CINCINNATI.OHIO
ISBN-13: 978-1-60061-580-1 (EPUB)
-Lee Hammond paintingin her studio in Overland Park, Kansas.
About the Author
Polly "Lee" Hammondis an illustrator and art instructorfrom
the Kansas Cityarea. Sheownsand operatesa private art studio
calledTake ItToArtm, where sheteachesrealisticdrawingand
painting.
Leewas raised and educatedin Lincoln, Nebraska,and she
establishedher careerin illustrationandteaching in Kansas
City.Although shehas lived alloverthe country,shewillalways
consider Kansas Cityhome. Leehas been an authorwith North
Light Books since 1994.Shealsowrites andillustratesartides
forotherpublicationssuchas TheArtist's Magazine.
Lee is continuingto developnew art instructionbooks for
North Light andhas alsobegun illustratingchildredsbooks.
Fine art andlimited-editionprints ofher work willalsobe
offered soon.
Leelives in OverlandPark, Kansas, alongwithher family.
YoumaycontactLeevia e-mailat Pollylee@aol.comorvisither
website atwww.LeeHarnrnond.com.
Foreword
Therearemanybooks aboutthe manyways one cancreateawork ofart. Butwhat makes each paintingdiffer-
ent?Ifwe allpainted the sameway orviewed things in the samefashion,we wouldneed only onebook tolearn
fiom. Butlifeisdt that simple,thankgoodness!Thereason we have somanybooks to choosefiom is that each
ofus isunique. Forthatreason,especiallyin art,there is dearlyno real "right"or "wrong"way-just many dif-
ferent andwonderfd approaches.As creativepeople, we can experimentand choosethe techniquesthatfitour
personal styles.
Thisbook is allaboutmy techniqueforpaintingwith acrylics. I willnever saythat it isthe rightway orthe
onlyway topaint. Ifyou have never paintedwith acrylicsbefore, thisbookwillbe a goodintroductionto the
medium. As you paintthe projects in this book,you mayfindthatmy approachfeels naturaltoyou, oryou
maydiscoveryour ownway ofpainting. Have funbuying otherbooks onthe subjectofacrylics (therearemany
greatones outthere)and comparinghow each artisttacklesthe medium. Exploreand experiment. Learn from
allyou do sothatyou canmakeyour ownunique statementwith your art. Most ofall,relax and enjoythe pro-
getting started 8
Youdodtneedarwrnfidlofsuppliesb-painting
withaaylicgjustafewpaints,brushes andother
eaBy-*hd mariala.
understanding color 16
Brrght, richacryllcpaints:areafunwaytoexplore
colm Inthischaptayolfllleamcolortrrmsandhow
tomix anh6nii-evarietyofcolorsh m abasicpalette
ofswen*ts.
basic techniques 22
WithL&s technqw,anyone candrawandpaint!
Leeshowsyoubasicbrushwork,shadmganddrawing
methodswith@t aercises.
ICHAPTER4
still life8 38
Createyourfirsthished pinthgwiththese six
still-& demonshtions! Evendections onglass are
withinyour&.
CHAPTER 5
landscapes 5s
Moveontoseas, skies, clods andlandsapem e s
int h eeqhtpahhgdemonstrations.Relaxand
havefunasyou@nodidemewithyourbrush!
flowers 78
Zoom inclogeandlearnhowtopaintbeautifulflower
mts.kshowsyouhowwith&e demonstrations.
animals 92
Useyour arttoeapturethebeautyandpmmahtyof
all sortsoflivingmatures. Thesixdemonshitions
inthishpter cowranimalslarge,small, furry and
&them-plus afew surprises,
people 112
It'seasierthanyouthinktopaintskintones,
htures,hairanddohhg.Learnh-hem put
themalltogethertocrateyourownreahtic
ofthepeoplewhoarespecialtoyou.
l w
Introduction
I hawbeenwritingarttechquebooksformorethana dede.
Thisbook, however,ismy &st oneabwtpaintingratherthan
drawing.Be@ anarthtmctor, I pushedmyselfasIwas m t -
ingthe artfbrthisbook,tdmgnoteofthed 8 i ibetween
my approachestopaintinganddrawing I alsonoticedthat I
wed someofthesame thaughtprocewea andapphcationawith
htfiWhen I createmy boob, I Iusethe illustrationsas
exmplesinmy artclasses. I dmmy shuhts baskquestions
w13etheywa~me~andIusetheirq~ms~gtude
meas I write.
Asmy studentswatchedmepaint,we allcameaoapower-
fulcondusiouIt isveryimportanttolearntodrawwellifyou
want tapaintwelL Manypaintersdonothavea soliddrawing
ba- andito h shows.Thosewho doN u c epaint-
ingswithaccuraw m v e andgoodd h e d o n a lfbrm.
Thisbookisad d nofcolorfulprojectsw e dto
helpyoulearntopaintwith aerylicg.Themorethana5 stepby-
stepprojectswillalsogiveyou awide rangeofsubjectmatkrto
enjoy.Some ofthe projectsmaylookcomplex,butm b e r
thatpaintingwithacrylicisallaboutpaintinginlayers.Since
q l i c s dry rapidly,i t i easytokeepaddmgdetailsw t o m
upprwiausapplicxtionsalittleat atime. Yotirenever *stucEP
whenyouworkwithq l i c paint,itisaveryfwvingmedium,
Itis a h importanttorememkthateverypaintinggoes
thou& what I all*the awkward stage." Theinitiallayersofa
pain- whenyouareessentiallyseatinga wolorma$' to
f b h ,willbe sloppy,andthewatereddownpigmentswilllwk
we& Dcuitbecomediswuragedand stoptoo soon! By adding
morelayersanddetailswiththickpaint,yodl achievethe
realisticlook@re after.
PATIENCEHASITSREWARDS
This is an exampleofwhatyou can do ifyou
keeppracticing. Ifyou lookclwely, you will
see placeswherewlors am placedontop of
othercolors. Afteryou havepaintedsome
ofthe projectsinthis bookyou maywantto
come backto this paintingandtryto paintit
yourself.
THEAWKWARDSTAGE
This exampleshows thetypical stoppingpoint
for most beginningacrylicpainters.The paint
lookswatemlor-like, thecolors lookweak
and thecanvas shows through. However,this
paintinglooksunfinished becauseitis. This
important"awlward stage" is merelyacolor
mapforthe moredetailed layerstocome.
DON'TGIVEUP
This pirrting looksmuch more pro-
fessional. Thicker, undilutedpaint
and layeredd-ils create a mlistic
look Thecanvas nowism l l yccnr-
end, andthecolorsare muchmore
vibrant. Everythingcomestogether
inthefinal sbges ofthe painting.
Theeffort is definitelyworth it!
TYgerSwallowtail on
cr Butt@lyBd
16" x lann(41cmX 30cm)
paints, tools and supplies
YOU DONT NEEDA ROOM FULL OF SUPPLIESTOBEGIN
paintingwithacrylics.Iuse averysmalln m k rofcolorson
my paletteandonlyafkwdifferentb r u d ~ .Keepingitsimple
makesmefeelmorerelaxedinmy workarea.
A t d e ~ i 9 a p t p l a w ~ ~ y a u r p a i n ~ r m p p l l e s .
It'seasytom r ywithyouwhenyauwanttopaintonhtion.
anditactsasa storageunitwhen@re notpainting.Havefun
cJ.eatingyourownmstomaaylicpaintingkit!Everythingyotfll
needtogetstartedislistedonthispage.
Start-up Kit
Belowis a listof essentialsyou should haveon handto get
you startedonthe paintingprojectsinthis book. Happy
painting1
Paints: Prussian Blue, Iwty Black, Titanium White, Burnt
Umber, CadmiumYellow Medium, Gdrnium Red
Medium, Alizarin Girnson.
Surhees: Prestretchedcanvases, canvas panels and/or
canvas sheets.
Brushes: %-inch (igrnrn) filbert, no. 3 filbert, no. 4 filbert,
no. 6 filbert, no. 8 filbert, no. 2 liner, no. r liner, no. 210
liner, no. 210 round, no. 2 round, no. 4 round, no. 6
round, no. 6 flat, no. 4 flat, hake.
Palette: Plastic, with a lid (or improviseyour ow+-
page151.
Other MaterialsCloth rags, wet wipes, cans or jars, spray
bottle ofwater, palette knife, maskingor drafiingtape,
mechanical pencil with 28 lead, ruler, kneadederaser.
PAINTS,TOOLSAND SUPPLIES
A simple set oftools and a limited paletteo f c o l o ~are all you needto
skrt pairrtingin acrylics.Atackle box makes agreatstorageunit.
WhatIsAcrylic Paint?
Aaylicpaintsaremadeofdrypigmentinaliquidpolymer
binder;whichisaformofaerylicplasticAcrylics arewater-
based,sotheyrequirenopaintthinnersasoilpaintsdo,though
theymnbedilutedwithwaterwhilepainting.
ktyEc paintdriesquicklytoawaterprooffdsh Beause
ofitsplastic,waterprdquality,itcanbeusedonavarietyof
mrfaw~Itis a&writeforpaintinganwindows,outdmsigns,
wallsandhbrk Itis v e n t , soitemspaintedwithitare
washable.
Varietiesof Aetylie Painf
b yvarietiesofq l i cpaintsareavailable.Yourc h o k
dependspardyontheproject@re planningtodo.Thereare
auyZicsformulatedforfolkart,fineart,evenfbrpaintingon
fabric,wansorsigns.
Forthe projectsinthisbook,lookforpaintsbbeled%I&-
vkosivor*professionalgrade."Otherkindsofacrylicpaint /
willIE toothin,withapigmentwncmtration toolowforsatis-
f x t o r y ~ t s .
Studentgradepdrrt6adthose insqueezebottlesg e n d l y
havealoweroncen~tionofpigmenLThepigmentis still
highqualitythereisjust alittlelessofit. Many studentgrades
aresogod &atprofkssionalsusethemaswell. Theyarevery
fluid, easy toworkwithandeasytomix
MksiinaLgRdc paintshaveaW e rumcenbtion of I
pigment.Theyareusuallyabitthickerthan stdentgrade
paintr;,andtheir colorsmayseemmoredeepandvmid FYofk-
sionalg m h arefoundintubesorjars.
Youwillfindpaintsintubes,jam, and squeezebottles. - , - A
I preferusingpaintfromajar ratherthanh m atubeorbottle. TUBESJARS OR BOTTLES*
Aaylicpaint driesquickly,soifIhaw someuncontaminated Acrylic pairrtscomeint u k , jars and squeme bottles. I p&r touse
thejam, so Ican reuseI h r paint. Ican also mixspecialcolorsfor
*rl~Overmm~~aleae*lRtumitmthe~armavoid-- rpedficpmject.,andplaoethoremlorrinemp*jarr.
kgit Thisis notpsiblewithpainth m atubeorbottle.I also
likejarsh u g e I a nmix my owncustwncolonforaparticu-
larpaintingandstorethem inseparatejars.Thisishelpfulif
you areworhngonalargeprojectandneedtokeepyour colors
col3%istentasyoud
Fortheprojectsinthisbwk, I usedapaletteof sevendm:
IvoryBlack,M u mRedMedium. Burnt Umber, cadmium
YellowMedium,AZizarinCrimson,PrussianBlueandTits-
niumWhite. (Farmorei n f i t i o n onpalette colorsandcolor
mixing, see chaptertwo, pagesISI~.)
Paint Properties
As we just discussed,eachfbrmofpaint-jar, tubeorsqueeze
bod& differentchmkristics. Oncee v e selectedthe
paintyoupr$;er,youwdl findthat individualcolorshavetheir
ownpropties aswell.
Opac@ Somecolorswillcoverbetter thanothers,appear-
ingmureopaque,whilesomewillbemorek m p r e n t .
Withtimeandprdce,yolfllgettokmwyourpints.Play
andexperiment6rst by ma@ somecolorswatches likethe
onesonthispage.Thigwin giveyouakterunderstanding
ofhoweachcoloronyour palettebeham.
Theswatchesonthis page showhowsomecolorsare
opaqueandcompletelycoverthem s , while othersaremore
transparentandseem strdy.
Permanenae:CettaincolorsaremorepronetoMhg over
timethanm.Mogtbrandswillhaveapermanencyrating
onthe pwhgetoletyouknowwhat~expea Amlor withan
'Exdent* ratingis adurablecolorthatwillholdits o@
colorforalongtime.A colorratedas uGood"or''Mdente" win
havesome butnotahugedifferenceovertime.A color
ratedas"Fugitidwilltendtofadeqpihntly. Youcan see
this mostoftem withyellowsandceriajnreds. Trytoamidfup-
tivecolors,but regardlessofacolds permanencerating,never
hangapaintingindirect mdght Ultravioletraysinsunlight
arethe prhmycauseoffa-.
Toxi* Goodqualitypaintbrandswillincludesomeimic
colors, Someofthenaturalpigmentsthatproducevividdm
aretoxic, suchasthe Cadmiumpipmtsandsomeblues.
ALIURI N CRIMSON
2
This redisdark buttranspamnt in nature. Ithas astreakyappearance,
lkttingsomeofthe canvas showthrough.
1
L
CADMIUMRED MEDIUM
This red is opaqueandcompletelycoversthe canvas. Canyou seethe
difkrence betweenthis and the Alizarin Crimson?
Neverswalloworinhalethesecolors.Certaincolorsshould
neverbesprayapplied;checkthelabel. IfyoEireworkulgwith
children,alwaysfindabrandthatmbstitut~sgathetlr,manu-
factwedpigmentsfbrthebxicones.
f
-
PRUSSIANBLUE
This blue is dark buttransparent.
PRUSSIANBLUE+TITANIUMWHITE
Justbyaddingatouch ofTitanium Whiteto PrussianBlue, you a n
createan opaqueversionof it
I
Don't Eat Your Paint
Bemiusesomecolorsaretaxic, neverho~a~rusnwinyour
mouth. Also, use ajar or other distinctivecontainerto hold
waterfor paintingsothatyou nevermistakea cupof paint
waterfor icedh l
ThinningAcrylics WithWater m a
Mixingq l k pintwithwater makesit
morem ~ tThisis usefulforthe
beghdngstagesofapaint@ whenyou
arematingthebasicpatternofcolmfm
apainting.
Thinnedaqlics areo husedto
mateah kvery similarto thatofwater-
colorpaints.Thedifferenceis hataqlic
paintiswaterprwfwhenitdries. You
mnaddmorecolorwithoutp u h g up
prwiouslayers.Regularwatercolorwill
mhydmtewhenwet paintis appliedon
I
topofit,usuallymuddyingthe colors.
JUSTTHE BEGINNlNG
hisexample shows how I beginmypainting. (1It lookswry underdmloped, but itgives me
agoodfoundationto work on. The colorsof IIthe flower andthe backround are established,
allowingmeto then add morecolor fbrthe IIdetails. Y
Thesecond example
shows how I reduced
the amountofwater
Iaddedto the paint,
and addeddetaiIs.
Thethicker paint
covers uptheexist-
inglayer. You can oee
howthe lookofthe
paintchanges here.
ThefulI-strength
paintis muchmore
opaque.
ChoosingBrushes
Readall aboutbrushbasicshere,andseethelistonpag~8fm
thebasicsetofbrushesneededfbrtheprojectsinthisbook
BrZstk e p e
Thewaypaintl& when a@ toeaflyaglargdydependson
thetypeofbrushyouuse. Brushescomeinavarietyofbristle
types.
Stiffbri9tle:Thesebrushesaremadeh m boarbristle,ox
hait;horsehairor0 t hcoarseanimalhairs.
!We: Theseh h e saremadefromtheIAhairofthemale
Minskysable,whichis fbundinRussia. Thisverysofthair
m a t e s srnwthblends.Themrcityofthekohkymakesthese
brushesexpensive,buttheyareworthit!
Squid hair: Thesesoftb r u s h areabitfullerthansable
brushes,andareoftemused fbrwatmcolor k wtheyholda
lotofmoisture.
Camelhair:Thisisanothersofthairthatisusedm t l y
forbothaqlicandwa&r brushes.
SyntheticMostsyntheticbrisk arenylon.Theycanbea
morea&dible substitutefarmM-& brushes,butpaint
isveryhardon&em. Theytendtolosetheirshapeandpoint
fasterthan naturalhairbrushes. Goodbrushcleaninganda r e
(seepage 13)isessentialtomakesyntheticbrushes1-
Natura-hairbrushescanbequite-Howwer,if
cleanedproperly,theywilllastlongerthans y n w ones,
From leftto right:stiff bristle,sable, squirrel
hair, camel hairand syntheticbristletypes.
Brwh Shape
Brushescomeindifferentshaps,andmmeshapesarebetter
forceaainpaintapphcations. Belowisaquicklistofthediffer-
entbrushs h a pandthebeatuses fbreach.
Flat.Aflatbrushis usedforbroadapphtiions ofpaint Its
wide shapewill m ralargearea.Thecoarseh - b r i d etype
isaMbrushthatanbeusedtoliterally"smulfthepaintinto
theeaflm.A sofkrsableorsyntheticbristleis goodforsmooth
blendmgwithlessnohablebrushmafks.
Bight.Bnghtsarem ysimilartoflats;however,thebristleg
areabitlonger,whichgivesthebrushmorespring.
Round:Use roundbrushfordetdsandsmallerareas.
Thetipofastiffbristleroundis goodfbrdab@ inpaintor
filling insrnallareas.A smallsoft roundanbeusedinplaceof
alinerbrushformtinglongstraightorcurvedZincs.
Filbert:Thigbrushshapeismy personalfavorite.Also
lmownasa " d s imgu; thefilbertis usefulforfillrngin
areas, dueInitsroundedtip.
, Liner:Theliner'ssmall, pointyshapem a hitegsentialfor
detailwork Youancreatetinylinesandcrispedgeswitha
-
From leftto right flat, bright, round,filbertand
liner brushshap.
Long or Short Brushes?
Long-handledbrushesarc designedb r
usewhile standingat an easel,sopu
can paintat arm's lengthand h ma
k r mralI vimofyourwork. Short
handlesarc k r h r paintingwhile
seatad or forworkingon small daails.
rRQPER RUSH STORAGE
Always store brusheswith their bristlesinthe
"upnposition!
HOWf0 Clean husk= apply some ofthe brush cleaner paste
I. Swish the brush in a cleanjar ofwater to the bristles and press them into their
to loosenany remainingpaint. original shape. Allow the pasteto dry
2. Take the brush to the sink and run lukc- on the brush. This keepsthe bristles
warm water m r it. goingthe way they are intendedand
3. Work the brush into acakedThe preventsthem from dryingout andfrpy-
Masters Brush Cleanerand Preserver ing. It's like hair conditionerfor your
until it forms a thick lather. At this brushes! When you a n readyto usethe
point, youwill noticesome paint color brush again, simply rinsethe soap off
leavingthe brush. with water.
4. Gently massagethe bristlts between
your thumb and fingers to continue
looseningthe paint.
AMYFAVORITEBRUSHCLEANER
5. Rinse underthe warm water.
The Masters BrushCleanerand Preserrerwill
6. Repeat steps 3 to 5 until no morecolor
removealIofthe p i n tfrom your brushesand
comesout.
conditionthe bristles. I've used i t 6 rmany
7. When you arc surethe brush is clean,
yearsandswear byit
Painting Surfaces
Many studentsaskmewhatthebestpainting~is. CranvaaPaneb
Thatdependsonyawp e f andwhatkindofpainting Canvaspanels arecanvaspiecesgluedontodboardbackings.
youared&g. Aqhcpaintcanbedone m y h qbmfine TheyareagoodalternativeIDswkhed canvasifyouwould pre
artcawasestow a d , fibrk,metaland&ass. Forthe sakeofthis hto spendless.A m v a s panelisveryngdandwillnotgive
book,I willammtrateon &s normallyusedfor paintings. youtheb o u n ~feelofpaintingons h k h d a r m s .
