Edward Javier – Day 4 – Developing Drawing skills for painting

We hope that you have been enjoying following along with student Edward Javier (Oil Painting Art Course)on his journey with oils and watercolour. Todays final instalment is with charcoal and his final piece is absolutely stunning. Congratulations Edward on a fantastic submission, and superb artwork throughout. Top marks from us.

Materials :
Thick sticks (The thickest I can find)
Kneaded Eraser & Rubber Eraser
Workable Fixative

I marked the placing and sizes of the objects into the canvas

I applied the dark tones.

I darkened the background to bring the objects forward.

Finished Piece

We would officially like to thank Edward for allowing us to use his PDF to show on our blog and we are sure that our readers have enjoyed viewing it this week. Please do comment below as we would love to hear feedback from students.

Edward Javier – Day 3 – Using watercolours to revise your understanding of working with oils

Edward has now move on to working with watercolour for his still life setup and you can follow his progress below along with seeing his final painting.

Materials
Pencil(Burnt Umber colour)
Cup to hold water
A4 Watercolour paper
Watercolour paints
Watercolour brushes
Watercolour palette

Make a still life drawing using the setup from the above exercise.

Apply the initial tone into the drawing.

Apply second layer of wash.

Final Painting

Final Instalment Tomorrow….

Edward Javier – Day 2 – Light and how we see colour

If you have been following along, yesterday we showed Edwards Javier’s colour wheel step by step. Today we are following his oil painting which fits with the exercise ‘Light and how we see colour’. Edward is currently taking the oil painting course with Alan Dedman. hop on over to our website if you would like to have a go for yourself!

Materials :
A picture of still life
Acetate
Spirit based marker
Tape
Tracing papers
Pencil
Turpentine
Oil painting brushes
Oil Paints Cadmium Yellow, Cadmium Red, Ultramarine Blue, White, Ivory Black, Burnt Umber,

Still Life Setup – I arranged a few objects I can pick up and took a photo.

I had the photo printed out in an A4 sized paper.

I traced the outline of the picture into an acetate paper using marker

I aligned tracing paper on top of the acetate and started tracing the outline with pencil. I created 3 copies of the pencil drawing.

I painted on all 3 images.

Three coloured copies of three versions of still life created with black outline.

Image 1

Image 2

Image 3

Compare the colour schemes on the meaning of the original image.
Image 1 – I followed the colour scheme of the original picture. This colour scheme seems to give joyful vibe.
Image 2 – I tried to paint the image with cooler, darker colour. This image seems to give a more dramatic and gloomy vibe.
Image 3 – I tried to use the colour combination seen on sunset. Somehow, this image also gives me a gloomy vibe, as though the day has come to an end. Perhaps its because the background is a bit too dark.

Making a final painting of the preferred colours.

Next instalment tomorrow….

 

 

 

Edward Javier – Day 1 – Colour Wheel

Oil Painting student Edward Javier has completed set three of his course and emailed the most wonderful PDF of his step by steps and his process. We are going to split Edwards submission over the next few days so that everyone can follow along to see what he has been created. It is well worth staying turned. Edwards final piece is fantastic!

The colour wheel 

Materials
Acrylic Gesso
Primed water color paper
Pencil & eraser
Ruler Bowl for drawing circles
Oil Paint (Cadmium Yellow, Cadmium Red, Ultramarine Blue & White)
Turpentine
Oil Painting brushes

Step 1 – Drawing the wheel

Step 2 – Using oil paint, start painting the wheel, I started with yellow because its the easiest to contaminate.

Step 3 – Complete the rest of the colours, clean brushes throughly between colours.

Final Output

Come back tomorrow for the next instalment!

Alex Hughes – Painting Birds

Chinese brush painting student Alex Huges has been practicing painting birds as you can see from his illustrations below. Tutor Monika Cilmi has been helping with advice and guidance while Alex has been working through the course.

We have also found a fantastic resource online which may be of use to our students who are taking our Chinese brush painting course. Its by the ‘Helpful Art Teacher’. The page on painting birds houses lots of YouTube videos, photos, illustrations, diagrams and paintings of birds. It really is a must see, its a very long page – Painting Birds >>

 

Joanne Lindley – Watercolour landscape / seascape

Joanne Lindley is currently studying the Watercolour Diploma Course and below are some snippets of her recent painting of a landscape and seascape based in Australia.

I chose a personal photo from a trip I did last year along the Great Ocean Road in Victoria, Australia. This was a new challenge for me as I have only previously painted fruit and flowers! Photo shown below.

I started with a quick watercolour wash using a mix of raw sienna and ultramarine blue. I decided from there that I needed a drier mix into the wet for the sky to avoid the ‘cauliflower’ effect. The closer hills needed to be much darker. The distant hills needed softer edges. The hills needed to be less height. Negative painting was needed for the crests of the waves. A darker tone for the distant sea. Try some dry brushing for the sand.

Colours :
SKY – pthalo blue / paynes grey / bit of madder rose
HILLS – burnt umber / yellow ochre / pthalo sapphire
SEA – pthalo sapphire / aqua green
SAND – yellow ochre / burnt umber
BRUSHES : Neef, squirrel mix, round size 10 and 2.
PAPER : Arches 185gsm

Technique :
Firstly I wet the sky area, trying to leave some dry sections. Dropped in some pthalo blue and paynes grey trying to use a greyer tone closer to the hills. I used a tissue to blot out some colour around the blank paper. I used the same blue over the sea and then when dry I glazed with the aqua green, trying to leave some white paper for the waves, then using a darker tone under the white. I used a wash of yellow ochre for the hills and sand, then layered darker tones of burnt umber for the hills, using a finer brush on the crests to suggest trees/bushes. I tried to vary the tone of yellow ochre for the sand and dry brushed in bits of burnt umber. Finished painting below.

Joanne Lindley
Watercolour Diploma Art Course