Discover for yourself how easy & enjoyable painting can be !
01 December 2010
18 November 2010
02 November 2010
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RSVP by Friday 12th November 2010
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20 October 2010
26 September 2010
(replacement hard drive)
26 August 2010
17 August 2010
10 August 2010
31 May 2010
"Welcome to My Garden" is back on the drawing board (well, the editing computer actually).
The series is now undergoing some minor alterations with some new improved software .
Although this means the production is going to take a little longer, the resulting workshop will be even more user friendly, making the learning process that much more enjoyable.
Here is a preview of what the DVD case will look like.
23 May 2010
Once again I have run into some technical difficulties. The full 4 lesson workshop ended up being over 3 hours and my computer seems to be having trouble coping with it. Nevertheless.....IT WILL BE PUBLISHED....I'm just not sure how long it will take.
The sponge roses will have to go onto a separate dvd.
11 May 2010
The dvd will feature 2 acrylic gardenscapes, 1 watercolour lesson and 1 soft pastel lesson, all complete step-by-step demonstrations And depending on the final length, I may tag on the sponge rose painting demonstration.
All using just the primaries and white ( except for the pastel I also used a black pastel pencil).
06 May 2010
Transfer your outline drawing to the watercolour paper by tracing onto tracing paper then rubbing the back of the image with the water-soluble graphite pencil. Place the template, graphite side down, in position on the watercolour paper and draw over the image with a biro or stylus. Keep a light touch so as not to engrave the image into the paper.
Using a 4B and 2B water-soluble graphite pencil , shade the darkest areas. The colour spreads once it is wet and can be quite strong so I prefer to start cautiously. Although the graphite CAN still be erased after it has been wet it is still easier to darken than to lighten.
Using a wet no 8 sable round brush blend the graphite. Always consider the direction of the feathers and the shading with your brushstrokes.
Let the piece completely dry then reinforce the darkest areas with the water-soluble graphite pencil. If any areas are too dark they can be lightened with a normal graphite eraser. Alternatively they can be wetted and lifted out with a tissue.
Ensure that the paper is DRY before using an eraser or you will damage it .
Blend again with your damp paintbrush. Highlights can be lifted out with a normal pencil eraser as I have done around the eyes and along the leg. Graphite can be erased from anywhere that you feel your picture has become too dark.
Finally, add the yellow. Keep some variation in the tone. I have used cadmium yellow watercolour here, but watercolour pencil, soft pastel or coloured pencil would be just as effective. Watercolour cannot be removed with the eraser but can be lightened if necessary by rewetting and lifting out with a tissue.
05 May 2010
30 April 2010
15 April 2010
This is my 2nd image I have added a 2nd bird and if you compare it to the previous paining I did last month you'll notice I have altered the background a little. This is due to the fact that I found some footage that I had forgotten I had even taken of the sunlight glowing through the foliage and glistening on the waterdrops. In the previous painting I had been working from imagination and memory - boy was I happy when I actually found I had some reference material.
13 April 2010
11 April 2010
08 April 2010
05 April 2010
I used mainly pastel pencil. I tried some soft pastel on the chest but then decided to remove most of it in favour of the pencils. The hair on her face is more hairy while the fur on the rest of her body is more curly and fluffy.
The purple background is a mixture of a couple of soft pastels. I first did a white background but it was too harsh. She was wearing a purple lead when I took the photo so I opted for this - I think the purple suits her.
I started off with pastel pencils then moved onto soft pastel. I mainly just used a stick of titanium white letting the black paper provide the shading.
29 March 2010
24 March 2010
Here is a little preview of the steps I took in creating the first impression of the "Watercolour Birdbath". The paintings on the dvd "Welcome to My Garden" may vary from these "first impressions".
When I am developing a step-by-step lesson whether for film or a live workshop, I begin with these initial images or first drafts.
Sometimes one practice run is all I need but often I need to repeat the painting or parts of the painting several times before I am satisfied with the sequence of steps.
I aim to establish the most economical use of brushstrokes. This can be very time consuming but it is necessary to produce a seamless final demonstration that will be easy for the student to follow.
23 March 2010
This little bird is an Eastern Yellow Robin. It has a very curious nature which makes it such a pleasure to birdwatch and photograph. It is a very frequent visitor to my garden and provides such a lovely contrast to the purple bouganvillia.
18 March 2010
17 March 2010
As I am currently in my "Mad Keen Artist" phase ( or mabye it is just "Mad Artist". I don't know . Is there a difference?) only the hardy and self preserving plants are still thriving. The "Rose Garden" which was once my favorite (when I had the time and inclination to manicure it sometimes on a daily basis) is sadly no longer an artists inspiration. The "Cottage Garden" however still manages to produce some colourful blooms from time to time and attract a variety of birds and butterflies and this is what stirs the desire within me to paint.
Well I thought the best thing to do was to start this blog so I could give you all an insight to what I have been up to and record some evidence that I really have been working towards the end goal of making art lessons even more obtainable and affordable than before.