Withmvaspanels,unlikestretched canvas,youhavethe
Stretched Canvas optionofhmhgwith amat.A coloredmatwn enhancethe
Stretchedcanvasprwidesapmfesgionallaok,~ lookofarismk A m n ~ spanela h dhwsyouto pmktyour
yourworkresembleanoilpaintingS W m m a s is paintingwith&s.
easilyh e dandcomesinstandardframesizesfrommini
(an1x 3' [gunx 8cmDtoextralarge (48"x 60"[~aacslx 15aunI Canvtw Sheets
orlarger).Youwillnaticeabitof*bwnee"whenapplying hothmalternativeiscanvassheets.Somebrandsarepi-
painttoshkhedmmas. ofactualprimed~vas,nota%ixedto~Othersare
Stretchedcanvascomes 'pruned/ whichmeansitis coated prmexsedpaperswitha canvastexture andamatingthat
withawhiteauylic &-so to proteathe rawcanvash m resemblesgesso. Bothkindscanbepurchasedindividually,in
dle damagrngwofpaint. pdagesorinpads.
S ~ w n ~ a 8 w n b e r e g u l a r c o t b n d u c k , ~ b t f w Withanvaa sheets,aawithwnvaa panels,fbmmgmnbe
mostm k ; &ragmwth cotton,o hused fmportraitwork;or mative. SheetsareIIghtwmghtandeasytomatandframe.For
linen,whichisalsosmooth. the artinthisbook,I usedd ymvassheets.
PAINTINGSURFACES
Stretchedcams (I) isthe mostpopular
surfaceforfineart painting. It mustgo intoa
frame 'as is" andis held intoplacewith frame
clips. Theseare metal bracketsthatsnap over
thewoodenstretcherframes and gripthe
insideedgeofthe framewith sharpteeth.
Canvaspanels(2) arecanvas on cardboard
backings.They are morerigidthan stretched
canvas, andthefinishedpiececan bematted
andframed.
Canvas sheets b)mnalso bemattedand
framed. Theyarefound in singlesheets, pack-
ages and pads.
Palettes and Other Tools
Palette
I Kreferaplasticpalettewithalid,multiplemixingwells anda
center areafbrmixinglargeramountsofpaint. Bmuseacrylic
paintisahofplastic,driedaqliccanbepeeledorsoaked
fromaplasticpahe. I findthig moreemnomid thandispcs-
ablepaper palette^
However,youdmlthavetospendafortuneon stated-the-
art materials.Manyartistsmaketheirownpalettesusingold
dinnerplaaes,butcher'straysorfoameggcartons. Youa nuse
your creativitytomakedowithwhatis aroundyou.
Other Toob
Thefollowingitemswillmakeyaurpaintingeqmiencemore
organhedandpleasurable.None o f his expensive, andthey
Y O U pal* towipe excesspaintb m ~ h h .Ym canalso plates,egg cartonsor'plasticcontainers. Bec k t i w !- -
usethemtowipeexcesswaterfromyowbrushasyoupaint,
whichkeeps your paintingfromgettingu n m ywatered . ' ,-. :,, '
dawnby aloose drip. Paperbwdsworktoo, but theycanleave
lintanddebris.
Wktwipes: Iusually havea containerofwetwipesorbaby
wipeshandyfordeaningmy hands,my brushesorthef h rif I
-paint.
Assortedantainm: Collectjars, am a dplasticcontainers
touseaswatercontajnersorforstoringbrushes. I
SpmyM edwakr: Usethisto mistyourpaintstoprevent
themhmdryrngoutasyoud
PalettehikThisisusefulfbrInn&rrjng aa~licpaintto
orhajaraswellasfor~paintonpurpalette.
Maskineordraftingtape: IfyouworkwithmvassheetE,you
willneedtotapethemtoabaclangboardasyouwork Usedr&-
ingtapeoreasy-rehe maslangbpetobpetheedges ofthe
sheetdown.Thesekindsofiapewillnotdamageorripthe sheet
aroring ~cftoverPaint
A palettewith a lid makesiteasyto
preserve leftwer paint. Sprayafine mist
ofwateroverthe paintsonyour palette,
then sea the lid.Theextramoisture
acts likea humidifierandwill keepthe
paintfrom dryingoutfor acoupleof
d v . lfyouputthe misted,m l e d pal-
ette inthefreezer,the paintwill keepfor
weeks. Itmayskinover, butitwill still
bewet inside.
ADDITIONALMATERIALS
Additional handy studio items, such asjars, plates, plastictrays, wet
wipes andrags, can usuallybefound aroundthe house.
Iunderstanding c o l o r
ACRYLIC PAINTINGISA GREATWAY
Inexplorecolortheory. Itsbright,rich
pigmentsarefuntoexperimentwith.
Artiststellalotaboutthems&es bythe
colorsthey choose.Butcoloris much
morethanjust experimentingorchoos-
ingcolorsbasedon&emerefact~you
'like" them Colorisscien*
C&~t.eaabeachother,andpkc-
ingcertajncolorstogetheranmake
quite a s t a s . Tofullyd t a n d
howmlmwork, thecolorwheelis
essential.Y dlearnaboutthecolor
wheel andsomeimportantcolortermsin
dlis chapter.
ColorBasics
The Color Wheel
Thecolorwheelisanessentialtoolforunderstandingand
mixing color.Havingonehandyanhelpyoupickoutcolor
schemegand seehowdifferentcolorscolorsonea n h For
colormixingpractk,mate a colorwheel ofyour ownwiththe
paintsonyourpal-. Herearethebask colorrelationshipsto
how*
himayCdors:Theprimarym harered,yellowandblue.
Theyarealsod e dthe *Wcolors.All othercolorsare m
akdfromthesethree.hokatthe colorwheel andseehowthey
formatriangleifyoumeetthemwithaline.
Secondarym l o ~Eachsecondarycolorisaeatdbymixing
t w o p r h a r i e s ~ .Blueandye~&greewredand
bluemakeviolet,andredandyellow makeorange.
T d a y CobmT d a qcolorsarecreatedbymixingaprima-
rycolorwiththecolornmttait onthe colorwheel Forinstance]
mixingredand violet producesred-viok Mixingbluewith
greenmakesbluegreen,andmixingyellowwithorange gives
you*-ow.
bmplementamyCdors:Anytwocolorsoppaiieeachother
onthecolorwhee.l ared e dcomplementarycolors.Redand
grea, fbrexample,arecomplements,Thepaintingontheh-
ingpageis anexampleofacomplementarycolorschemeused
inapainting.Theredandgreencontrastbeautifully,e& color
mahg the otheronereallydout.
THECOLORWHEEL
Thewlorwheel is a valuabletool for Ikarning
colortheory. Red, yellow and bluearethe
primarywlors; orange, green andviolet are
thesewndari-. The restare called tertiaries.
= I
Other Color T e r nto Know
Hue: Hue simplymeansthe nameofacolor.Red,blueandyel-
lowareallhues.
Intensitj:Intensitymeanshowbrightordulla coloris.Cad-
mium Yellow,fbrinstance,is b+t andhigh-intensityMixing
cadmiumYellowwitfiitscomplement,violet, createsalow-
i n ~ m i o n o f y e l l o w .
Temperature: Colorsareeitherwarmorcool.Warm colors
arered, flow andorange oranycombinationofthose.when
used inapainting,warmcolorsseemtocomef o r d Cool
colorsareblueIgreenandvioletandalloftheircombinations.
Inapain-, coolcolorswin geemto recede.
Oftemtherearewarmanddversiona of& samehue,
Forhsbme, IuseCadmiumRedandAZizarinCrimson.While
bth areintheredfamily, admiurn Rediswarm,withan
orangeylook,andAZizarinCrimsoniscoolerlbemuseitleans
towardtheviolet-
Wlut Valuemeansthe@mess ordarlmessof a color.
Lightehg a color eitherwithwhiteorbydilutingitwitfiwater
pmducesatint. Deepeningacolorbymixingitwithadarker
&r producesashade. Usingtintsand s h a htogethercreaw
d u ec o r n
/ YELLOW 
GREEN 1
yLuE-GREEN (
LED


 VIOLET /
YourBasic Palette and How to Expand-I It
~ l o v e t o h a w a l l o f t h e t o y s a s ~ w i t h & i r dIam
no-t Iwddlmen&ngmhasetofartsupphes
withahundrad-htnhhhtwhileitsounds
~at.ti9ticnirvana,itreaflyisnot~.Colormjxingismuch
more d u d o dandemnomid
YOURBASICP A L E ~ E
With a very small paletteof onlysewn wlon,
you can createan endless arrayofwlor mixes.
Alizarin Qlmson Burnt UmberCadmiumYellow Cadmium Rcd Plusslan Blue
Medium Medium
Ivory Black Tltanium White
Two NEUTRALCOLORS
TINTS
Mbinga palettewlor with white producesa tint.
Cad. ~ e d+white - ~ l i z .crimson+white - Burnt Umber +white - Prussian tl~ue+wnrtt - + -grays
peachylwral wlor pink beige sky blue
ad. yellow+white-
paleyellow
SHADES
Mixinga palettecolorwith blackproducesa shade.
Cad.Yellow+ black=
dark olivegreen
Cad. Red + black=
rnarwn
Aliz. Crimson+black Burnt Umber+ black= Prussian Blue+ black=
-plum dark brown dark blue
GREENS
Greensa n kdifficultto mixduetothe hun-
dredsofpossiblevariations.You canachieve
greenwithyellw and blue, orwith yellowand
blackAddingbrownyieldsan 'earthy" green.
Cad. Yellow+ lwry olive green mix+white PrussianBlue+Cad. blue/yellow mix+white
Black- olivegreen -grayishgreen Yellow -green -mint green
VIOLETSAND PURPLES
Shadesofvioletand purplecan becreated by
mixingCadmium Red Mediumand Prussian
BlueorAlizarinamson and Prussian Blue.
Addingwhiteto thesemixeswill giveyou
shadesof lavender. orchid. mauve.andsoon.
Cadmium Red Medium maroon mix+white -+ PrussianBlue- warm gray
maroon
Aliz. Crimson+
Prussianblue-plum
plum mix+white -lavender
ORANGES
CadmiumRed MediumorAlizarinGimxm
mixedwith CadmiumYellowwill producevari-
ous shadesof orange. Addingwhitetothese
wlom will giwyou coral, peach, melon, and
soon.
. . ...I - . ,
; ..- , -:.;;:@$fig- U I . '.- - -#
' - : -- ,I,,,, . -
Cadmlum Red Medlum
+CadmiumYellm =
orange
orange m k + whlte =
peach
Allzarin Crimson + oranpmd mbr +whlte
(LdmiumYellow= = mnl
onnpred
EARTHTON~d
Earthtonescan beueated byaddingdifferent
wlors into BurntUmber.All ofthesecolors
can beturned intoa pastelbyaddingwhite.
These swatches showthe earthtone mix (top
Burnt Umber+ blue Burnt Umber+ black andh a tit loohlikewithh i t e
added (bottomswatch).
Burnt Umber+pllow Burnt Umber+ red
Burnt Umber+yellow
+white
Burnt Umber+red+
white
Burnt Umber+blue+
white
Burnt Umber+ black
+white
Color Schemes
Therightcolardmmis oneh trepresentsthe subjectyet
alsoaddsinterestfbrtheviewer. F m t toachievethe
&feel youwantyourpaintingtohave.
Complementaty
Comphentaycolors,you!ll reall, are c o l o r
eachotheronthcolorwheel (seepage q).
Whencomplementsareused neareachother, theycontrast
withandW s l f y eachother, as seenonthispage.
Whencomplementarycolorsarem h d , theygrayeach
OtherdowaYouanusethisknmvMgetodarknawlor
withoutIdllmgit.Whendarkemmgacolorto paintshadows,for
m p l e ,youmayinstinctivelyreachforblack Butblackisa
neutralcolorandwillproduceoddresultsinmixhlre9.Instead,
&ken aIIghtcolorwithitsmmplemmt.
CornPLEMENTS: YELLOWAND VIOLET
Aviola backgroundintensifiesthe yellow ofthis apple, makingit
appear morepureandvibrant. Yellow m i dwith violet makesa good
IC rhadnvcoorfor sy e wobject. (Yellowmixedwith ba& onthe other
Yellow +violet - Yellow +black- green! hand, m a k green!)
pleasingshadow wlor
COMPLEMENTS:GREENAND RED COMPLEMENTS:3RANGE AND BLUE
A green pepperlooks morevibranton a red background. M i n gred
and green producesag d colorfor the shadowareas.
Theorangeyhueofthis peach looks brighterwhen surrounded byblue.
the shadowareas area mixtureofblue and orange.
Molaochrornafic
A paintingm a k dusingvariationsof
onlyonecoloris calledmonochromatic.
Thisis how I oftenwill introduceanew
studenttopainting.A momchromatic
painting mlookvery dramatic,likethis
painting ofmy sods dog, K i m k
Triadic
A e c colorschemeusesthreecolors
thatareevenlyspaced aroundthecolor
wheel.Thigemmple, ''Butterflyand
Lilacs," containsorange,purpleand
greeu A triadicschemealwayspIwides
wonderfulcon- yetthe colorsarestill
~ba&techniques -
LEARNINGSOMETHINGNEW ISALWAYSA BIT Trythe egerdsminthischamtogetafkd fbrkt,filbert,
in- As withan- else,theb& teacherisjust roundandlinerbrushes andhowtheyareused Learnthefive
plainaperierm-trd and-Thischapterwillshowyou elementsofshadingandhowtousethemtomatetheillusion
howtogrababrush,dipitinthe paintandexperiment.Inno offormonaflatcanvas.Finally,hlearn g d methodofdraw-
timeyoushddfeeldrtable~enwghto~theKrojectsin ~ w h i c h d ~ b l e y o u t o d r ; r w a n y s u b j ~ Y o u d ~ b e
thelmok,foracrylicpaintis hghlyfbrgivhg.Ifyoudodtlike readytomove aheadto thelargerpq*eckinthebook
sometlung,youa n simplycover itup!
Exercise: BlendingWith a Flat Brush
FlatM e 8 aremostcommonlyuaedfbra p p hlargeareas
ofcolmandfmstingblendedbackgrounds, 1% donethis
bhdmgexercisewith PrussianBlueandTitaniumWhite for
aresultthatresemblesasky.'Ikyitwithagainwithdj&ent
colors.W u m RedandntaniumWhitewillmakeatropical
scene. Havefun!
My Terminology
When mixingpaint, Iwill A n usethe terms 'a dab" and "a
touch." A dab ofpaint isenoughtocovertheerrtiretip ofthe
brush. A touch is a slightamountofpaintthatwill cover only
thecornerofthe bristles.
1Take ablobofTitaniumWhiteaboutthe 2Add just atouch of PrussianBluetothe 3 Mixanotherblobof paintthatis twice as
size ofa quarterandset itaside. white. (When mixingpaint, alwaysaddthe darkasthefirrt
darkercolorslowly intothe lightercolor; it
doesn't t a k mu& to deepena lightcolor.)
4Dipyour brushintothe darlcerofthetwo
bluesyou mixed in step 3. Holdthe brushflat
againstthe canvasandm n l y distributethe
pintwith longsweepingstrok. Quicklygo
backandkrth untilthe paintcoversthecan-
vas. You do notwanttoseeany ofthewhite
canvas showingthroughthe paint, souse
enoughto get goodcoverage.
5When you haveawide stretchofdark blue,
dip intothe lighterblueand applyitto the
canvas slightlybelowthefirst stripe using
thesamestroke. Quicklyblendthetwo blues
togetherbystrokingbackandforth. Trytoget
the paintto blendas evenlyas possible. Use
a clean, dry flat brushto furtherblendand
soften. This blendingtakes practice,sodon't
getfrustd. For moreexperience, createa
horizon lineand repeatthe processin rewrse
to makea mirror imageofthe sky, which wilI
then look likeawater dection.
A Hbeabrushisverysimilar toaflat,butthetipofit isround-
ed, muchlikethe shapeofatungue.That'swhythisbrushis
sometimesd e d a *cat'stongue."
I liketouse afilbertfmalmostany shapethatrequiresfill-
ingin.I theroundededgescomfortablewhengoing along
curved edges.
A filbert brushisg o d b r fillingin areas and
h rgoingaroundcurves. Try usingyourfilbert
to fill in a simplecircleofmlor.
The roundedtipofthe filbert brush
madeitmucheasierto paintthe
curvedfeatures ofthese subjects.
Exemkc Using Roundand Liner Brushes -.-m-
Pointdbrushessuchas roundsa dliners are d tfbr
creatinglinesand smalldetails.Theycomein a*of sizes
andareessentialforpaintingthngsliketrees,grass,hairand
fur.Theyarealsogod fbrmaEangsmall ~OIS forhghhghtsand
textums. Usedadlinersontheirtips. Mtplacealotof
pressureonthem,h u s etheb r k h willbendwrr,
1Paintatreetrunkwith Burnt Umberanda no. 6 round.This size
roundbrushwilIgiveyouthewidth you needto createthebunkwithout
repeatedstrokes.
2Switchto a no. i roundor a linerbrushto matethe branchesand
small Iirnbs. Add enoughwaterto your paintto give itthe consistency
ofthick ink It needsto befluid, but notkanspamnt.Afier loading
your brushwith paint, gently pull the brushupin longstrokes, lifiing
itslightlyasyougo. Thiswill makethe linetaperattheend, and the
limbswill get smallerandsmaller, just as in nature.
3Add manyquid4 short, overlappingstrokes
tocreatetheillusionof layersofbark. Remem-
berto keepyour pairrtfluid byaddingafew
drops ofwater asyou work.
Creating Texture
There aremanywaystomeatetexturewitha ~ l i cpaint
~ m a ~ a r n u g h , t e g t u r e d a p ~ ~ ~ o e b e a u s e d w
pdntisusedsosparingly~itdoesdtfdywverthe~.
.s ~ i s ~ f o r ~ t € x h l r e s s u c h a ! 3 d i s t a r r t f o l i a g e .
Dabbingwithalinerbrushofhsgreatercontroloverthe
placementofpaint
Forthistechnique, usea stiff hog-bristleflat brushand unthinncd
I paint. Dipjust theends ofthc bristlesintofu-strength paint Wipe
the brush backandforth onthe paletteto removeexcesspaint.Wipe
a littlemorc paintofwith arag.Then, scrub lightlywith shortstrokes.
Becausetherc is bartlyanypaintonthe brush,the paintwill be"hit and
miss." This irregularapplicationcreatesamutedapprancc.
SPONGING
Tearoffsmallpiecesfromacommoncellulose kitchensponge. Dip
them into paint,then applythe paintwith aquickdabbingmotion. Use
manydfirent layersofcolor, h m light, mediumanddark andyou
can makebeautifultrees and landscapes.
Tearingoffnew piecesensuresthattheedges aredifirent every
time andyouwon't end upwith repeat patterns. Adry spongepiecewill
create amoredistinctedge; adamp one makesasohr impression.
