Painting Lessons: Learning from unfinished master paintings

Learning to paint well takes years of practice. You may have visited a museum and been totally amazed by the works of a particular painter. Just remember that paintings, even those of great artists, aren't created by magic. All great painters have a method. Something I've done that has helped me learn about painting methods is to study the unfinished works of master painters. Here are some images from Wikimedia Commons Image Database. First is a painting of Anders Zorn by the Swedish artist Bruno Liljefors.

As you can see Liljefors started on a toned ground (possibly a mix of Naples yellow, white and a little black).

Although the head is fully rendered you can still see that the painting was started very simply using loose areas of color painted in without any real underdrawing. This is a form of what is known as 'direct painting' which means that it is worked up from the beginning using full color to establish the shapes and values. Notice the red reflection on the jawline and how a band of cool background color is used along the head just before the light areas turn towards the shadow side.

Next is a painting by Thomas Gainsborough. In his painting the canvas is tinted with a darker umber or sienna and an under drawing is sketched in using this brown along with black. Even the face is only rendered by the addition of white. A monochrome underpainting of this sort is used to work out the values and composition first, leaving the other more intense colors to be added later . 

Study the unfinished works of other painters and see what you can learn about their technique.

The more you learn about different techniques the more you will be able to understand and develop your own style.

Drawing Lesson: How to Take Measurments Using Your Pencil

Today I want to talk about taking measurements using your pencil or paintbrush as a rule.

It's actually quite easy once you learn how. You hold your hand as if you were giving a thumbs up, taking your pencil  in your fist with part of the pencil extended beyond the top of your thumb (see photo).  Using the area from the top edge of your thumb to the top of the pencil as a rule, you now adjust your pencil's length up or down to make your measurement. To measure widths just turn your hand sideways. Remember to keep your arm fully extended while you measure so that your measurements will be constant.

The purpose of measuring with your pencil is to compare what you see with what you have drawn. For instance, if you are looking at a standing figure you could measure the width of the shoulders and compare that with the witdth of the hips. Next you would measure your drawing in the same way, checking to see if both the figure and your drawing have the same proportions.

Try this technique the next time your proportions seem a little off and it should be a big help.

How to Paint: Starting with the Basic Shapes

For all the painting methods I've discovered from college instructors, private teachers, books, videos, etc.
there have always been a few common ideas that have been a great help to me. One of the most helpful of these is to start with the general and work towards the specific.

Back in art school a painting instructor helped me understand the value of this concept.
An image of a painting from a famous artist was projected against the far wall and we students were required to paint what we saw. The image however was projected out of focus. this removed the subject and its details forcing us to see and paint only the large areas of color. Slowly the image was put into focus and we gradually worked our paintings up.

Reducing what you see into its broader simpler forms is an invaluable aid, not just in terms of painting what you see but also in arranging your composition by making sure your subject is the right size, placed where you want it, etc. I've learned through experience that the more time you invest in making this basic framework right the easier it is to finish your painting.

Here are two examples from a self portrait that I'm currently working on using a mirror as a guide:
The first picture shows how I've started to block in and adjust the basic color shapes, A good idea is to squint while putting in these shapes, it really helps you to see things in terms of flat colors and values.( I can't stress enough how important it is to really take your time at this stage).
The second picture shows how I've started working the basic shapes up, refining them, working from large to small until I've gotten a reasonable likeness.
If you are a beginner, there's nothing more frustrating than being in the middle of a painting, thinking you are making some progress, then suddenly realizing your composition is way off, or when you paint a standing figure by starting with the head and working your way down only to realize there isn't any room for the feet!

So remember, a good way to work is to start with the general and work towards the specific. Block in your basic shapes first, arrange them how you want them, then start working everything up.

Sculpting Lessons:How to Sculpt a Bas-Relief in Clay

Today I would like to demonstrate the way I sculpt a bas-relief, along with some unique aspects of sculpting in relief.

The two main methods of sculpting are the subtractive or reductive method, which involves taking away from your material, as in stone or wood carving, and the additive method, which is to build up by adding material, as in the modeling of wax or clay. The second method is what I will discuss today.

One thing that makes relief sculpting unique is that it is a combination of both sculpting in the round and drawing. Similar to drawing you are not only taking into consideration the subject but the background also. Placing of the subject in relation to the background of the relief is what I think about first.

Once I decide on size and placement, I start sketching into the wet clay to create a basic silhouette of the subject, I correct it as I go by comparing my subject and how it relates to the background. As with drawing and painting, to compare the positive and negative shapes is a big help in correcting my work.

From this point on it becomes much more like sculpting in the round because I can now focus on building up mass. I start with largest shapes first, emphasizing the outward swelling of the shapes that are the closest while keeping the distant shapes flatter.

When I am satisfied with my large masses I next focus on the modeling of the more subtle forms inside the larger ones. The advancing shapes require most of the work, while the receding ones should stay flatter in order to help give the illusion of depth. This is another unique aspect of relief sculpting in that you create depth through three-dimensional form as well as the illusion of three-dimensional form by using overlapping planes and foreshortening.

Starting with the big shapes lets me build my sculpture up in sequence, that way I'm not distracted by  details.The small details such as eyes, ears, fingers, etc, are just the smallest shapes and if I work from large to small they will virtually take care of themselves. At this point my relief can be refined as much or as little as I want until I am satisfied with the result.

                                          Here is a 3 minute time lapse which might be useful as a visual aid.

Thanks for reading! I hope this was helpful and that you will read my other art posts. 

Jammie

Welcome!

This is my first posting so I would like to explain a little about what I will be doing.

I will be using this blog to provide demonstrations and advise on different aspects of painting, sculpting, and drawing. I will also speak a little bit about my life as an artist and what I am currently doing.

I hope you enjoy!



Pale Evening 24x36