weather Anchor).
Creating color charts (on canvas panel or gesso board) with the basic oil colors can help you practice and see the fundamental nuance and richness of paint. Much better than buying a large assortment of colors – you can create them yourself. The colors you will need for the following charts are what I have … More Color Charts in Oil
A final look at the first project in Introduction to Oil Painting: White Object. On the right is the finished study, 5 x 7 inches. The total number of color passes are 2, using neutralized ultramarine blue and burnt sienna.
Using a complementary color palette: the first method in which we bring in an additional color to affect the way color can change the value (darkness and light) of a single color. In this case, the chosen “dominant” color, that is the overall most important color of the still life. For this project, we are using … More Color Fundamentals/Pencil, 1.2
Working with color: understanding the dynamics of choosing harmonies, and working with layers. This sequence will focus on practicing in that arena. We’re back again, with another great group of new students working toward practicing their color drawing, using colored pencils. This is the first day of class, and we look carefully at the color … More Color Fundamentals/Pencil, 1.1
The next step in progressing with our black and white underpainting (grisaille) is to wait until the grisaille is dry to the touch, and then layer thinly (or “glaze”) a warm and cool “first color pass” overlay. This will effectively start to warm and cool the highlights as well as lighter warm areas, and all … More Intro to Oil 1.2
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
I’m starting with a brand new group of oil painters this Fall. Here’s their first lesson in creating a tonal underpainting for a classical study of a white object. We start the lessons using fairly monochromatic or colorless objects, to better see value and form, against a black background, which shows the contrast better. Notes … More Introduction to Oil Painting/1.1
In this next lesson, I used a harmony called a “split complement”. This consists of a key color (in this case red-violet) and it’s two split complements (yellow and green). Split complementary colors are one step to each side of a complementary color. When using this palette, there is more of a complexity in nuanced … More Color Fundamentals/Oil, 1.3
Student journalists asking questions. For real.
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Following the Call of the Land
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TONALIST AND REPRESENTATIONAL FINE ART
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