When the paintgetsdry,the spongebecomeshardened;justthrowthe
piecesaway.
Sometimesyouneed morecontroloverthe paint's application.Dabbing
meansmakingtinyspots ofpairrtwitha small linerbrush. You could use
thistedrniquem c ~ t e h l i a g +smallfl-rr or patternsin ace.
ANALYZE THIS STILLLIFE PAINTING
forthe techniquesandbmsh strokes
we have covered sofar. Eacharea of
the paintingwas createdin aunique
approachduetothe subject's variedtex-
tures and surfaces. Somesurfacesare
smooth,while somearerichlytextured.
These contrastsintexturesmake forvery
interestingpaintings.
I used my entirecolorpaletteforthis
piece. Referto the swatcheson pages
18-19 to seehow I mixedthe colors.
IDENTIFYINGBRUSHES
AND STROKES
This painting has a lot ofinterestingquali-
ties due to its range ofcolors and contrasting
textures. Identify the type o fbrush used, and
which type ofstroke created each area.
1 Classvase: Filbert brushes, smooth strokes.
2 Fireplacescreen: Flat bristle brushes, dry-
brushing.
3 Lace ribbon: Round sable brushes, dabbing
technique.
4 Bricks: Filbert brushes, fill-in and dry-brush
techniques.
5 Flowers: Round sable brushes, smooth fill-
intechnique.
6 Fern leaves: Round sable brushes, fill-in and
dabbingtechniques.
7 Fireplace brass: Filbert brushes, fill-in and
dry-brush techniques.
8 Baby's breath: Sponging technique.
Look
x'exture Still Life
16" X 12" (41cm X 30cm)
TheFiveElements ofShading -=I
I h d ybelievethatthefindation foranyreahticmdenq
&s ofthemedium,a nbefwndinthefiveelements
ofshadmgonthe sphere.I begm eachandeverybook Iwrite
withthis,andstart every new studentwiththisvaluablelesson.
Ifyouanmate abelievableandrealisticdeprctionofa sphere
(forexample,aball onatable),theabilitytorrnder&
elseisnghtatyourfingerbps.
Whenrenderinga sphere,eachoftheh eelementswill
camqmdwith a shadeonavaluesale. Thesphereonthis
pagehasbeenaeatedusingam o W t i ccolorschemeof
BurntUmberandTitaniumWhite. Thepaint swatdmh t h
the spherecormpmdwiththeh e elementsofshading.Use
&esedj&rent~asaguide.
1 FullLightThisisthewhite area,wherethehghtsoureis
hittingthesphereatfunshqth.
2 MktdLight: Thisisahght gray. Meckdhghtisalways
foundalongthe edgeofanobjectandseparatesthedark-
nessoftheshadow edgefromthed a d a ~ softhecast
shadow,
3 HaRon= Thisisamedium It'sthe areaofthesphere
that'sinneitherd k c tlightnor shadow.
4 Shadow EdpcThisdarkgrayis notattheveryedgeofthe
object.It isoppsitetheI+t sourcewherethesphere
cumesawayhmyou.
5 CastShadow:Thisistfie~toneonyourdrawing.Itis
alwaysoppitethehghtsource. Inthemseofthe sphere,
itkundemeath,whethe*meets the s&. This
areaisvoidofhghtbecause,asthe spherem,it
block3lightanda s t s a shadow.
'Rythe examplebelow,andcommittomemorythe fiveele-
mentsofshadmg.Thesefiveelemen&areessential~n&c
pain-
Exercise: Practicethe Five Elements ofShading
Lets paintthis spheretogetherusing Ivory Black andTitanium
White.
Identifjrwherethe fiveelementsof shading(seepage 28)
will be, andlookatthevalue scaleshownin step I. Lookand see
howthevalue scalewith the brown tones compareswith the
graytones. Itis importantto make the depth oftone foreach
boxthe sameforboth. For example,the #3 brown tones should
be the samevalue,or darkness,asthe #3 in gray. Ifthe brown
scalewere copiedon a black-and-whitephotocopier,itwould
lookthe sameasthe scaleonthis page.
MATERIALS LIST
Paints
Ivory Black
Titanium White
Brushes
no. 4 sable or syntheticround
no. 6 sable or syntheticfilbert
Other
mechanical pencil
ruler
1 Mix Your Colors
Value#5 is pure Ivory Black. Mixavery
smallamountofTitaniumWhitewith
Ivory Blackuntilyou matchthe #4 dark
gray.Whenyou arehappywith your color,
take someofthe dark gray,and mix a little
moreTitaniumWhite intothat to create
the#3halftone.Add somemorewhiteto
thatto createthe#2 lightgray.Value#I is
pureTitaniumWhite.
2 Draw the Circle
With a mechanicalpencil,trace aperfectcircleontoyour canvas
paper. With a ruler,createaborderbox aroundthe sphere,then
drawahorizontallinebehindthe sphere.This will representa
tabletop, and givethe illusion ofabackgroundarea.
3 Paintthe Base Colors
1 With adarkgraythatmatchesthe#4 onyourvaluescale, baseinthetabletopwith a
, n o . ~ d b r u s h . T h i s b r u s h i s p o i n t y ~ o d ~ g e t t o t h e m m ~ ~ d p ~
A nwed surface easily.This deepgraywillgiveusah d a t i o ntobuildthe restofthe
paintingon.
Topaintthesphere,beginwiththedarMareah s t Inthism e ,it isunderthe
sphereinthemst shadow.UsetheIvory Blackfullstrengh (#sonthevalue sde) to
matetheastshadow over thedarkgray. Usethesame no.4 roundbrush
Switchtothe no.6 soft f l h tbrush, and intheentirespherewithamedium
mixture.Thisshouldmatchtfie#.j onthevaluesale. Be suretocompletelyfillin
the spheresothatthere isnocranyagshowingthrough.
4 TheAwkward Stage
Withthe#4 darkgraymixture]applythe shadowedgeofthe
spherewithano.6 suftfilbertbrushwhilethemediumgray
paintisstillwet Thefilbertbrushwillblendthetonestogether.
Make suretheshadowisparalleltotheedgeofthesphere,
allowingthetwocolorstoblend.AUow thedarkgraytoshow
alongthe edgeofthesphere]matingthedected light.
Whilethepaintissiill~addsomeafthemediumgcaymix-
turealxmthedafkgrapa n d b l e n d t h e ~ ~ u s i n g l o n g
~ ~ ~ f o l l o w t h e ~ o f t h e s p h e r e t n ~ t h e
~ a r a ~ ~ t h e d ~ a r e s m o o t h .
5 Finish
WithTitaniumWhite, applythe fulllightareaandblenditinto
thehalftoneusingano.6filbert.Tomaketheh&t areasstand
out, applys u mofthe mediumgraymixturebehindthe sphere
tocreatethebackgmdThe]Ightedgeofthespherecmtsasts
againstit.
Thisisnotas easy as itlooks,sopleasedonotgetm t e d
Remember,youcangomhnpasmany timesasyouwant.
I oRenwilladdsomepaint,and sofflyreblendintothe paint
thatisalreadythere.I canspendalotoftimetryingtogetitjust
right.Thisis allpartofthechallenge!
Creak Spheres Using
Complemenfaty Colors
Practicepaintingthemonochromaticsphereh m the previ-
ousexercise.Itreanyisthefoundationforewqfhmg elseyafil
paint. Whenyoufeelyou've gotit,trypaintingspheresincola
Rememberthe fivevaluesyouaeatedonpage zg?For
spheresincolor,themaincolorofyour sphereisa3 onthe
valued e .MixtheWtervdw (Iand a) by a d d qXla-
nium White. Mixthe darkervalues(4 and5)by addingthe
complementofthe maincolor.Asyoulearnedonpage ao,
cofnplementsproduceapleasinggrayed-down&, fbr
paintingshadows.
I
Use Color Complements
Complementarycolorsarecolorsoppositeeachotheronthe
colorwhcel (seepage17). Usingcomplementarycolorswill
he1p intens@the colorsinyour painting. For moreoncomplt
ments, sccchaptertwo,page20.
iCadmium R d Mdiurn
2 Cadmium Red Medium m i dwith Titanium W h i i
3 Cadmium Rcd Medium mixedwith green (Prussian Blue+Edmium
Yellow Medium)
1 CadmiumYellow Medium
2 CadmlumYellow Medium mlxedwlth Tltanium White
3 CadmiumYellow Medium mixedwithVlolet (AlizarinCrlmson+
Prussian Blue)
i Green (Prussian Blue+CadmiumYellow Medium)
2 Green mixedwith T-taniumWhite
3 Green mixedwith Edmium Red Medium
1 Prussian Blue
t PrusslanBlue mlxedwith Tltanium White
3 PrusslanBluemixedwithorange (CadmiumYellow Medium+Cadmlum
Red Medium)
Exercise: Paint Reflections
It is easyto see,whenlooking atthese grapes,thatthe five
MATERIALS LIST
elementsof shadingplayed an importantpart in creatingthem.
Whilethe grapescloselyresemble a sphere,the reflectionsare
much more extremeandwillvaryfromone grapeto another.
This looksmore complexbut is much easierto paintthan the
overlycontrolledsurfaceofthe spheres.Thehighlightshere do
notblend outand disappearintothe othertones. Here,they are
starkand canbe createdwith a swipeofthe brush.
Paints
Cadmium Red Medium
CadmiumYellow Medium
IvoryBlack
Prussian Blue
Titanium White
Brushes
no. 4 sable or syntheticround
no. 210 sable or syntheticliner
Other-
mechanical pencil
1 Paintthe Base Colors 2 The Awkward Stage
Beginby lightlydrawingthree stacked Mixa touch of Ivory Black intothe
circleswithyour mechanicalpencil. Fill Cadmium Red Medium paintto create
in eachonewith Cadmium Red Medium a darkred mixture.Apply the "shadow
using a no. 4 roundbrush. edge"to each grapeusing a smallround
brush. Be suretoleavereflectedlight
aroundthe edges. Blend and softenthe
tones bybrushingthe darkercolorinto
red. With the darkercolor,be sureto
createa shadowwhere one grapeover-
lapsanother.
3 Finish
Using a smallpointed brush, suchas a
no. 210 liner,addthe shinylookto the
grapeswith llghthighlights ofTitanium
White paint. Use brushstrokesthat
followthe round contoursofthe circle.
4 Create a Bunch!
Haveevenmorefunby maringthewholebunchofgmp.
Simplysketchinthecircles,drepeattheprwiousv s s
overandove~
Tomatetheleaves,mix Prussian Blue and Cadmium
YellowMediumtogethertomakegreen.Witharoundbrush,
5llintheleaveswiththismkbm. FeelfreeInmakeyourhaves
lighterthanmineifywdd like.Thisbatimefbryouto experi-
mentandhavefun.
Mix some IvoryBlackintothe greenmjxturetoaeatethe
veinjng. Usetheno.a10 linerbrushtomatethed e h t e1in.a.
Forthe areas,addsomewhiteintothe grem mix
Use Contrast to Geute Depth
I alwaysfind itso amazinghowmuchcolorand depth can
becreatedwith so fewcolors. Deep shadows and bight high-
lightsmakethis possible.The exbemewntrast w n them
createsan illusion ofshine,which I find verykutiful.
Exercise: Paint Shadows and Highlights
The grapeson the previous pagehadveryfewcolorsin their
MATERIALS LIST
creation.Although this appleis less complexin its shapewhen
comparedtothe grapes (wearedealingwith one continuous
surfaceinsteadofmany overlappingones),the color is more
complicated. Not only dowe have variegatedcolor,we alsohave
the extremelightingsituationto replicate. All ofthe colorsof
the appleareaffectedby intenseshadowsandbrighthighlights.
1 Draw, Then Paint
the Base Colors
When Ipaint, I alwayscreatemy paint-
ingswith layers.The firstlayerofpaint
is oftenvery lightandtransparent. I use
this firstlayeras a road map and color
guideonwhich tobuild.
In the firststageofpaintingthis
apple,startwith alightpencil outline
first.Apply Cadmium Red Medium and
CadmiumYellow Mediumwith diluted,
transparentlayersusing curvedbmsh-
strokesforform.
Paints
Alizarin Crimson
Cadmium Red Medium
CadmiumYellow Medium
Ivory Black
Titanium White
Brushes
no. 2 sable round
Other
mechanicalpencil
2 The Awkward Stage
Build up colorwith thicker applications
ofpaintusing curved strokesto main-
tain roundness.Add Alizarin Crimson
intothe red formore depthof color.
Place some Ivory Black aroundthe edges
ofthe appleto beginthe background.
Streakthe black intothe surfaceofthe
appleto createa shadowedge.Atthis
stagethe colorswill startto mix intoone
another.
3 Finish
Tofinishthis piece,continueadding
layersofpaintwith the curved strokes,
allowingthe colorstoblend together
somewhat.Look closely,andyou can see
wherea brownish hue has been created
in areasby the red,yellowandblack mix-
ingtogether. You can also seeatouchof
greenwheretheyellowandblackblend-
edtogether.
Add someTitaniumWhitehighlights
tothe upper portion ofthe appleandtip
ofthe applestem. Draw a squarearound
the applewith a ruler,and fiU inthe back-
groundwith black.
Look atthe paintingofthe fruitbowl
on page 6.You can seehow I painted the
appleinthatpiecethe very sameway.
This simpleprojectin abrown monochromatic color scheme
willgiveyou somepractice goingoutsidethe continuouscircle
ofthe sphere.You can seehow addingthe neck to the pot
changesthe shapeandthe affectsofthe fiveelementsof shad-
ing. Comparethisto the sphereon page 28.
MATERIALS LIST
Paints
Burnt Umber
Titanium White
Brushes
no. 4 sable round
Other
1 Draw the Pot
Lightlysketchthe pot's outlinewith a
mechanicalpencil. Be sureit is syrn-
metrical. hghtly fillin the areawith a
transparent mix of Burnt Umber and
TitaniumWhiteplus a touch ofwater.
mechanical pencil
. q - -
2 The Awkward Stage
Createthe dark sideofthe potwith
Burnt Umber. Followthe contourswith
curvedbrush strokes. Fillthe inner rim
ofthe neckaswell.
3 Finish
Add TitaniumWhitetothe Burnt
Umber,and continueto developthe
k shapeofthe pot. You can seehow I
, literally "draw"with paint. Mybrush-
i
strokescreatethe formwith their
direction.
Exercise: Practicethe Grid Method
I
Lets practice using the gridmethod. The shapesofthesewine
glasses arefairlysimpleto drawwhen using the gridmethod.
You canuse regular paper forthis exercise.
The canvaspaper Iused forthis book iswonderfidforthe
gridmethod,becausepencillinesliftup and areeasyto erase
with akneaded eraser. Itbecomes more of a challengeon
stretchedcanvas,becauseofthe rougher surface.Stretchedcan-
vas, while stillerasablein smalldoses,reallyholds the graphite
andwill smear.For stretchedcanvas,I would suggestusing a
projector (seethe tip below)to getyour outline,soyou don't
have to removegridlineswhen you arereadyto paint.
Formorepractice withthe gridmethod,gothrough the
book and practice creatingthe linedrawingsofthe projects you
wouldliketotry. Use regularpaper atfirst,just to getthe hang
ofthe method. When you arecomfortablewithyour abilityto
drawandwant to startpainting,switchto canvaspaper.
1Studythe graphed example. Reallylook hard
and try to see everythingas interlocking non-
sense shapeswithin each square.
lsing a Projector
you don't want to erasegrid lines,
you can use an art projectorto shine an
imageofa referencephoto onto your
canvas. Adjustthe projectoruntil the
nagefills the canvasthewayyou want
,.to, then tracethe image lightlyonto
the canvaswith a pencil.Art projectors
are availablewherever art and craft
supplies are sold.
2Lightly apply agrid ofone-inch squaresto
your paperwith a mechanicalpencil. Usingthe
grid as your guide, begindrawingthe shapes
ofthewine glasseson the canvas paper, one
box at atime. Go slowly, concentrateon one
square at atime, and forgetyou are drawing
a glass.
3 When you have accurately drawn the shape
ofthe glasses, erasethe grid with a kneaded
eraser, and leavejust the outline.
C H A P '
ITS TIMETO DO OUR FIRSTFINISHEDPAINTINGS! elementsofs h a hinthebackofyourmindasyoupaint(see
Thischaptmstart4;offwithasimple subjea:wine glasses. page 28)andanaccurawlinedrawing,your arewellonyour
M tletthehctthattheyaremadeofglass rnyou.Itis way togreatpainting.
actuallynohardertopaintshinyandtransparentt h q s than Continuethrmrghallthepaintingdemonstrationsinthis
itisto paintapplesorgrapes. Paintingdections ismerelya chapterandlearnhowtouseshading.backgroundsandcolor
matterofviewingthemaspatternsofcolor.lfyouhavethefive relationshipstopintanystilllife subject.
. .
I..
I selectedthesewine glassesforthis exercisebecausethe five
elementsof shading-st shadow,shadowedge,halftone,
reflectedlight andfulllight--are easyto pick out.
1 Sketch and Paint
the First Strokes
Sketchthe wine glassesonyour canvas
using the gridmethod. With a diluted
mixture of Prussian Blueand a smallno.
3 sableor syntheticfilbertbrush, apply
some streaksofpaintwherethe shadow
edgeofthe glassis. Thisbegins the
processof creatingroundness.
MATERIALS LIST
Paints Other
IvoryBlack mechanical pencil
PrussianBlue ruler
Titanium White kneaded eraser
Brushes
no. 210 liner brush
no. 3 sable or syntheticfilbert
2 The Awkward Stage
Use a no. 210 linerbrush to paintthe
smallstems ofthe glassesusing the
diluted Prussian Bluefrom step I. Now
mix a smallamountofTitaniumWhite
intothe Prussian Blueto make itmore
opaque.Withthe filbertbrush, continue
blockinginthe colors.Canyou seehow
itis coveringthe canvasmore?At this
stageyou arecreating "patterns"of dark
andlight.
3 Finish
To deepenthe shadowareas,mix some
Ivory Black intothe Pmssian Blueand
whiteto createa darkblue-gray.With a
linerbrush, addtheblue-graymixture to
the shadowedges.The roundness ofthe
glassesreallyjumps outnow.
Tomake the glasseslooktransparent
and shiny,takepurewhiteintothe high-
lightareas. Paint right overthe existing
painting,whichmakesthe whitelook
like itis reflectingoffofthe outer surface
ofthe glass. You arepaintingblotches
andpatterns ofcolor,whichgotogether
to createthe illusion of glass.
Thewine glasseswere a simpleprojectbecauseofthe simple
color schemeandthe whitebackground.Now let'stry some-
thingabit morecomplicated.This projectbrings intwo new
elements:a darkbackgroundandthe use ofcolor.
1 Do the Drawing
Use this gridto createan accurateline
drawingofyour own. Lightlydrawa grid
ofone-inchsquaresonyour canvaspaper
and then drawwhatyou seeoneboxat a
time. Whenyou aresurethe drawingis
accurate,removethe gridwith akneaded
eraser,leavingjust the outlineofthe
candleholder.
2 Paintthe Candle and Start the Background
Look atthe candle.The fiveelementsof shadingarethere.The
stripesoflightand dark createthe look ofa cylinder.Theplace-
ment ofthe lightsand darks makes itlookrounded. To paintit,
mix atouchof CadmiumYellow Mediumwith TitaniumWhite,
then add atouchof Burnt Umber. This makes a darkyellow
ochrecolor. In addition,createa light and a mediumversionof
this colorby pulling asideportions ofthe mix and addingwhite.