10 March 2010
I couldn't help but shoot some film of him even though he wasn't part of my plan for the video production.I decided however to draw a charcoal portrait of him and record the steps I went through and offer this as a FREE Art lesson for anyone who was interested to try it for themselves.
Firstly I cropped the photo down to the centre of interest. I actually turned my photo and worked on a horizontal format. I did this to make the photos landscape format which fills out your computer screen better, but I also found it more comfortable to work on the picture this way as I had my paper stuck to a wall to make it easier for photographing, and it was very good to be working at a constant height.
I worked out my initial drawing on some “scrap” (water damaged pastel paper), and transferred the image to my “good” paper.
If you are not familiar with this technique here are the steps:
Trace your outline onto tracing paper (or greaseproof lunch wrap)
Rub on the back of the tracing with a light grey pastel.
Place your tracing pastel side down onto your good paper.
Redraw the outlines over your template.
Handy hint: to keep your tracing paper in place hold it down with a few small blobs of blue tack in the corners.
I realize this image is very faint and you probably can’t see the details properly but in real life you can just make them out. This is what you want on your own drawing. Just enough to see where you are going.
The paper I'm working on is 220gsm canson pastel paper naples yellow in colour. I'm not sure why it appears white in most of the photos. (Need more camera practice I guess)
I find it best with charcoal to work left to right to avoid smudging. If you are left handed you may find it easier to reverse the image to make life easier (or cleaner). The very first thing I did was the eye ball. I then gradually worked outwards. For the eye , nostril and smaller details I worked with the charcoal pencil for the rest I used the extra thick stick of willow charcoal.
Handy hint: if you can’t stand the feel of charcoal in your fingers like me just wrap a folded tissue around the stick .
Add the stripes in with short jagged strokes working your way around the curves rather than drawing in the lines. If you draw in outlines for your stripes it is very difficult if not impossible to stop them from showing through the finished work.
I worked my way down to the shoulder and then concentrated on the stripe pattern of the front leg.
Again, DON’T DRAW THE STRIPES HORIZONTALLY. Instead work in short jagged strokes vertically.
I use the pencil for the claws and finer shadow areas between the fingers, otherwise it is charcoal stick.
Move down the body working around the pale spots. Work mostly with short horizontal and vertical strokes to build up the dark areas.
Add on the back leg and tail and the body is complete. Now stand back and reassess the shading.
The next photo is closest to the actual paper colour
By gently dragging the charcoal across the textured paper you will gain shading with a nice “reptile” finish to it. For the darker areas where you don’t want any light paper showing through, press the charcoal into the paper by rubbing with your finger or a paper stump. (If you use your finger like I did you will need to wash it periodically to keep everything clean)
The longer you look at a picture the more details you will start to notice. I have added some more folds to the skin on the neck here.
Moving onto the tree trunks. The trunk the goanna is holding is smooth new bark. To replicate this your shading edges need to be smooth and blended. Add the shading softly and rub the charcoal into the paper with your finger or stump.
The trunk behind the goanna is also smooth bark but not quite a smooth as the thinner trunk. Allow your shading to be a little bolder on this one. .
The bark on the final trunk is obviously much rougher than the other two. There is much more contrast in the shading here. I wanted the texture to show up without competing with the goanna for attention. To achieve this I started the trunk the same way as the other two by shading and blending then added the darker strokes overtop.
To soften the effect but still maintain the rough look I then erased the highlights with an eraser, working in short strokes with the grain of the bark vertically and diagonally similar to the charcoal strokes. I used a gum eraser for this. You will need to clean your eraser after every couple of strokes. A sheet of textured paper or fine sand paper is good for this.
To add the leaves I turned the picture right way up. I found it easier to work this way as I was no longer referring so much to the photograph for placement. You will notice also that I have not drawn in the leaves as they were but strategically placed them to direct attention back to the main subject.
You will notice if you refer back to the original photo that the goanna was actually well camouflaged . That’s fine when he wants to hide but for a portrait I wanted him to stand out.
This is what Artistic Licence is all about.
- ► 2011 (46)
- ► August (4)
- ► May (6)
- PAIR OF YELLOW ROBINS soft pastel
- BUTTERFLY in soft pastel
- COCK-A-DOODLE-DOO pastel rooster portrait
- ACRYLIC MAGPIES
- 2 YELLOW ROBINS IN BOUGANVILLIA soft pastel
- PALOMINO PORTRAIT steps on video
- Thank God for facebook.....I have discovered that ...
- PALOMINO PORTRAIT soft pastel
- ACRYLIC & SPONGE ROSES
- ALLA PRIMA FULL BLOWN ROSES
- ALLA PRIMA PINK ROSE
- THE EASTER BREAK
- BRIARD pastel
- BICHON FRISE pastel
- MY FIRST SPONGE PAINTING
- THE FACE OF LOVE
- JESUS close up
- THE ORIGINS OF EASTER