Createthe candlewith verticalbrushstrokesand a filbert
brush. Startwith the llghtestcolormixture first,andthen blend
the darker colorsintoit.Thepatternsareimportantin creating
the lookof a cylinder. Savesomeofthisyellowforstep3.
Startto fillin thebackgroundwith Ivory Black.The dark
backgroundwill createthellghtedgesofthe subject.
Let the Darks Create
the Lights
Ratherthanoutlining objects, let dark
colors createthe edges for light areas. In
this painting, we can createthe light out-
side edges ofthe candle holder byfilling
in the black backgroundaround it.
MATERIALS LIST
Paints
Burnt Umber
Cadmium Red Medium
Cadmium Yellow Medium
Ivory Black
Titanium White
Brushes
no. 4 sable or syntheticfilbert
no. 2 sable or syntheticround
no. 1 liner brush
EanvasorCanvas Paper
9"x 7" (23cm x l8cm)
Other
mechanical pencil
kneadederaser
Si
r '- 3 TheAwkward Stage
k Finish6llmginthebackgroundto crateallofthe outside
edges. Fillinsomeofthe smaller bla& areasinsideofthe
candleholder.h katthese areasobjectivelyas smallshaper;,
L andassigneacho m acolaAny subjectis easiertorepbte if
B
youthinkofit aspwzkpieces.
Mixagrayusingblackandwhite andapplyitwithano.a
L m u n d r n t h e l ~ t u ~ a s o f t h e g l a g s . A d d ~ o f t h e ~
fromstep a intothelowerrghtside oftheglass.Thig iswhere
&e colorof the candlebreflectedinthe glass.
AddatouchofcadmiumRed Medium Burnt Umber.
Lookattheareaswhere I usedthis warmbrowntone,andapply
byourpaintingmmdmglywith a smalllinerbrush
4 Finish
Tofdshthepaintingconhue 6 h ginareaswithpatterns
ofcolorusingano.zrmmd.AddM u mYellowMediumto
someareastomatetheb kofgolddoredm d .
Tomakethe glass lwk real,mix somewbik andyekw
togetheranddryhushitintothe glass withdbrush-
strokesincreatepeflectons. Justasinthewineglass d s e
onpage39,theIhigMghtscurvetom t etheroundnessofthe
glass.
Tomakethe m d e flame,mix anorangeatofCadmium
YellowMediumand Gdmium Red Medium. Itisthep&
fidnngtouch.
A Close
A -5r;;serLook
THIS PEWTER MUG WAS PAINTED
using allofthe samecolorswe used for
the glass candleholder in the previous
demonstration.You can seehow reflec-
tions on pewter arepainted the sameway
asreflectionson glass.
Again,the fiveelementsof shad-
ing (seepage 28)were used to makethe
muglookrounded.The reflectionswere
appliedverticallybut curvedfollowing
the mug's roundedcontours. I created
the lookofbrushed pewter by taking
somewhiteand drybmshingthe texture
in a horizontal strokeacrossthe paint I
had alreadyapplied.
Comparethe mugto the candle
holder onthe previous page. You can see
allofthe samecolors.Thehandlesare
almostidenticalin the way that theywere
painted.
Pewter Mug
11%" X 9%" (29cmX 24cm)
1 Full light
2 Dry-brushing for pewter look
3 Halftone
4 Reflected light
5 Shadow edge
6 Cast shadow
D E M O N S T R A T I O N
I selectedthis decanterforitsbeautifulpatterns andtexture. It
MATERIALS LIST
Imay seemabit dauntingatfirstwith all ofthe delicatedetails,
but subjectslikethis areactuallyeasierthan you might think.
Theobjectis madeup ofgeometricpatternsthat go together
much likepieces of apuzzle. I likeworkingin just black and
white. It givesa dramaticlook andhelpsillustratethe extreme
shineofthe crystal.
Paints
Ivory Black
Titanium White
Brushes
no. 3 sable or syntheticfilbert
no. 2 sable or syntheticround
no. 2 sable or syntheticliner
Canvas or Canvas Paper
16" x 12" (41cm x 30cm)
Other
mechanical pencil
kneadederaser
A GRAPHEDPHOTO
This graphed photowill help
you draw the decanter and all of
the small shapes and patterns.
1 Draw the Decanter
Lightlydrawagrid of one-inchsquaresonyour canvaspaper,
andthen drawwhatyou seein the graphedphoto (atleft),
onebox atatime. Whenyou are surethe drawingis accurate,
removethe gridwith akneaded eraser,leavingjust the outline.
Now you arereadyto paint!
2Start the Background 3 The Awkward Stage
Withpure Ivory Blackandano.3 sableorsyntheticfilbert Finishpaintingthebackgmmdsothatthesidesdthe deanter
brush,applypaintaroundthe edgeofthedecanterandintothe arefullyd e m i .Continueblodunginthedetails oftheglass.
bedcground.W~thano.z roundbrush,addsomedark strokes Atthis siageyouaremerelycreating"patterns"ofdarkand
into&e glasstobeginthepatterns. h& L o o k a t t h e p h o t o ~ ~ o n p a g e ~ ~ f o r p r o p e r p ~
mentofthe patternpieces. Howrwr, donotbeupsetifyou
dodtapture everyminutedetail;heillusionofmtc r y d win
still comethrough
Atthis slage I haveusedodylvoryBlackThewhiteyou see
hereisjust thewhiteofthe anvas.
4 Finish
ContinueM o p i n g thedarkpatterns.
T h epatternshelpcreatethe illusionof
roundnessandform,sofollowthecurves
ofthedecanterWithano.alinerbrush,
addsomeXtaniumWhiteontop ofthe
blacklinesthatdehethe glass'spattern.
Be carefultofollowthe contoursofthe
pattmmastheygoaroundtheglass.Can
you seehowthe cums ofthepatterns
createthe form?Theroundnessofthe
glassisnowveryobvious.
Placemorepurewhiteintotheh@-
lightareas.
Noticethatyouhavenotpainted
"mnsparmtlf tomakeglass. Youpaint-
edpatternsofhghtanddarkthatwent
togehertomatetheillusionofglass.
As withtheglasspatternsintfiedmnteronpage43, itisnot
impmianttobeoverlym t ewiththeareaoftheplantinthis
pain- It is just aconglumerationofh&t anddafk shapes
thatcreatesthe illusionofplantlife.Thispaintingisnotas
blackandwhite astheonebefore;itusesmoregraytonesto
mpturethe scene.
A GRAPHED
PHOTO
Usethis graphed
photographto
createan accurate
linedrawingdthe
patioflower pot.
1 Drawthe Subject
Lqhtly drawagrid oforwinchsquaresonyour mvaspaper,
andthen drawwhatyousee oneboxat atime. Muchofhis
amishmashofshapes,sojustgettheimportantones. Itwill
reallycomebgehmwhenyoustart topaint.Whenyouaresure
pu haveenoughinfbmation,removethe gnd with aheaded
eraser,leavingjust the outhe.
MATERIALS LIST
Ivory Black
TitaniumW h i i
Bruskes
no. 4 sableor syntheticfilbert
no. 2 sablc or syntheticround
no. 2 sablc or syntheticliner
CamasorCamas P a p
14x11' (36cmx2lcm)
ww
mechanicalpencil
beaded eraser
2Startthe Shadowsand Background
Createamediumgray with Ivory BlackandTitaniumWhite
andapplyittothebackgmmdwith ano.4filbertbrush. Let
thebacEEgraundgrayextend intotheareawheretheplants
willgolater.
Addabit more IvoryBlacktothemixture,matinga
d a r hgray,andpaintinthebase oftheconcretestand
Withpure IvoryBlack, paintinthe stripofdarknessalong
thehorizonline.
3 TheAwkwad Stage
Continueto"bidkf thepatternswithtlw no.4filbert,
strivingforsmoothandevencowrage.Thebackgmmd,the
f;oregroundandthepotareallvariousshahofgray,h
IIght ton^ to darkTheflowerpothasaroundsurface, solook
fbrtheh&t suurceandrememberthefiveelementsofsbadmg
whenpaintingit.
PaintthefoliageontherightsidewithIvoryBlackand a
no.2 roundbrush,painting rightover thebaclrground.
Alsowiththe no.a roundandlvwy Black,paintIhb e p -
ningofthe patternsthatrepresenttheplantsinthe pot It is
just anillusioncreatedbyblobsofpaint,sopaintMy,concen-
tratingontheoverall shapeyouaretryingtomake,notonthe
plaoementofeverylittleleafandM.
Everyhng atthisstage of& paintingisjustbl& infor
shapeandtone.
4 Finish
Thefinaltouchesofthepaintinga ntake
awhileIbut as youcanseelitisworththe
effort.W~thTitaniumWhite andtheno.
a linerbrush,matethe small detailsand
thehghhghb.Thesebrightareasadda
newdhemhofdepthtothepainting
andreallycapturethehghtsuurceofthe
outersu&ces. Thefullh&t candearly
be seenonthe rightsideoftheplanter
andantheleaves.
Iliketoplay colorsoffeach other. In this piece,the colors of
the peachesenhancethe color ofthe teapot.This isbecausered
and greenareoppositesonthe colorwheel (seepage 17),and
placing them sideby sidealwayscreatesa goodcolor contrast.
You can seeanother complementarycolorschemeinuse here
aswell. The colorsblue and orangeareopposites,sothe sky
colorhelps illuminatethe orangecolorsofthe peachesandthe
orangecolorsreflected on the tabletop.
Thisis a goodproject forpracticingyour strokework.This
paintingwas mostly donewith the no. 3 filbertbmsh, andlong
"fill in"strokes.When paintingin longstrokes,it is important
to followthe contours ofthe objectyou arepainting. In this
example,curvedstrokescreatethe roundness ofthe teapot,
straightstrokescreatethe flat surfaceofthe table,andhorizon-
tal strokesgivethe illusion of a skyinthe background.
A GRAPHEDPHOTO
The graph will help you drawthis still life scene.
MATERIALS LIST
Paints
Burnt Umber
Cadmium Red Medium
Cadmium Yellow Medium
Ivory Black
PrussianBlue
Titanium White
Brushes
no. 3 sable or syntheticfilbert
no. 2 sable or syntheticliner
no. 2 sable or syntheticround
Canvas or Canvas Paper
16" x 12" (41cm x 30cm)
Other
mechanical pencil
kneadederaser
1 Draw the Still Life
Createan accurateline drawingon your canvaspaper using the
gridmethod. When you are satisfiedwithyour drawing,erase
the gridlines.
2 Black In the Colors
Blockinthecolorsofthepainting,usingano.a roundfw
smallerareas suchastheteapot's spoutandhandleandano,
3 f l k tforlarge,openareas.Payattentiontothedjrectionof
yourbru9hstrokes:Letthemfdowthe contoursoftheobjm
tobeginmatingtheirforms.
Withthe no.j filbertandamixhw ofPrussian Blueand
TI* White, paintthe skywithhorizontals-hh.Save
someofthiscoloronyour palette; itwillber e f b e dintothe
teapotandthetabletoplateron.
PaintthepeacheswithamixtureofM u mRedMedium
andCdmiumYellow Medium, AddatouchofBurnt Umber
intotheM u mRed Mediumforthe shadowareas.
Mixajade greenwithTitaniumWhite, M u mYellow
Medium, Prusr;ianBlueandatouch ofIvoryBlackto gray it.
Usethistopaintdwteapot Savethis coloronyourpalette.
Paintthebrownbiblewithamix of&Imt Umber,W u m
RedMediumand M u mYellow Medium.
3 The Awkward Stage
Forthisstep,usethe same mlm,but applythemmareheav-
ilyfbrmorewverage.A p n , thebrushskokesinthispieceare
veryimportantformatingthefonns,espeaallythoseofthe
teapot andthepeaches.Tosatethefinelinesseenontheedge
oftheteapotanditslid,useano.a linerbrushfbrmorepreci-
sion.Use lvwy Black fbrcontrast,es-y inthehandle.
Create Form With YOUP
Brushstrokes
Makesureyour brushstrokesalways
bllowthe contours ofthe surfaceyou
a n painting.
I
I tar a Finished LOOK, I
Completely Cover the
Comparethefinal paintingto step3,
andyou can reallysee the difference
itmakeswhen you takethetime to
completelycwerthe canvasand
smoothoutthe shadingand edges.
This atra care iswhat takes a paint-
ingfrom "the awkward stage"to a
finishedwork dart!
<!]I I
4 Finish
Usingtheno.alinerbrushandthesame
colorsasinthepreviousstep,smooth
outthe m sanddeanupthe edges.
Makesure thepaintcompletelycovers
the canvas.Use gome TitaniumWhiteto
addafkwhqgldqhts:ontherimandbelly
- -
ofthepot.
Peachen and Teapot
16"X 12"(41cmX aOcm)
-7
D E M O N S T R A T I O N
Thisis awonderfulpaintingusing earthtones. Thebrownish
MATERIALS LIST
hues giveit a naturalfeel,and graytones givethe illusion of
real ceramic.Look aroundthe painting,andyou will seethe
brown tones reflectedintoeverysurface.Thisreflectingand
distributingoflightis essentialto a goodpainting. Tyingin the
colorsofyour subjectwith its environmentmakes a painting
lookmore realistic.
A GRAPHED
PHOTO
Usethe graphed
photo to achieve
your foundation
shapes on the
canvas.
Paints
Burnt Umber
Cadmium Red Medium
Cadmium Yellow Medium
Ivory Black
PrussianBlue
Titanium White
Brushes
no. 4 sable or syntheticflat
no. 2 sable or syntheticround
no. 2 sable or syntheticliner
Canvas or Canvas Paper
8" x 10" (20cm x 25cm)
mechanical pencil
kneadederaser
1 Draw the Subject
Use the graphedphoto atleftto create
an accurateline drawingonyour canvas
paper. Removethe gridlinesonyour
canvaswhen you arehappywith your
drawing. This is afairlysimplesubject
to sketch.
2 Paintthe FoundationColor
Well,thism h h l y doesrItla& like
much,but it is anim-t fmtlayer
Min Burnt Umber;EdmiumRedMedi-
um andatouch ofW u mYellow
Medium,diluteitwithsomewater,and
&thisinusingano.4flatbrush.
Usedqonal brushstcokestaskrt indi-
stingthewoodgrain ofthetibleaop.kt
yourbrubtrokez~dintotheareas
wherethebowlandotherobjectswill
bepaintedThigassumgoodcoverage
inthel-Whenyouetthe
objectsintheTI& step,youd thave
toworryaboutgapbetweenheobjects'
e==dthe-.
3 The Awkward Stage
Nowitistimebm z t ethe formofthe
placesetting.withothercolors.Continue
"drawing"inthe shapeswith ano.a
raundbrushanddilutedpaint.M a k the
hshstrokeso ~ twiththe shape
oftheobjects.Youanseethe ruundness
andckw&rence ofthehwl,dishand
glass withinthebrush strokes.Atthis
stage,establishthedcolorofthe
objects,usingdifferenttomstocreate
theshadowsandhghlghts.Useblack
tonesinthe shadow areas andinthe
~ o f ~ s ~ . W h e n p u
matethe shadows,*re alsoindicating
thedirectionofthelight source.
P h Setting
8" x 10"(2Ocm x 2 h )
4 Finish
Mostofthisstepisdonewiththeno.aroundbrush.Continue Therearealotofd e c b n sonthe objectsinthispiece.
tobuild layersofcolorforgoodcxwerage,ushgdistinctbrush- OncethepaintlayershavebeenMt up,usethe smallliner
strokes&at arecon&tent withthe shapes.Useasmall liner brush andTitaniumWhite tocreakthesmalledgs-ofdected
brushwith IvoryBlackandTitaniumWhitetomaatethelights IIghtalongtherimsoftheMziaussurfam.Y wanseethese
anddarksaroundthe rimsofeachobj- edgesonthe rimofthebowl,therimofthe plate,therimofthe
Youanseethattheceramichasabitofamauvecolortoit. glassandalongthe edgesofthesilverware.Use IvoryBlackthe
Youactuallydonotneedanybluetomate&is color.Simply sameway fbrthedarkcontrastalongthesem.
addatau& ofIvoryWto amixtureofBurntUmberand
White. Thereis,how eve^,atouchof PrussianBlueinthe subtle
greenseendectedinthedrinkingglass.
D E M O N S T R A T I O N
MATERIALS LIST
Complementarycolorscanmake apaintingcomealive. Red
is my favoritecolor. I loveitforitsbrillianceandvibrancy.To
enhancered,use its oppositeonthe colorwheel, green. Lookat
the graphedreferencephoto andyou can seehowmuch more
impactmy version has than the photo.
Paints
Burnt Umber
Cadmium Red Medium
Cadmium Yellow Medium
Ivory Black
PrussianBlue
1 Draw the Subject
Followthe graphed example,and create
this line drawingonyour canvaspaper.
Simplif)the plants to createa more dra-
maticpainting. When your drawingis
accurate,erasethe gridlines.
not become a human copy machine. You can
makechanges to improve your composition.
Titanium White
Brushes
no. 3 sable or syntheticfilbert
no. 2 sable or syntheticround
no. 2 sable or syntheticliner
Canvas or Canvas Paper
16" x 12" (41cm x 30cm)
Other
mechanical pencil
kneadederaser
2 Paintthe Backgroundand the Red Claps 3 TheAwkward Stage
WithM u mRedMediumandano.3 filbertbrush,fillin Createane m dp e mmlor bymixingadabofPrugsian
dwhckgmmdareas,i n d mthosebetweentheleaves, (Use BlueintosomeGdmiumYellowMedium. Usethisandano.
ano. a roundfbrsmallerareas.)Redanbea color,and a dtofillinthelargerleavesandthebaseoftheothershot
youmayneedtouse acoupleofcoats. Paintinthebase ofthe glass.Addmoreyellowtothe mixto getahghwgreen,anduse
shotglassontherightAddsomeredinsidethe glass= toindi- &is tofiUinthestems andremaininglea=.
atethattheyaretmsprent Togiw theh c k g m dsomedepthoftone, Zikeanillusiun
ofshadows,addsome IvoryBlackto Gdmium RedMedium
andplacethisdarkenedredintothecornersandalongthe area
abovethebbleline.Thisbiantlygives thepaintingmore
impact.
WithBurntUmber,fillintheareaalongthebottomedgeof
thepaintingtosuggestawoodentabletop.layer onsome Ivory
Blackto mateaghadow undermaththetablecloth.
14 Finish
Thisfinalstep is ah g h yonewith
manymall details,Fill inthetablecloth
withaa ~ tofTitaniumWhite. Thenadd
shadowstoitwithabluegraymixture
madeof'I"1tmiumWhite, IvoryBlackand
atouchofPrussian Blue. The"rolls"in
thehbricresembleqlindersandhaveall
ofthefiveelementsofs h a hwesaw in
the sphereonpage29. Correalycaptur-
ingthesehghtanddarkareaswilld t
inconvincingfblds.
Addmoreofthe darkredh m step 3
intothebadcgmmd.Usethedry-brush
technique(seepagea6)witfia6lbert
brushtoblendthisdarkerredintothe
firstla ye^ofred.Addmgthedarlmesa
helpsmate anaturali3arnmwork,lead-
Iingthe eye intothecenterofthe painting
andtothemainfocalpoint.
W~thalinerbrush,addall ofthemall
E ~ t o t h e m a u y s u r h e s o f t h i s p i ~ ,
--,: ,,,,--
hd&~:;,;b:;,b,,i,ili,id
Forinstame,adddstreak~ofw
anddarkgreentotheleavestomake
themlooklikephrlodendrans.Addhght
edgesto sameofthelearn andtothe
stems.
a Realistic Look
Canyou see howthe basecolorof
each glass is reflected up intothe glass
itselRTheircolors arealso dected
ontothe whitebblecloth.Tocreate
the r d dcolorsonthetablecloth,
I usedthe same scrubbing methodas
Addhght edgestotherimsofthe
glassesandinsidetheglasseswhere
the stems come Thegesmall
swipesofwhite &theglasslookvery
d d v e .
Forthebases ofthe shotglasses,use
dabsand streaks ofwhite andblackto
- Grsclos givethemfbnnandpatterns.These
16"X 12"(41cmX h)
patternsmakethebaseslookmuded.
Theyalsomaketheglass appeartobe
"bubbled"inside.
IlandscapP
LANDSCAPESARE ONEOFTHE MOSTPOPULAR becomeprof~cientatanyskiUrequiresconstantpracticeand
subjectsfbrartists. Notonlydotheyprovidebeautifulcolorsto repetition.Skiesandwaterareagoodsubjectonwhichto
mpture(asinthe skies andseascapeswewillmverh t ) ,the andperfeayour paintingM s . I d t thinkofabetter
additionalsubjectma- withinalandsapehelpstella story. wayto getusedtothefkelofthepainhrushinyourhand.You
Theprwiauschapte~~gaveyoutheinfirmatianrequired cana hreferbackto thebrushworkd s e s and e ~ a ~ p l e son
tohelpyoupaintanythingyouwanttopaintinacryk To pagesa3-27.
EMONSTRATION
M O N O C H R O M A T I CS E A S C A P E
A scene suchasthisonelooksmuchmorem p h t e dthan
theprojectsinearlierchapters,butitis actuallyexkmely
simple.Bemuse oftheWand-whitecolorschemeinthis
project,pcanreallyconeenkiteonthe ton^ andpainting
kchnqw.Anothernicet h q aboutanoutdoorscene such
asthisisyoudorithaveto usethe gridmethodtogetitonthe
paperb u s e accuracyofshapesisnotaitidto ahitland-
smpepainting.
Inthispieceyouwillalsogetbpracticeblendmgtones
smoothlyonthe mvas.
MATERIALS LIST
IPaints
Ivory Black
TitaniumWhite
Brush-
no. 8 sableorsyntheticflat
no. 2 sableorsyntheticrnund
no. 2 sableorsyntheticfilbert
no. 1 sableorsynthetic liner
Camsdw Canvas P a p
12'x16 (3Ocmx41cm)
Other 1
mechaniarl pencil
rulet
1 PlanYour Composition
Outdamscenesstartwithasimplehorizonline (I). Thisis
wherethesky(a)andthegroundorwater (3)meet.As a general
ruleforany landsape,bednot cutyour composition
d y inhalfwiththe horizonZinc. Ifyoudo,theviewer's
eyeworitknowwhattofwuonh~Placethehorizoneither
abovethe middleofyourcanvas (toernphasjxthegroundor
waterarea) orbelowit (toemphasizethe skyarea).
Forthe seascapethatb e ponthenextpage,wewillplace
thehorizonlineabovethe middleoftheanvas.
1 Horizon line
2 Sky area
3 Gmund or water area
" V
~ o r idown,d u a l l ya d i n ~marewhite- -
tothemixtomakethegroundllghteras
you approach&e bottom ofthemm.
i3 The Awkward Stage
htisaverydarkp y a h o s tblacl-
I andDaintthe m da l mtheshorehe.
I , ' .
-'.
8 .
... .- ;:.. :,:;;,,;,;:$ji
4 Finish
Mixalightgrayandpaintwaveswith meephgstrokesandano.a fdbeabrush
Studymy m p l eandwatchthe diredonoftheflow,andhow theyworkoffofthe
rocks. Letthe diredonofyour brushsimksdepxtthemovementofthew a t e ~
Thinsomepure Imny Blackwithwatertoaninklikeconsistenq,butdonotlet
ithcometmqwent. Paintthe reedswithlong,qui& taperingstrokesofano.I
linerbrush smthg atthehmmofeachreed Refertopage a5 forthetechnique.
Addthelittleleaveswith smaUdab-hthetipofthelinerbrush. I liketheway
theblack silhouetteofthe r d s con^^ ag;iinstthe shore.Thelight& wavearea
attheshorelineseemstog hbetweenthereeds.
TheAtZadc In Whter
From a photograph
by Janet Dibble Wellenberger
12"X 16"(3Ocm X 41cm)
D E M O N S T R A T I O N
I
Thispaintingis doneusing the samecolorsasthe previous
demonstrationon pages 59-61,butthis timewe areadding
some Pmssian Blue-andthistime,the horizonline isbelow
the centerofthe canvas,placingthe emphasison the sky. For
sucha beautifulpaintingit certainlyis an easyoneto do!
MATERIALS LIST
Paints
Ivory Black
PrussianBlue
Titanium White
Brushes
no. 6 sable or syntheticflat
no. 4 sable or syntheticfilbert
no. 2 sable or syntheticround
hake brush (for blending)
Canvasorcanvas Paper
9" x 12" (23cm x 30cm)
Other
mechanical pencil
ruler
1 Draw the Horizon and Base In the Colors
Drawthe horizonlinewith your ruler andpencil. Mix a sky-
blue colorwith Pmssian Blue andTitaniumWhite. Paint the
skywithyour no. G flatbmsh, workingfromthe top downand
addingwhiteasyou go. Use your hakebmsh tohelpthe colors
blend. Somestreakingwill giveyour skyatmosphericmove-
ment. Let the skycoloroverlapthe ground area abit.
Fill in the entirewater areawith pure Pmssian Blue on the
no. G flatbmsh. Use ahorizontalback-and-forthstroke. If some
streaksshow,thafs okay;they'llbecome part ofthewater's
surfacelook.
2 The Awkward Stage
Using a no. 4 filbert,paintthe largestmountainrangewith the
skycolorfrom step I mixed with abit of Ivory Black. Lighten
the mix onyour palettewith alittleTitaniumWhite,then add
the smallermountain. Now add moreblack intothe mix and
createthe darkestmountainin frontofthe othertwo. Be sure
thatallofthem end atthe horizonline,andthatthe horizon
looks straight.
Add streakycloudswith TitaniumWhite,using a no. 2
roundbmsh andhorizontal strokes.Itis okayto allowthe color
behind themto showthrough.Thehorizontalbmshstrokes
help maintainthe feelingofatmosphereandwind movement.
3 Finish Jamaica
9"x 12"(23cm x 30cm)
Dekdthewaterwith quickhmhond streaksofTitaniumWhiteonano.2 round
brush,c~eathgamirror reflectionofthewhitecloudsinthemiddle.Forthe restof
thewater,usethe samequickhorizontalstokes,butvarythecolorsfromdarktohght.
Theresultwillbeafeelingofwatermavementand sparklingsunshine.I paintedthis
fromaphotoI tookononeofmy *art misd in Jamaica.Amazmgly,thesewerethe
actualmlorsofthescene;I haverltalteredthemfbrthispainting. Beautiful!
D E M O N S T R A T I O N
Sometimesan entire scenecanbe createdfroma skyalone.
Cloudshave away ofcreatingtheir own storyand composition.
Thebonus to a skycompositionis thatitrequiresno horizon
linesorgrids!AU you need is a freespiritand somepaint! The
skyoffersyou the opportunityto experimenttoyour heart's
desire,becausethere is no rightorwrong.
MATERIALS LIST
Paints
PrussianBlue
Titanium White
REFERENCEPHOTO
I lovethis photograph. It shows the full soft-
ness o fbillowy clouds. I particularly likethe
way the colors ofthe clouds in this photo
range from verywhite to pale blue to the dark
blue ofthe large cloud's underbelly. The sense
ofdistance is evident in the way the clouds get
smaller as they recedeintothe background.
Brushes
no. 6 sable or syntheticflat
no. 4 sable or syntheticfilbert
CanvasorCanvas Paper
8" x 10" (20cm x 25cm)
1 Paint the Base Colors
Add atouchofTitaniumWhiteto Prus-
sian Blueto createa mediumblue. With
wide sweepingstrokes,coverthe upper
portion ofthe canvas. Be sureto add a
touch ofwaterto the painttomake it
smooth,but it stillneedsto be opaque.
The skyis darkeratthe top and gets
lighterthe closerit gets to earth. Soas
you work down,add abit morewhite
painttothe mixtureto createmore of
a skyblue. Continuedownthe canvas,
lighteningasyou go. Use rapid strokes
whilethe paint iswet to softenthe tones
intoavery gradualcolortransition.
2 TheAwkward Stage
UsingpurentaniumWhite, createthe
shapesofthecloudswithyour6lbert
brush. Donotmakethepaintso thick
thatitbuildsup. Wedodtwantmugh
texhareforfl~@douds.lightlyblendthe
whiteintothebedcgwnxndtomakethe
Qouds arelaymedandhavedimen-
sion.Togivethem form andmakethem
lookfull, blend shad^ ofllue,fromdark
tolight,intothe whiteusingano.4
3 Finish
Addthe s h a h ofthecloudswith
manyvariedshades ofprussianBlue.
Themoreshadesywuse,themore
realisticyourpaintingwillbe.Someof
the cloudsarepainted*lightover dare
while o&ers are"darkoverlight."
Thewonderfir1thingabut acrylic
paintistheabilityto keep layering
and adding lightsand darks, blending
them together asyou go. Don'tgive
uptoo soon! Itt a k practiceto learn
brushcontnrl. ~talsotakestime to 'A1build up realisticdetails.
D E M O N S T R A T I O N
Ifyou areluckyenoughtotravelfarfromhome,you'll getto see
the skyin a differentenvironment-and wen ifyou don't travel,
the skyrightwhereyou live is a constantlychangingshowof
color andllght. Keep a camerahandy just in casenaturedecides
to giveyou a photo opportunity.
To completethis painting,you willuse allofthe blending
techniqueswe have alreadycovered;you'lljust changethe
colors.This skyhas a lot ofmovement.Thehorizontalstreaks
arevery apparent,soyou canuse the paint strokestoyour
advantageby lettingthem showinsteadofblending the strokes
perfectly.
MATERIALS LIST
Paints
Alizarin Crimson
Cadmium Red Medium
Cadmium Yellow Medium
Ivory Black
Titanium White
Brushes
no. 6 sable or syntheticflat
no. 4 sable or syntheticfilbert
no. 2 sable or syntheticround
Canvas or Canvas Paper
12" x 16" (30cm x 41cm)
Other
mechanical pencil
1 Sketch, Then Paint Base Colors
Find your horizonline andlightlydrawit onthe canvaswith a
pencil. This horizonline isvery dosetothe bottom ofthe page,
dowing forahuge skyscene.Onyour palette,you will need
yourwarm colors:CadmiumYellow Medium,Cadmium Red
Medium andAlizarin Crimson.Youwill alsoneed Ivory Black
andTitaniumWhite.
Mix avarietyof coralcolorson your paletteusing Cadmium
Red Medium, CadmiumYellow Medium and atouchofTita-
nium White. Itis not importantto exactlymatch each color I've
used. As with alloutdoor scenes,you'llpaintfromback to front.
With your flatbrush, startlayinginthe colorsofthe sky. Look
wherethe skyis lighter dueto the sun, andblock in someyel-
lowandwhite. Thisis wherethe sun glowwill comefrom.
Now createthe redness ofthe skyby streakingin the other
warm colorswiththe no. G flatbrush. Dilutethe paint so
you canmove it quickly.Transparentmixtures areokay. My
studentscallthis my "slapping-instage"!You can seewhere I
used awide rangeofreds,fromlightones (tints)to dark ones
(shades).Havefunapplyingquick strokesof color.Thereis no
set "recipe"here, no right orwrong.
Take someAlizarin Crimsonand Cadmium Red and mix in
atouchof Ivory Black. Paint this dark color alongthe horizon
line. Add someofthe colorsfromthe skyareaintothewater
areaforthe mirrorimageaffect.
A 2 The Awkward Stage
Buildupthepaintwiththesamemlorsyouusedinstep I. Use
lesswater now sothatthepaintis moreopaqueandancoverup
thecmvas. Usequ~&horizontalstrokestomatethe e e s 9
oftheslrj.Unlikethe paintingsinearlierdmmsbtions,thissky
doesnothavetoberepeatedlyblendedfbri r m de t i o n s of
dm.
3 Finish
Whenyoulikethecolorsofyourpaint-
ingandyouhavecompletelycoveredthe
anvaswitfiasmootha p p W nofcolor,
youcanaddhishmgt o w k . Addthe
sparkleofthewaterwhereit d e c k the 1sunusingwhik paint.Double-chdthe
paintingtobesure&is amred,
beause oncethetrees goin,thereisno
redoingthelwkgmmd.
LLghtlydrawinthe ofthepalm
trees withyour medunidpencil.You
a naddsomemoretrees ifyoddlike.Do
notdrawineverypalmfrond,howewr;
thogewillbe createdwithyour brush.
ThindownsomeIvory Blackwitha
touch ofw a b Makeitthinenoughto
flow,butnotsothinthatitbecwnes-parent andstreaky. 1211x 16"(30cm x 41cm)
Fill inthetrunkwiththig blackmixtureand ano.2 round
brush. theendandbecomethinner.Ifyoupakt hthe*outsideir2"
Beforeyouaddtlw palmhnds,I suggestyoup c hh t theendswillbewideandunnatural-lookmg.
ona smppieceofm s . Paintthemwithquick,verysmall Besureto addalittlebit ofsandatthelmtbm., soyourtrees
strokes, hthestem outwardThiswaythelinegwilltaperat lookplanted!
D E M O N S T R A T I O N
T O R M C L O U D S
Iviewed this sunsetright frommy porch in Kansas.Wehave
someprettyintenseweatherhere (rememberThe Wizardof
Oz?)andthis was the sceneas athunderstormwas rollingin.
The differencebetweenthis paintingandthe one on page 67
is that herewe have more color changesandmore contrasts in
color.Thereis alsono foreground subjectmatterto dealwith
this time.
This skyhas a distinctsenseofdistancewithin it.The
yellowglowofthe sun seemsmuch fartherback,whilethe
clouds seemvery dose.This is dueto the intensecontrast
between the two.
-- r -_- 1 Paintthe Sky's Base Colors
MATERIALS LIST
Paints
Alizarin Crimson
Cadmium Red Medium
CadmiumYellow Medium
Ivory Black
Titanium White
Brushes
no. 6 sable or syntheticflat
no. 4 sable or syntheticfilbert
9" x 12" (23cm x 30cm)
CanvasorCanvas Paper
16"x 12" (41cm x 30cm)
MixTitaniumWhitewith a touch of CadmiumYellow Medium.
Thinthe mix with water soitwill move easilybut not somuch
thatitbecomes transparent.Apply this paleyellow startingat
the top ofthe canvaswith a flatbrush and sweepingback-and-
forth strokes.Alternatewith strokesofpurewhite,then blend
the yellowandwhiteintoeach other.
As youwork downthe canvas,addmore andmore Cadmi-
- um Yellow Medium to createwarmth. Mix atouchof Cadmium
Red Mediumintotheyellowto createorange,and addthat into
your skyatthe bottom. Streakybrushstrokesareokay they will
suggestthe movement of air.
2 The Awkward Stage
To createcolorsforthe clouds,startwith the yellows and
orangesyou mixedforthe backgroundand add someAlizarin
Crimsontothem.This will giveyou deeperreds andpinkish
colors. Streakthese ontothe canvaswith horizontalstrokesand
a flbertbmsh. Use many differenttones-whatever's onyour
palette.
Now, mix touches Ivory Blackintothe colors onyour palette
and streakthe resultingbrowns,mauves,coralsand grays onto
your sky.This isthe funpart. Be creative,but do not completely
coverup the lightskyyou painted in step I. Makelayersandlet
the lightglowofthe skyshowthrough fromthe distance.
3 Finish
Continueaddinglayersofpaintuntil
the canvasis coveredandyou likeyour
painting. Ifyou lovethe color orange,go
aheadanduse more. Or add morered if
you like. Studymy paintingto seewhere
I streakedin the merent colors.
Add the pure black silhouetteofthe
hillonthe bottom, andyou arefinished!
.#,*",,-y
-W&r+.
I-,
, . ----. ' I .
Before the Storm
16" X 12" (41cm X 30cm)
This paintingprojectis similartothe precedingonesin this
chapter,butwe're addingan element-the road-that creates
perspective. In this project yodlllearnhowtouse the technique
offoreshorteningto createthe appearanceofdepth and per-
spectiveon a flatpiece ofcanvas.
1 Paintthe Base Color, Then Draw
Mix a mediumgrayusing Ivory Black andTitaniumWhiteand
coveryour canvastolooklikemine. Letdry.
Withyour mechanicalpencil,drawinthe horizonline. Use
avery lighttouchto keep from scratchingthe paint. Thehori-
zonline,wherethe lakeshoremeetsthe mountains, isbelow
the centerpoint ofthe canvas.
Drawin the highwayaswell. Itis a largeupside-downV
shape.This pieceis a dear demonstrationofforeshortening.
Thehighwayis receding (gettingsmaller)as itheads intothe
background,whichillustrates ahuge amountofdistance.
MATERIALS LIST
Paints
Ivory Black
TitaniumWhite
Brushes
no. 4 sableor syntheticfilbert
CanvasorCanvas Paper
9" x 12" (23cmx 30cm)
3ther
mechanicalpencil
-2 The Awkward Stage
Withpure Ivory Black,base inthe mountainrangethat creates
the horizonline. Fillin the V-shapedareasof groundon either
sideofthe highway.Atthis stage,you alreadyhave a feelforthe
landscapeandthe distance.
1 Create Depth With I
Foreshortening
Lookat step 3 and comparethe width
ofthe road at the bottom ofthe can-
vas with where it disappears intothe
distance. Common sense tells usthat
the road is the samewidth all the way
back, but it appears to get smaller. This
is calledforeshortening,and it is an
importanttechniquethat will giveyour
paintings afeelingofdepth and space.
3 Finish
A Trip ta L m h George
9"x 12"(29cmx 3Ocm)
MixaIIghtgmyand startplacingthe clouds.Onceyoulike&e shapeandmovement
ofthem,addpureXtaniumWhitetothemtomakethemappearflufFy. Add some
darkgrayclouds, s- themintotheZlghteronesfbrmoredepthoftone and
senseofdistance.
Gointothe solidblack areasofthemountainandthe groundandgivethemsome
verysubdetexturewithadarkgmy.Thisgrayisjust onetoneWterthanbladr,butit
helpskeepthingsh1- &t
Withhghtgray,addthe thetothethe- Justtwow-grayZincs areenough
to adection.Addthehighwaydividerlines.Withalightergray,sstreakthe
hghway pavemmt,keepingconsistentwiththeV shape.Makethepavementlighter
asitfadesintothedishme.
D E M O N
Treesarean important elementforlandscapepainting. Entire
books have bewrittenjust onhowto drawandpaintthe many
varieties oftrees. We've alreadylearnedhowto paint apalm tree
(seepage 67).This simpleprojectwill giveyou somepractice
paintingevergreens.
I've used a monochromatic color scheme,but not because
Iwantedto skimpon color.ThisfoggysceneinVermontreally
lookedlikethis.AU I could seewerevarious shadesofgreen
fadingin and outofthe morningmist. Notice thatthe trees
appearto getlighter asthey recedeintothe distance. In this
project youwill learnhowtouse thatphenomenon, called
atmosphericperspective,to createdepthin a landscape.
Usually I paintthe skyfirstandthen work back to front.
Thistime,however,I am goingtoleavethe skywhite.
Atmospheric Perspective
Elements receding into the background ofa landscape appear
not only smaller, but also lighter in color the farther backthey
are. Also, the farther back something is, the more ofthe sky
color itwill take on. This is called atmospheric perspective.
MATERIALS LIST
Paints
Cadmium Yellow Medium
Ivory Black
PrussianBlue
Titanium White
Brushes
1no. 2 sable or syntheticround
no. 4 bristleflat
no. 2 sable or synthetic
liner brush
Canvasorcanvas Paper
10%" x 10%" (27cm x 27cm)
1 Rough In the Tree Shapes
You'llstartthis paintingby drawingthe treesinwith paint.
Mix a smallamountof Prussian Blueintosome Cadmium
Yellow Mediumto createa greenmixture.Then add some
TitaniumWhiteto make a pastel version and dilutethis abit
with water. Using a no. 2 linerbrush,paintverticallinesto
representtreebunks. Thisestablishesthe placement ofthe
trees inthe painting.
Onceyou havethe trunksbased in, switchto a no. 2 round
bmsh and addbranchesandlimbswith a somewhatsquig-
glyback-and-forthstroke.Thetrees shouldbe smalleratthe
top and getlarger atthebottom, forminga coneshape. Paint
looselyand don't letyour strokesfallintotoo much of a repeat-
ingpattern.
2 The Awkward Stage
Takesomeofyourgreenmixtureandaddalittlemorewhite
toit.Smibthiscolorintothe areaatthe middleofthe paint-
ingusingano.4bristlefkLTakesomeofthe darkergreen
mixturethatyouused forthetreesinstepI andaddsome Ivory
Ella& intoit. Usethig mix andano.2 roundtoadddarktrees
inthe foreground.hinth etreeslarger sothattheyappear
d mWtenthemix withabitofwhiteasyouwork intothe
distance.Closer*s shouldappearlargerandd a r k distant
trees,d e randlighter.
Use abitofdarkergreento indim* bitsoftreetrunk onthe
distantpines.
VermontFog
10%"x 10%"(27cmx 27cm)
D E M C S T R A T I O N
C I E N C I N C T R E ES C E N E
--
1As you can see,the landscapeprojects in this chapterhave
MATERIALS LIST
become increasinglymore detailed.This park scenewillchal-
lengeyou to perfectyour skills.
Whilethis paintingmaylook extremelycomplicated,ithas
allofthe sametechniquesyou have alreadyused in the previ-
ousexercises.The only differenceisyou willnowlearnhowto
paintfoliage.The spongingtechniqueyou'll use forthis (see
page 26)is reallyfunto do.
1 Draw and Paint Base Colors
Lightlydrawthe horizonline abit abovethe centerpoint ofthe
canvas. Mixa skyblue outofTitaniumWhiteand a touch of
Prussian Blue.Thin itwithwater. Coverthe skyportion ofthe
canvaswith atransparentapplicationofpaintusing a%-inch
(~gmm)filbertandhorizontal strokes.Most ofthis paintwill
be coveredup later,but itis importanttohave the skycoloras a
base sothat it canpeekthroughthe leaves in spots.
Mix alightgreenoutof CadmiumYellow Medium and a
touch of Prussian Blue. Usingthe sametype ofapplicationas
you didforthe sky,coverthe entireareabelow the horizonline.
Paints
Burnt Umber
Cadmium Yellow Medium
Ivory Black
PrussianBlue
Titanium White
Brushes
%-inch (19mm) sable
or syntheticfilbert
no. 6 sable or syntheticround
no. 4 stiff bristleflat 1no. 2 liner brush
Canvas or Canvas Paper
12" x 16" (30cm x 41cm)
Other
cellulosekitchensponge
2 Paintthe Tree Trunks
Theplacement ofthe trees in this pieceisveryimportantto
establishinga senseof depth. Whileyour trees do not have to
look exactlylikemine,you shouldpay particular attentionto
the sizerelationships between the trees. Thiscompositionhas
a distinctbackground,middle ground and foreground.The
treesaresizedin relationshipto their placementwithin these
three areas. Blockinthe treeswith diluted Ivory Black and a no.
G round,startingwith just the trunks andthe majorbranches.
3 TheAwkward Stae
MixM u mYellow MediumandPrussianBlueto crate a darkgreen.Scrubthis
colorrightabwethehorizonlinewitha no.4 tlatbristlebrushto mate atreerow,
orwhatisalsocalledahedgerowThisdarkgreenisanotherfindation colorupon
whichyouwillbuildlater.
Takeacellulose(nutfbam!)kitchenspongeandtearoffachunkaboutaninch
around. hghdywet itand squeezeoutanyexlcessw a b -ten thedarkgreenmix-
turefromstep a bya d h g amuchmorem u mYellowMedium. Dipthe sponge
intothisandhghtlydabsomecolorintothebadcground abovethedarkgreenhedge
raw.Lookatthetexturethist d q waeate~!Itis aperfkt reprewmlation ofdistant
fbliage.
MixatouchofwhiteintosomeBurnt Umber.Applysomeofthisto the rightsides
ofthetrees:andbrancheswithano.a linerbrush.Thiseaablishesthatthe sunis
comingh mtheright.
NowitBtimetobuildupthe grounddm.Theh tapphtion was somewhat
-t andstdcy. Wenowneedtothickenthepaintandlookfbrthepatterns
oflightanddarkto matethe illusionofshadowsandmahofsunshe. Theentire
groundisnathingmoredun streaksofcolor.Useafullrangeofgreens andvarious
mixesofbrownandano.6 round.Bynow,youshouldbeabletokdethecolorson
purpaletteandexperimentbmatethecolorsywwant.
y i p ,
Don'tP Quit oo Soon!
This isthe stage dthe paintingthat
looksvery a w k r d . This is alsothe
sbgc ofthegamewhere many
beginningartists haveatendencyto
give up. Pleasedon't! This iswherethe
real learningcomesin, and your skills
a n grow exponentially.All pirrtings
passthroughthis *yucy' sfagc. Itis
a necessarypartofthe process.
4 Finish Central Park
12"x 16" (30cm x 41cm)
Thisisafairlylargepaintingwithmanydetails,so I've f din onhsmallareas
ofthe painting soyouwnseethemk t b x Letthe enlargeddebils onthefwngpage
beyourguidetohishmgthepainting.
Learn Fmm Finished Paintings
You can learn a lot byshdyingotherartisk' finished
paintingsupclose.Try goingto an artgalleryand lookingat
the brushstrokeseach artist used. Manytimes,what look
complicatedis nothingmorethanquickdabs ofcolor.
DETAIL:B A C K ~ ~ ~ U N DHEDGEROW
Tocreatethe lookofdensebrush, useyour spongeto dab in many
layersofwlor. Then usea liner brushtoaddtinybranchesamongst
thefoliage layers.
DETAIL:TREEBARK
Usea dry-brushtechnique (see page26) tocreatethet a r e oftree
bark. Concentrateon eachtree's rightside, wherethe sun is brightest.
Layer lightanddark paint,and usetinybrushstrokesfor redism.
DETAIL:THEGROUNDUNDERTHE LARGE TREES
Buildupthe ground aroundthe basesdthe largetrees usingacombinationofbrushstrokesand
sponpdabbing.You candabwith a bristlebrushaswe l asthe sponge.
WITHTHELANDSCAPEPAINTINGSINT H E PREVIOUS withlitdedabofcola thishpterwillshowyouhowtopaint
chapterIyouwere pin* anentirescmeh m foregmd In anentireh v mupdose.
farinthedistance.Youused patternsoflightanddarktomate Tocapturealloftheshapesanddetailsoffbwers,we
&e illueionofshape-thatlookredbticata&me. willonceagainrelyonthegrid method ofdrawing(seepaga
Fortheflowerpain- inthischamdetailsaremore 3637). Thiswonderfultoolwinallow youtomateaccurateI
conspicuous,andaccumybecomesmoreofank.While beautifulflowrrpainhgs.
youcouldindudeflowersinalandsapeandrepresentthem
Paintingyour firstflowerprojectwith amonochromaticcolor
MATERIALS LIST
I
schememay seem strange,but itis an excellentway to concen-
trate on shapeandvalueswithoutbeing confusedby color.
A GRAPHEDPHOTO
This photo with a grid over itwill beyour guide to painting the rose
realistically. Refer backto page36-37 to refresh yourselfon howto draw
usingthe grid system.
I
Let the Darks Create
the Lights
For realistic results, avoid outlining
every shapeyou paint. Instead, let the
dark shapes create the edges ofthe
light shapes. Inthis case, the black
background describes the shape or
the rose, and dark areaswithin the
Paints
Ivory Black
Titanium White
Brushes
%-inch (19mm) sable or
syntheticfilbert
no. 2 sable or syntheticround
no. 210 sable or syntheticround
Canvasorcanvas Paper
8" x 9" (20cm x 23cm)
Other
.: . , . .. . .
mechanical pencil
kneadederaser
1 Draw the Rose
Lightlydrawone-inchorlarger squaresonyour canvas. Referto
the photo onthis page and carefullydrawwhatyou seein each
square.When you are sureyou have an accurateline drawing,
gentlyremovethe gridlineswith akneadederaser.
2 Fill In the Background
Outlinearoundtherosewithpurelvwy
Blackandano.a dsoyoucanget
closeto the edgesofthe Mr.leaves
and stem ThenIwithyour %-inch
(~gmm)filbert,fillintherestofthe
c;m~smdlngdleflm,malang
theentireback;groundpureblack.
3 TheAwkward Stage
Thefloweris madeupoftones ran&
fmmwhitetoverydarkpy. Studythe
photowellandseewherethelightsand
darh are. Startbyestablishingthepetal
edgeswi~hIvory~anda~/ornund
b d Thismates thelayers.Mixvai-
ousgraysoutoflmry BlackandTRauium
White,thenlayinbkks oftonetom t e
eachoverlappingpetal]leavingtheWt-
est areasunpinkdfix Thetones
willcowruptheblackedgezinesyou
madeinitially.Fillinthe stemaswell.
4 Finish
Detdeachpetal oneatatime.Lookfbrthepattamsofhghtand
dark Everypetalhas&ent tonesdependq onhewayhe
hghtishittjngit.Acrylicpaintallowsy0utoaddlayer;r;werand
over untilyougetitthewayyoulikeit
BeverydnottooutlineeachpetaLAn* withan
outlinesurroundingitwillIdmorem n y than&tic
XImakethebackpmdmoreintemtbgandnotso flat,
s m bdarkgayintogome areastosuggestlea=.
Later,if youlike,youcouldcomebackandtrypaintingthis
roseinrealisticplnkhues!
&nochromatic Row
8"x 9" (20cmx 23cm)
DEMONSTRATION
In the previous monochromaticdemonstration,you learned
to createlayersofflowerpetals by lettingthe darks createthe
lights. Nowwe'll try it in colorwith alily.
The rose on the previous exercisewas extremein itstonal
range. Thetonalvariationsin this lilyaremuch more subtle.
Likethe rose painting,this oneuses a darkbackgroundto
createthe floweis shape.
MATERIALS LIST
Paints
Cadmium Red Medium
CadmiumYellow Medium
Ivory Black
PrussianBlue
Titanium White
Brushes
%-inch (19mm) sable or
syntheticfilbert
no. 2 sable or syntheticround
no. 210 sable or syntheticround
Canvasorcanvas Paper
11" x 14" (28cm x 36cm)
Other
mechanical pencil
kneadederaser
A GRAPHEDPHOTO
Usethe grid lines on this photo to obtain an
accurate drawing. Remember, you can make
your painting as large as you want by enlarg-
ingthe squares you place on your canvas.
1Drawthe Lily
This is whatyour drawingshouldlook
like afterdrawingthe detailsofeach box
one at a time. Gently erasethe gridlines
fromyour canvaswhen you aresure of
your accuracy.
2 Basecoatthe W l s 3 The Awkward Stage
Painttheflower@withXtaniumWhitethathasjust ahint Createanorangecolorfor the center ofthelilyby mixingCad-
ofCadmiumYellowMediumaddedtoit,usingano.a round miumYellowMedium withatouch ofCadmiumRedMedium.
brush.Toestablishthe podg and&e darMa m softheflower; Paintthe centerofthelilywiththismlorandano.a round
usepure CadmiumYellowMedium.Thishelpsdefinetheover- Thiswillhelpthecenter ofthehlyappearrecessedLeave areas
lappingpetalsandbegintlxprmessofmatingfbmL oftheh&ter colorexposedfortlxstamens.
Swikhto ano.a/oroundforthedetails. Usethe orange mix
youcreatedforhelilfs centertodetailthe shadowareasinthe
flowerandonthe pis.Paintthe sternwithagreenmated by
mixing atouch ofPrussianBlueintoCadmiumYellowMedi-
u m A l s o ~ s o m e d t h i s ~ i n t o t h e p o d s t o ~ t h e m
lookreal. Painttheshadowonthestemwithabrownmadeby
mixing some Cadmium Red Mediumintothe greenmix
Mix FWssianBlueandIvory Blackand startpaintingthe
badcpundwiththismix andaY-inch(~gmrn)filbert.This
definestheoutsideedgesofthe@.
More Impact
Don'tbeafraidto use lotsofwntrast
inyour painting. Comparethe areas
oftheflower nearthe backgmundwl
ortotheareaswherethe background
hasn'tken paintedyet Isn't itarnaz
inghowmuchtheaddedcontrast
4 Finish Y e l hLily
11"X 14" (2&m X h)
Continuefilling inthebdgroundwiththe darkmixtureh m step 3. Tomakeit
lookmoreinteresting,blendinmdesofothercolon insome areas.Add some
hghtblue andahintoflavenderintheupperleftcorner.Thisla& coloractsas
acomplementtotheyellowoftheMy.Youcanaddmorevialetinthebadcgroundto
help=-st againstthe yellow, Werto page ~;rinchaptertwofor areksher onhow
mmplementqcolorsworkinapaint@
Addtwo subtleleavestobalanceoutthe composition.I emowageyoutochange
this inanywayyouwant andmakeittrulyyour ownpiece.Justhavefun!
D E M O N S T dA T I O N
I lovethis photo forthe way the colorsplay offeach other. Even
thoughthe backgroundis outoffocus,itplays just asimpor-
tant a rolein the paintingasthe main subject.Thisis a color
copyof a digitalprint,and someofthe colors aremorebluish
than the original,so I adjustedthe colorinthe painting.
MATERIALS LIST
Paints
Alizarin Crimson
Cadmium Red Medium
Cadmium Yellow Medium
PrussianBlue
Titanium White
Brushes
%-inch (19mm) sable or
syntheticflat
%-inch (19mm) sable or
syntheticfilbert
no. 2 sable or syntheticround
no. 210 sable or syntheticround
Canvas or Canvas Paper
8" x 10" (20cm x 25cm)
Other
mechanical pencil
kneadederaser
1 Draw the Flower 2 Paintthe Background
Usingthe graphedphoto asyour guide, drawthe floweron Mix Prussian Blue andTitaniumWhiteto createa skyblue
your canvas. Makethe paintingaslargeasyou likeby alter- color. Coverthe entirebackgroundwith this color and a %-inch
ingthe sizeofthe grid squares.When you aresure ofyour (~gmm)filbert;theblue willbe a foundationforthe othercol-
accuracy,gentlyremovethe gridlinesfromyour canvaswith a ors. Letthe backgroundcolor createthe edgesofthe flowers.
kneadederaser.
3 TheAwkward Stage
Fillinthemwithano. adandah&tpmkrnadeof
AZizarinCrimsonandTitaniumWhite. AddmoreAlizarin
Crimsontotfiemixto makeadarkerpink.Usethisandano.
a10 roundto paintthe separationsbetweenthe@. Some of
the shadowsrequireadeepertone, soaddatouchofPnxssian
Bluetothe mixforthese.
AddTitaniumWhitetosome oftheba- colorto
makeahghtblueandusethisto paintthe centerofthemain
flower.Mix aTnintg m ausingPrussianBlue,CadmiumYel-
lowMedium andXlaniumWhite;usethisto paintthe skm
4 Finish
Add variousblues,gmns andpurples
intothebackgroundby scrubbingthe
paintinwitha %-inchflatbrush.This
alhwthe mlwg toowrkponeanather
withsubtleedgez,similar to aphotogra-
pher'sb a c k p u d Detailtheflowersby
drybrudmgonvarious s h a h of@
andwhite. Dotonb m andplnkwith
ano,a10 roundbrushinthecenterof
themainflower,Addhghtgreendetails
tobothfbwercenters.Addsomesubtle
leaveswith mediumanddarkgreens.
D E M O N S T dA T I O N
Thisdaisyhas manyofthe samecolorsasthe previous project,
but ithas much more contrastand sharperdefinition.That and
the many, manyoverlappingpetalsmake this paintingseem
more intense.
This is actuallya smallportion ofa muchlargerphotograph.
The originalphotowas of an entirevase fullofflowers.To
isolatethe flowerI wanted, I made a smallviewfinder. I took
apiece ofblack constmctionpaper and cuta two inch square
intoitwith an artknife. I placed this littleframeoverthe photo,
moving it arounduntil I capturedthe image I wanted within
the square.I then taped the framedownandhad the image
enlargedon a color copier.
A viewfinderiswonderfulforcroppingimagesand finding
minicompositionswithin larger referencephotos.
I made a paperview-
finder to isolate a
small segment o fa
larger photograph.
MATERIALS LIST
Paints
Alizarin Crimson
CadmiumYellow Medium
PrussianBlue
Titanium White
Brushes
no. 8 sable or syntheticfilbert
no. 2 sable or syntheticround
no. 210 sableor syntheticround
Canvas or Canvas Paper
9" x 8%" (23cm x 21cm)
Other
mechanical pencil
kneadederaser
2 Paintthe Base Colors
Mix alightpink withTitaniumWhiteand a touch ofAlizarin
Crimson. Use a no. 2 round bmsh to base in allofthepetals
with this color.
Mix a darkpinkby addingmoreAlizarin Crimsonintothe
whitethanyou didbefore. Alizarin Crimsonis a pretty power-
1 Draw the Daisy fulcolor,soit doesn't takemuch to createa deeppink. Use
Refertothe photo aboveanduse the gridmethodto drawthis this darker color on a no. z/oroundto createthe streaksin the
floweronyour canvas.Takeyour time;the overlappingpetals flowerpetals. This is wherethe formofthe flowerreally starts
arecrucialto achievinga realisticpainting. Makethe imageas to show.
largeasyodd likeby alteringthe sizeofthe squaresonyour Mix alightgreenwith CadmiumYellow Medium and a
canvas. Whenyou aresure ofyour accuracy,you canremove slighttouchof Prussian Blue. Basein the entirecenter ofthe
the gridlineswith a kneadederaser. flowerwith this color and a no. 2 round.
3 The Awkward Stage
. UsepureTitaniumWhitetodinhghhghtsonthe petals
withano.a10 round.Now shadethepetalswithvariouspinks,
switchingamonghght,mediumanddarkprnkuntilyoulike
thelookofyour flower. R e k tothephotoasyouwork.
Remember: Light OverDark,
Dark Over Light
It is importantwith a flower such as this toestablishthe separation
betweenpetals rightaway. Itis very similarto the approachwe took
with the black-and-whiterose (see page79).wth Alizarin Crimson,
paintin theshadows on and undereach petal. Donot paintan oub
linearound each one.
I,. 
14 Finish
Fill inthe entirebackgmdwith Ivory
Blackonano.8
Tomakethetextweinthecenter
oftheflower,dabinpure Cdmium
YellowMedium withthetipofano.2
roundbrush.AlsodabinsomeAZizarin
Crimsonalongtheleftedge andnearthe
middleoftheM s cmtm
Pink Daw
9" x 8%"( a hx 2 1 4
D E M O N S T R A T I O N
Flowersarebeautiful allbythemselves,but they'reeven
prettierwhen enhancedby avasein a still-lifearrangement.
Thisproject andthe next one showcaseflowersinvases.
Thevase in this projectbelongsto my mother. On oneofmy
visits toher house, I sawthis arrangementperfectlyilluminated
by sunshine.I alwayshavemy camerawith me fortimesjust
likethis.
I am alwayscarefultobalancethe lightsanddarkswhen
photographing my subjects,butthis piece turned outbetter
than I expected.The shadowsenhancethe flower arrangement
anddividethe backgroundintowonderfulgeometricshapes.
'
A GRAPHEDPHOTO
A photowith extreme
contrast between light
and shadow can make
a beautiful piece o fart-
work. Contrast is
everything!
1 Draw the Flower and Vase
Usethe gridmethod to drawthis stilllifeonyour canvas. Sim-
pllf)shapeswhereyou can,becausemuch ofyour drawingwill
be coveredup inthe beginningstagesofthe painting. Concen-
trate on the largeshapes.Erasethe gridlines.
MATERIALS LIST
Paints
Burnt Umber
Cadmium Red Medium
CadmiumYellow Medium
Ivory Black
PrussianBlue
Titanium White
Brushes
%-inch (19mm) sable or
syntheticfilbert
no. 2 sable or syntheticround
no. 210 sableor syntheticround
Canvas or Canvas Paper
16" x 12" (41cm x 30cm)
kdkFgh..
, ' mechanical pencil
kneadederaser
2 Def~nethe Basic'Color Mapn
First, placecolorineachareato createacolormapy d fdowthroughthe&ofthe
pain- Begindevelopingthemrmtonesintheglassvaseaswell,
Mixthelightwarmgoldwith Bumt Umber,M u mYellowMedium andTitani-
um White. Youcan controlhedepthoftonebyvaryingthe amountofwhiteyouuse.
Thiscolorisusedinthe center ofthevaseandinsomeofthepet&- ofthe flower
Createtherustcolorby mixingCdmiumY e hMediumwith BurntUmberand
atouchofW u m RedMedium. Youcanh@knthecoloralittleby a d d q some
whitetoitaswell.Thiscolorestablishestfiefluted shapeinthevase.Also applyitto
thecenteroftheflower.
Mixamediump e nwith CadmiumYellowMediumandatouchofPrugsianBlue.
Addabuch ofwhitebdullthe mlor.Begg addiqd thisbtheleaves,o u t h qthe
leafareastohelpseparatethem h m the petalsoftheflowers.
Mixanothergreen,anolivegreenusing CadmiumYellow Mediumand Ivory
Black Adda&ofwhitetothig mixtomakeitmoreofap d . Useboth ofyour
greensto baseinthe colorsoftheleaves.It isimpmanttovarythe typesofgreensyou
useinafloralpain* themietymatesamorenaturallook
3 The Awkward Stage
Continueadding~owshades ofgreeu
intotheleaves.~somegreendown
intDthevase aswell.
Paintsome Ivory Blackintothebeck-
groundtohelpmeatethe outsideedges
ofthe@. Paint onlyinthe areas
showntoformgeomekk shapesthatadd
totheinterestofthiscompaitbn.
en Pointing
Overall Impression
When paintinghighlydetailed subjects
such as cut glass, itcan beoverwhelm-
ingtotry to matchewry little shape
and coloryou see. Instead, lookat it
asjust nonsenseshapesthat create
the ultimate illusionofcolorful, shiny
glass. As longasyou getthe basic
shapes and diredon ofthe colors
accurate,your paintingwill lookfine.
I/4 Finish
Tomixthe beqecolorfmthe
petals,startwithTitaniumWhite and
I CadmiumYellowMediumtomakea
Zightyellow.Tothat,addsmall touchesof
Burnt Umberand WmiumRedMedi-
um Usethosedarkcolorssparingly
whiteshouldstaythedominantcolor.
W~ththiscreamyk&e,~inall
oftheflowm+s, thenghtside ofthe
badqpund, andthek m p u d
Continueaddingcolortothevase.
£lowersandlearn. Forh e dekhmih
as thegreenveinsintheleavesorthe
brownveins inthe+, lightenthe
basecolorwithwhite,tfiinthepaintwith
waterabittomakeitflowlikeink,and
paintthed d d swith ano.a10 liner.
Addtheblacktothebackpmd
tocreatetheM cpattamsofthe
mmwsitim.Ontheleftside,repeatthe
bluish greenh m thelea= intheback-
ground,goftlyb h h g it intotheblack
TIYEgradualh d qofcolorintoblack
suggest~distance.
Paintthe shadowofthevaseusing
beigesand v.Be suretousesome
olivegreenliketheoneyoumixedinstep
a toindicatethattheleafcolorisreflect-
ingintotb.e sbadow. Subtletiegs ~ &as
thseaddalotofrealismtoapainting.
AcGJbser Look
WHILE THIS STILL-LIFESCENE
appearsextremelycomplexand dimcult,
I
itfollowsallofthe sameproceduresthat
we used forprevious demonstrations.
I
Look aroundthe paintingcarefullyand
seeifyou cantell how I painted certain
I
areas.The answersarebelow. Stopread- 1
inghere and quizyourself!
Thisvase is smooth,unlikethe
texturedglassofthe projectbefore. But
I
itis stillfilledwith patternsand colors.
Reflectionsarefunto paintbecause they
I
don'thavetobe totally accurate.Look at
my colorsand shapeswithin the glass
andyou can seethat they arevery ran-
I
dom.Theyarejust a suggestionofthe
surroundings,andyou don't necessarily
knowwhat they maybe reflectionsof.
Thebiggestspotofreflectiononthe right
siderepresentsawindow,but the details
aredefinitelyundeveloped.
Ifyou feelambitious,trythis paint-
ingonyour own. Placea graph over my
paintingand drawthe imageonyour
own canvas.You can even trypainting
itin amonochromaticscheme,likeyou
didforthe black rose in the beginningof
the chapter (seepage 79).Whateveryou L
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hi
h
chooseto do,the main focusshouldbe A Study in Red
16"X 12"(41cm X 30cm)
onlearningand fun!
Now, forthe techniquesused in the dabbingtechnique. The rose petals
this painting:Thereflectionofthe red demonstrate"lightover darkand dark
onthe tablecloth showsuse ofrepeated overlight." Thebackgroundis aclassic
colors. I painted the babjs breathwith exampleoflettingthe darkscreatethe
lights.And finally,the wood texturewas
drybmshed.
C H A P T E7_1
Ianzmals
ONEOF THEJOYSOF BEING AN ARTISTIS INTHE Yodllearnbrushandshadmgtechniques todepctanimals
abilitynotonlytomatebeauwpiaures,butalsototnrly withall sortg offur,h m shortand smmthtolongandshaggy
apturethelovewefeelfornature,animalsandaurpets.This andevenpatterned But dolitstop*birds, butterfliesand
chapterwillhelpyoulearntodrawandpaintlivingthmgs. even5shmakfimsubjectsfwpainting!
=JJ3?,> !,, .y ' I j'y
, . --
a m : . a
D E M O N S T R A T I O N
I
PA N T I N C
Thehorsehas been the subjectofmanypieces ofartwork.
Thelargeanimalwith its strongshapesand gentle spiritis a
wonderful subjectfor acrylicpainting. Formore information
on howto drawhorses,please refer to my book Draw Horses
(NorthLight Books,2001).We'll startsimpleby focusingon
this horse's face.
A GRAPHED
PHOTO
Usethis graphed
photo ofa horseto
beginyour painting.
1 Draw the Horse
Use the gridmethodto createthe
drawingonyour canvas.When your
line drawinglookslikemine, carefully
removethe gridwith akneaded eraser.
MATERIALS LIST
IPaints
Burnt Umber
CadmiumYellow Medium
Ivory Black
PrussianBlue
Titanium White
Brushes
%-inch (19mm) sable or
syntheticfilbert
no. 2 sable or syntheticround
no. 210 sable or syntheticliner
Canvasorcanvas Paper
10"x 8" (25cm x 20cm)
-.. ..
Other
mechanical pencil
kneadederaser
2 Block In the Color Map 3 TheAwkward Stage
Applykmsparmtpaintwith afilbertbrushto mverthecanvas, Deepenthel x d p m d colors,usingth;rlrwvenions ofthe
fbnningyour "colormap."Thegreeninthep sareaisacom- samecolorsyouusedinstep I. Besuretocompletelycoverthe
binationofCadmiumYellowMedium,atouchofPrussianBlue m s .
andadabofTitaniumWhite. Forthe disimtba&pmd, add Forthehorse,mixthree ad^ ofbrown:aZlght (Ehmt
moreF!msian Bluetoyourpmixture.Blockinthehorse UmberandTitaniumWhite),amedium(BurntUmber)and
withpure BurntU m k adark (BurntUmberandIvory W).Mixagray outomta-
niumWhiteandIvoryBlack forthedetailsonthemuzzle.
Withtheno.a roundbrush,start to addthe colors.Your
strokesshouldfdowthehorse's form.Thejaw isllghtmthan
&e TI& thism t e sthe jawedgewithoutyourhavingtowt-
lineit. ( k m e m k ...hghtrndarkanddarkoverllghd) Use
the darkbrownmixtureto deepentheshadowsintheears,on
&eneckandundertheeyes.
Withblackandano.210 h e q fillinthe nostds andthe
eyes. Usethegrayinthemuzzleareaas shown.
4 Finish
Finishingthe paintingis simplyamatter
ofcontinuingtob d d up the paintlayers
I to createrealism. Studythe photo and
I my paintingexamplecloselyandfindthe
smalldetailsof anatomy.These subtle
detailscreatedwithlittletonalchanges
I willbringthe paintingtolife.
Themuzzle,forinstance,has abit
ofpink in it. It is awarm pink, somix it
with Cadmium Red Medium (thewarm-
!er ofthe tworeds onyourpalette)and
TitaniumWhite.
i
Createthe manewith quick strokesof
ano. 210 liner,followingthe directionof
the hair's growth.Add atouch ofred to
thebrown to giveit arustyglow. Buildup
the maneusing many layers,andcom-
pleteitwith light,drybrushedhighlights
on the outsidelayers.
Portrait of a Horse
10"x 8" (25cm x 20cm)
D E M O N S T R A T I O N
Thoseofyou whohave otherbooks ofmine may alreadyknow
my dog Penny,my studio"artdog." Shegracedthe coverofmy
coloredpencilbook Drawing in Color:Animals andhas been
apresence in two otherbooks ofmine. Sheis a fin subjectto
drawand paint.
Painting Penny requiredthe samecolorsandtechniquesas
the didthe horse paintingon the previous page.Very fewthings
changedin the artisticprocess. Themain differenceisthe need
formorehair strokes,since Pennyhas silkylongfir on her
ears.The most obviouscolorchangeis inthe background.
A GRAPHED
PHOTO
Usethis graphed
photo o f Pennyto
1 Draw the Subject
Draw Penny onyour canvasusing the
gridas a guide.When your line drawing
lookslikemine, carefullyremovethe grid
with akneaded eraser.
beginyour painting.
MATERIALS LIST
Paints
Alizarin Crimson
Burnt Umber
Cadmium Red Medium
Cadmium Yellow Medium
Ivory Black
PrussianBlue
Titanium White
Brushes
%-inch (19mm) sable or
syntheticfilbert
no. 2 sable or syntheticround
no. 210 sable or syntheticliner
Canvasorcanvas Paper
1 3 " x l O (33cmx25cm)
Other
mechanical pencil
kneadederaser
2 Blodc In the BaseColors
Usepure IvoryBlackandalinerbrushtosuggesttheeye. Indi-
atetheroundnessoftheirisandfillinthepupil.leavea small
dotopeninthepupilforthehigblqhtthatwillgoinlater.
Fill inthe nosewith lvwy Black LeaveunpainaedhQ&ht
areash maswell,k u s ethenoseiwetandshmy.
Withthe no.a roundbrush,b e pb h h ginhefaceand
earwithdilutedBurnt Umber Letyourstrokesfollowthedkc-
tionofthehair.Thisisthe thefirst oflayeringthefiufbr
deplhAddswneofthe lvwyBlacktotheeartomatchwhatyou
see inthe photo.
I Choose Background
COIOITto Create the
Mood You Want
The blue backround makesthis
paintingfeel likeast~dioportrait. A
green backgroundwould make it look
likean outdoorscene.
3 The Awkward Stage
Fillintheirisoftheeyewith B m t Umber.Agam,be sureto
leavethesmall dotfbrtheeyehighlightunpainted
Continuebuddq upthe furwithlayersofcolor.Addsume
M u mYdowMediumandCadmiumRedMediumto the
Burnt UmbertogivePennu'sfursomesubtle,warmw t -
ing,andaddsomewhitetoBumt U m ktocreatethehght
areasonherface.Continuetostudythe directionoffurgrowth
andapplyyourbrushsmhaccdqly.
Mix hwskmBluewithatouchofTitaniumWhitefbrthe
backgmmd Usinga%-inch(~grnm)flbert, startatthetop.
Thebackgmmddefmesthe edgeofPennqshead.Asyouwork
down,usek swhite inyour towardthebattom,addIvory
Blacktomakeadeepnavyblue. Blendwith acirculargtroketo
givethe bxkgmundcoloralittlemotthngandt&me. ThisBa
goodtechniqueforportraitsofanykind,whetherofpeopleor
ofyourfavoritecriw
WithTitaniumWhite andjust atouchofAlizarin Crimson,
blockintheprettypinkofPennvscollarwiththeno.a round
brush.
4 Finish
Buildupthebackgmmd&. Repeat
theprocessoflayeringthe furcolors
withtheno.a roundbrwhtobuildup
thethiclams offur, lookulgatthephoto
toseewherethehghtanddarkcolors
belong.Paint somewisps offuroverthe
b d g m u n d w i t h q u c k ~ sofaliner
brush.
Usingalinerbrushwith somediluted
IvoryBlack,matethewhiskerswith
quck strokes.
Finishthecollarby paintingthering
with IvoryBlackandXtaniumWhite.
Med is easyto paintbecauseitisjust
extremepatterns ofdarkandhght.
fintry
lantx loll (aacm x 26cm)
D E M O N S T R A T I O N
MATERIALS LIST
Paintingsomeanimalsis more aboutpatternsthan subtlecolor
changes.Thislittletiger cubis a greatcombinationofbeauti-
fulcolorand interlockingshapes.The graphingtechniquewill
reallyhelpyou drawthe shapescorrectly.
Paints
Burnt Umber
Cadmium Red Medium
Cadmium Yellow Medium
Ivory Black
PrussianBlue
Titanium White
Brushes
%-inch (19mm) sable or
syntheticfilbertI
This tiger cub's fur
is made up o f many
patterns and small
shapes.
no. 2 sable or syntheticround
no. 210 sable or syntheticliner
CanvasorCanvas Paper
8" x 10" (20cm x 25crn)
Other
mechanical pencil
kneadederaser
1 Draw the Tiger Cub
Use the gridmethodtotransferthis
drawingtoyour canvaspaper. Carefully
studyeach squareandthe smallshapes
capturedin each one. Bemost careful
with the shapesthatcreatethe eyes,nose,
ears andpaws. Dodtobsessoverthe fur
spots;ifyoumiss some,you cancreate
themwithpaintlateron.
When your line drawinglookslike
mine,removethe gridfromyour canvas
with akneaded eraser.
2 Block In the Base Colors
BlodEinthepaintingwithtransparentapphcah ofcolorto
aeateyour *colormap."A greenb d g m d , m i dh
CadmiumYenowMediumwithatouch ofhussianBlue,will
mateanoutdoorfeelthatworh wellforawildanimal.
Mixatransparentbrown outofBurnt Umber,atouch of
M u m RedMediumandwater. Usethis d o rtoblockin
theheada dhe.AddwaterandatouchofCadmiumYellow
Mediumto theremaininghonyourpalette,anduseitto
base ingome moreofthe faceandthepaws. UsedilutedBurnt
Umberunderthe paws.Baseinthestripesandthe eye,me,
earandpawM s withdilutedIwryBlack
3 TheAwkward Stage
Buildupcolorsusingthesamecolorsas
instep I butwithlesswater Thelayers
youapplyinthisstepshouldbethicker
andmoreopaque.Thepa-8 ofthe
tigercubnowbecomemoredistind
4 Finish
Thisiswherethislittlepaintingreallycomestolife.Mixap e nandaddatouchofIvoryBlackto ittomake
adeepforestgreen.Usethistodarkentheb d g m d , malungthehghtcolorsofthetigermb standout.
Becauseredandgreenarecomplemenls(oppmitesonthecolorwheel), thisgreencolorcon- nicely
withhreddishhuesinthedsfk
Buildupthepaintandaddquickbruhtmkesthatshowthetature ofthefur.Add whitewhiskersand
*eydashefwithdilutedTitaniumWhiteandalinerbrush
Inthedkemephoto,someoneis holdingthecub. Formy painting,I c h etaturnthehandler'sarm
intotreebarktomakethe swnelo& morenatural.Mixthreebrownsfmthebark:Bumt U m k ,Burnt
Umberpluswhite,andBurnt Umberplusbla& layeryour strokztomimicbarktexture.
Tiger Cub
at the Zoo
8"x10*
@ O m x 2 6 4
CD E M O N S T T I O N
F I ~ S~ I V DSCALES
Not allpets arefurry.Someofmy favoritefiiendsareinthe
many aquariums Ihave allovermy house.This is one ofmy
fish,a calicofantailgoldfish.YodU be surprisedathow quick
and easythis littleproject is.
MATERIALS LIST
Cadmium Red Medium
Cadmium Yellow Medium
PrussianBlue
Titanium White
%-inch (19mm) sable or
syntheticfilbert
no. 2 sable or syntheticround
no. 210 sable or syntheticround
Canvas or Canvas Paper
1 2 " x l V (30cmx4lcm)
mechanical pencil
kneadederaser
.... ..
1 Draw the Fish 2 Paintthe Base Colors
Use the gridmethodto drawthe outlineofthe fishonyour can- Mix aprettyorangecolorwith CadmiumYellow Medium and
vas paper. Whenyour outlinelookslike mine, removethe grid Cadmium Red Medium.With a no. 2 roundbmsh, applythe
lineswithyour kneadederaser. orangetothe fish's back,belly andtail.
Mix a mediumgrayoutof Ivory BlackandTitaniumWhite.
Stillusing the no. 2 roundbmsh, applythe graytothe fish's
faceandbegin paintingin the detailsofthe fins.
3 TheAwkward Sbge
Takesomeofthe orangemixyouused instep a andaddmore
yellowandwhitetoitforalighterorangecolor.Usethistopaint
therestofthe W sbelly.Thelightercolor seemstomakethe
bellypmtnrde.
Adddafkdetailstomakethefishlookreal.Justafewblack
dabsandlinesbringthe&htolife.Painttheflowingh swith
IvoryBlackthinnedwitfiwater.
4 Fin-ish!
Abluegreenba- willmakethisfishlooklikeheis
floatinginwaterratherthanair.W e someTitaniumWhite
andmix inaverysmallamountofPrussianBlue.Thenaddjust
adabofM u mYellowMediumtomatetheaquamarine
dm.Paintthelxkgmund, andalsopaintsomeaqwmarine
withinthefinstomakethemappeartransparent.
Thisspeciesofgoldfishis puffy, andits abdomenshould
appearveryround.Toachievethis,mix alittlegrayintoyour
orangeandpaintashadow edgealongtheabdomen
Continuedabbingthedark" d i d spotsintothebody ofthe
fish. Justforfun,addsomebubbles. hokclosely,andyouwill
seethattheyarenot- marethantinyspheres.
AN UNDERWATERLANDSCAPE
Ifone fish is good, atankfull offish iseven h r . Fish are so beautiful
the way the colorsdanceoffofthem. Aquarium gmnery is quitesimilar
to the leavesyou've already painted in landscapesand floral still lifes.
Lookaround and you will findthat even ordinarythings in life, things
we take for granted, can besubjectsfor creativeand enjoyableart lfyou
fee adventurous, trythis paintingyourself! lfyou like,you can add afew
diRrent fish species by lookingat photosin booksaboutfish. You can
createyourown aquarium n n e !
D E M O N S T R A T I O N
M c N P , R C H B U T T E R F L Y
A wholebook couldbe written on paintingbutterflies. I make a
point each summerto searchforthem andtake asmanyphotos
aspossible. They're sobeautiful, andthe artisticpossibilitiesare
endless.
This is a greatprojectfor abeginningpainter.Thewings
and patternsare seen stralghton and areeasyto drawusing the
gridmethod.
1 Draw the Butterfly
Use the gridmethodto drawthe outline
ofthe butterflyonyour canvas.When
your outlinelookslike mine, removethe
gridlineswith a kneadederaser.
MATERIALS LIST
Paints
Alizarin Crimson
Cadmium Red Medium
Cadmium Yellow Medium
Ivory Black
PrussianBlue
Titanium White
Brushes
%-inch (19mm) sable or
syntheticfilbert
no. 2 sable or syntheticround
no. 210 sable or syntheticliner
Canvas or Canvas Paper
1 4 " x l l " (36cmx28cn-
%her
mechanical pencil
kneadederaser
2 Paintthe BaseColors
Thisveryc o l dbackgomdis almostas im-t tothe
paintingas thebu-y i M .Use amultitudeofcolors,and
smibeadloneinwith& d a r strokesofaflatbrush.Most of
theseare pastel colors,whichmeansTitaniumWhitehasbeen
addedtothemix Ex@ment withthe colors.
Black inthedarkorange areasontheM y withan
orangemixedfromCadmium Red MediumandM u m
YellowMediumForthelighr orangeareas, addatouchof
XtaniumWhite totheorangemix.
3 The Awkward Stage
Oncethe orangeareasoftfiebutterfly arecamp&, paint
TitaniumWhiteonallofthes-. Thendilutesome Ivory
Blackwithwarntoanink-& comhncy andaddtheblack
detailswithano,a10 Zinerbrush.Withthea t i o noftheblack
details,youbegintoseethebeautyofcontrast!
Fillintheflowerstemwitha greenmixedhmPrussian
Blue,CadmiumYellowMediumand'I"rWumWhite. Mix an
olivegreenusingIvoryBlackandM u mYellowMedium
anddabthisontocreatetheheadsofthe flowers.
4 Finish
Build upadditionallayem-ofcolor.Add
flowerdetailswith amallno.a10 liner
brushandAlizarinCrbmmandTita-
niumWhite. Thelightcolorsseemto
danceagainstthe darkbaclrgrmtnd.
Tofinish,m blayerafterlayerofdif-
f m tcolorsintothe backgmmd,mak-
ingsurethatthetmsitionsofcolorare
smoothThisk dofblurred background
makegitlookasifthereis so- in
thetxkgmrd butthatit's simplyout
ofh s .Thisletstheviewerfixus onthe
mainsubject,thebutterfly.
Monarch on the Lilac W h
14"X 11" (36cm X 2-
Birds arebeautifulcreaturesto paint. Iliketo usebirdsin my
MATERIALS LIST
I
artworkbecausethereare somany differentshapes,sizesand
colorsofbirds. In fact,I createdan entirebook aboutdrawing
them in coloredpencil,called Birds, part ofthe Drawing In
Color series (NorthLight Books, 2001).Thephotos and color
explanationsinthatbook couldeasilybe usedto paintfrom
aswell.
I likethe pose ofthis red-tailedhawkbecauseofthe strength
itportrays. Thispoor birdwas injuredand canno longerfly;
fortunately,itisliving outits lifeat a zoo. Zoos and raptor cen-
ters aregreatplacesto take photos and findreferencematerial.
Paints
Burnt Umber
Ivory Black
Titanium White
Cadmium Yellow Medium
Cadmium Red Medium
PrussianBlue
Brushes
%-inch (19mm) sable or
syntheticfilbert
no. 2 sable or syntheticround
no. 2 sable or syntheticliner
1 Draw the Hawk
Use the gridmethodto drawthe outline
ofthe hawk. Whenyour outlinelooks
likemine,removethe gridlineswith a
kneadederaser.
Canvas or Canvas Paper
1 6 x 1 2 " (41cmx30cm)
Other
mechanical pencil
kneadederaser
2 Block In the BaseColors
Startthebadrgroundwithasky blue colormixedh m Tib-
niumWhiteandatouchofFhssianBlue.Usethe %-inch
(~gmm)filbertbrushandpaintthehckpmdwithhorizontal
strokes.
W~thIvoryBlack,paintthe shapeoftheeye. Usetheliner
brushformorecontrol.Use a dilutedmixweofIvory Black
andBurntUmberwithano,a roundbrushtoblockinthe
hawksbody andwings. Yourshahshould startbm z t ethe
shapesofthefeathers,givingyousomedingtofollowinlater
step9*
3 TheAwkward Stage
Ehdduplayersofpaintugingmoreopque mixhlresofthe
samecolorsas instep a. Keepdefimq the feathershapeswith
yourbrushstrokes.Beginto developthedmhw,whichare
h t e dunder theface,underthewingsandontheunderside
ofthetreelimb. Doritworryifyour paintinglookssloppy"the
awkward isjust partoftheproms.
MudHawk
16"x 12' (41cmx 3hm)
4 Finish
Nowyodlstart to l a d ethedetails.
h dtbeahid; takeyourtimeandliter-
allydraweachshapewithpaint,oneat
atime.Thelinerbrushishelminthig
e-
StudythephmgraphandlookfwaJl
thesmall areasofcolorthatarelayered
ontop0fex.hother Form p l e ,the
f& ofthecheststandoutagainst
thedarkbrownbeneath.Thedetailsof
thewingsarelayeredontopdthedark-
enedBurntUmberyoupamtedinstep a.
This abilitytolayerdm iswhatmakes
q l i cpaintingsomW!
Addt o d m ofCadmiumYellow
Mediumand CadmiumRed Mediumto
Burnt U m k tomateawarmb m .
Usethiscolorinthedmtfeathers, on
thebottomsofthefeetandonthetree
limb.Add some CadmiumYellowMedi-
um totheeye.
Fortheedges ofthe feathem,add
atouchofEtaniumWhiteto Burnt
Umber.Paintalongevery kther edgeto
Is q m t e t h e r n , ~ t h e m ~ ~
Z i k e ~ s m a w o f :
Keepwwhg, C o m ~ y o u r p a i n t -
ingtothephotograph,andseehowmany
littledetailsyoucan capture.lookatmy
finishedpaintingandyodlseethat I
ofknsimplifiedareas,espeaallythosein
shadow.Itmaytaketimeandmanylay-
erstogetyourpaintingwhereyouwant
it,butthat's okay.As Itellmy students, it
isallinthe #-!
SOMETIMESNATURE PRESENTS
the artistwith almostmagical opportuni-
tiesto paint. The sceneinthis painting
was one ofthosetimes forme. I lovethis
paintingofmy kittyformany reasons.
First, I think Mindyis acutie,andher
facemakes me smile.Artistically,her fur
is abeautiful combinationofcolors and
patternsthatwas challengingyet funto
create. Compositionally,the angleofthe
Mindy in the Sunshine
9"X 12"(23cm X 30cm)
bricks createsa senseof depth,andthe
plantscascadingoverthe bricks actlike
a subtleframe surroundingthe kitty's
head.
Butwhat Ilovemost of allabout
this paintingis the colorscheme.The
complementarycolorsmakethis paint-
ingreally standout. Look athowthe red
tonescontrastagainstthe greens.The
goldentoneswithin the reds createa
warm sunsetglowthroughoutthe entire
piece.
Whereveryou go,carryacamera so
thatyou cancapturemomentssuchas
this when subject,compositionand color
all cometogether perfectly!
Seethe detailsonthe facingpageto
fnd outhow I painted this.Tryityourself!
BRICKSAND BUSHES
I useda dabbings h k e to meatethe bushes. I beganwith the dark
tones, then addedthe lighterm l o ~in layers,dabbingeachoneto
createtexture.
HIP
To createfurthat is madeupofmanycolorsand pmrns, you needto
paint layerupon layerupon layer.The beautyofacrylicpaint isthe abil-
ityto continuallyaddcolorsand builduplayers. Lookat howthe paint
strokes createthe patternsanddimionofthe kitty'sfur.
Iusedthedry-brushtechniquehere, buildingupthecolorsofthe
ground in layers. Always followthe directionofthe suhcewhen apply-
ingyour strokes. I appliedthese strokesdiagonallytogivethe illusionof
distance.
NOTHING ISMORE REWARDING THAN CREATINGA
realisticporhit ofa spead person.I haw speciahedinp r
traitureformy entire am^ I've matedthousandsofporkaits:
ofcbkhn, families,presidmt. andNASCAR drivers. My mm-
1positesketchesandforensicillustrationshelplawenforcement
o&ials mpturecriminalsandsolve "JohnDoe"mysteries.My
f i r s t b o o k w a s H o w t o D m w L ~ i h ~ i t s F r o P n P ~ k
(NorthLight B&, 1995).Whilepeopleareapopularsubject
fbralotofartis&, theyarealsoconsideredoneoftheb d ~
subjectstoprtray inart
Thedif5cdtycomesh m the needtobetotally accurate.
Ifanythinga h ttheprtrait isnotright,thelikenessofthe
personislost.I always suggestthatmy s h h & 9drawing
-IS beforetheyattempttopaintthem.Drawingisthebest
waytogetagoodsolidu d m h h gofficblanamy.This
chapterwillgiveyousome q w r k x ewithportraitpainting.
Y 0 ~ 1 ~ h o w b m i x g o o d ~ ~ ; s l d n t o n ~ a n d w h t b
lookforinthe anatomyofaface.
Painting Skin Tones
I ~ w i t h t h e s a m e ~ ~ t o n e m i x f o r a ~&tmm,but I
alterthefbmulad e p e d q onthe depthandtone ofthecom-
plexionI amcrating. Here's how I doit
D h h
BaslcMIX+more Basic Mbr +more
Burnt Umber CadmiumYellow
Medium+ Prussian
,! '$3
--., .
Bnsk Mix
LrSkin Tones
Trtanium White +
dab of Cadmium
Yellow Medium +
dab of Cadmlum Rcd
Medium+touch of
Burnt Umber
wme?
Basic Mb:+more
Cadmium Red Medium
1
LIGHTSKIN
MydaughterLeAnnehas a very palewmplexion, and inthis lightit
tookon avery pinkcast. Iadded atouch ofAlizarin Gimsontothe
basicskintone mixtureto make itpinker. Fortheshadowareas, I
darkenedthe basicrnbrturewith touchesofAlizarin Gimson and
Burnt Umber.This makes amlshadow, whichwill appeartod e .
Golden
Forhighlightareas suchas the nose, I usedGdmium Red Medium
Basic Mix + touch becausewarmer colorstendtowme foward.
Cooler
Basic Mix+touch of
Prussian Blue
w w
Basic Mix+more
Burnt Umber ofCadmiumYellow PoHmi
Medium
16"X 12"(41cm X 3km)
DARKSKIN
I paintedthis boylsskin with the samecolorsasinthe other portrait,
but Iusedmuchmore Burnt UmberandAlizarinamson inthesldn
tone mixhrreto mak hiscompldon deep. As with Mnne'c portrait, I
madethe mixcoolerinthe shadows andwarmer inthe highlights.This
iswell illustratedinthe boy'sfomrm.
Whenpaintinghair,itisveryimptantthatyourbrushtrolm page 113isaperfectexample.Lookatthepain- andyoucan
gowiththe djreciicmofthehairitself.Itisalsoimporhntto seethemanyb m h d d c ~ ,h ndarktolight.H e & are
developthehairusingmany,manylayers.Whether it'sthickor addedlasttomatethe shine.
tfiin,hairismadeupofthausads ofmds.L€your realhair Fortightlycurledhair thatoftheboy onpage 113,you
has ~o,ooostrandsIitwillbeimpsibletoaccuratelydeplctit dodthaveahairdirectionto follow. Rather,youhaveat&ure.
inapaintingwith acoupleof s i d e s . KeepbuddhgcolorIlayer Createthiskind ofb a i ~witha dabbingdry-brushtedmique.
afterlayer,andthehairwilllookrealistickAnne!shairon
Straight or WavyHair
1Start LeAnne's hair
with longstrokesofa no.
2 round brushfollowing
thedirectionofthe hair.
Paintthedarkesttones
first
Tightly Curled Hair
--L
1Start with a single,scrubbed-in layer. Usea
no. 2 round.
2 Fill inthehair
with quick, t a p e d
m k e s . You'll need
to paintrnany layers.
3Add layersoflighter
colorson top usingthe
same longstrokeyou
usedatthe beginning.
This giwsthe haircolor
and shine.
2~ d dpaintwith a dabbingtechnique, holding 3Add lightertones usingthe same dabbing
the brush perpendiwlartothe canvas. technique.
Exercise: Paint Facial Features
M s practicepainting somep e r kf a dfeatureswitha h u s etheshapesaremorecompk.Theeyeswillbetheb-
r n o ~ m a t i ccolorscheme.Smrtwiththenose,h u g eitis gestchahge. Theyhavemanysmallshapesanddetailsthat
theleastcomphtedofthefeaturesandmcsth e l yresembk areimprtantto aptweacmraidy.I lovepainting b u s e
asphere.ThemouthwillbeabitmoredBicultthanthe nose oftheirbeautyandthewaytheyreflectemotion.
1"Drad' theshapes inwith a linerbrushand 2Witha no. 2 round, addmore mediumgray 3 Refinethecontourswith variousshades
a mediumgray.This isthe start oftheoverall to createthe skintone. Keepingasphere in ofgray. Usedarkergrap forthe nostrilsand
form. mind, letyour strokes createthe roundnessof shadows. UsepureTitaniumWhitehrthe
the nose. highlights.
Mouth
1"Draw" theshapes inwith a linerbrushand 2W~tha no. 2 round, addmediumand light 3 Deepenthe skintones. Usedarkgray inside
amediumgray.These s h a p are morecom- grayfor the skintone. Use lightergrayacross the mouth, and suggestteeth with blackanda
plexthanthoseofthe nose. the middleofthe lower lipto makeit look liner brush. Resistthetemptationto makethe
rounded. teethwhite; theinsideofthe mouthin shadow.
Highlightthe skinwithwhite and lightgray.
Eyes
1It'svety importanth rthe irisesand pupils 2~ t hmediumgray, beginplacingtoneto 3~ d dmoremediumgray skintone. Use both
to beperfectcircles, sodraw themwith acircle createthe curveofthe browandthe shapeof lightand darktoneson top ofthatto create
templateorstencil. (Thisrulechanges ifthe theeye. Add sometonetothe irises. theform. Add smalIdetailstothe irisesto
q e isnot lookingstraightahead.) Leavean makthem sparkle. Fortheeyebrowsand
unpaintedareaforthecatchlight,plaungit eplashes, usediluted paintandvery quick
halfinthe pupilandhalfinthe iris, "Draw" the strokeswith a linerbrush.Thiswill create
shapesinwith a linerbrushand Ivory Black smalltaperedlines.
DEMONSTRATION
PAINT A M o O C H R O M A T I C PORT
IhavedrawnAbraham Lincolnfbrmany ofmy pwtraitbmh.
F m m e , m ~ f a c e h a 9 m m u c h ~ i n i t . T h e p h o t o
belowis ahvoriteofminethatshows Lincolninhislateryeam,
Theweatheredlookofhisficeisevident,andthewrinklesof
ageapparent. Sincethisisavintagephotograp4Ithaughtit
wouldbeagoodportt-dtto doinsepia-liketones.
MATERIALS LIST
Bunrt Urnkr
Tiinium White
B r u s h
%-inch (l9mm) sable orsyntheticfilbert
no. 2 sableor syntheticround
no. 1 sableor synthetic liner
CanworCanns Paper
1 2 x 9 (30crnx 23crn)
Other
rnehaniul pencil
kneaded eraser
I
A GRAPHED
PHOTO
Usethis graphed
phototo beginyour
painting.
1 Drawthe Faee
Drawthefaceonyoureaflyagpepex Dodtfeeltheneedtoeap
t u r e e v e r y ~ w r i n k l e a d d e t a i l . Y w w i l l b e ~ ~
detailwithpaint.Whenyour linedrawingb b likemine,care-
fullyremovethe gridwithakneadederaser.
4 Finish
As youfish thepain- ref= o hto
the~ h g r a p h .
Usetheroundbrushtofillinthehair
andbeard withmorepure Burnt U m k
Usethelinerbrushtoaddsubtlehght
h ~ t s . ~ h b f o I l o w
thehairdirection.
W~thBurntUmber;work onthe eyes,
dar+ the shadowsandmalungthe
eyebrowshairia Addh@ghts tothe
eyebmwswithlighthwn, just as you
didthehairandbead
Developthe noseandmouthformore
realism,payingparticularattentiontothe
shadowsanddectedlight.Remember
theh e elementsofshadq (seepage
as)andreferto the d s e 9 onpage115
ifywneedhelp,
Continuetoaddsmall debis inmany
layers,usinglight,mediumanddark
shades ofBumt Umber.Lookatthetie,
andyou canseehowb ethreeshades
matedtherealismofthehbric.Use
shadesofwhite,darkenedwith Burnt
Umber,tomeatethedefinitiononthe
shirt Althoughitisaw b i l ~shirt,it
shouldnotbeleftpurewhite,
ID E M O N S T R A T I O N
WOMAN'S COLOR
Thisphoto ofmy daughterLeAnneis a goodoneforpracticing
paintinga facein color.The dose-uppose combinedwith good
lightingmakes the featuresand colorseasyto see. Thisportrait
maylookdimcult,but you cando itifyou takeyour time, start
with an accuratedrawing,andpaintthe facialfeaturesone at a
time. Whenyou aredone,you will have a finishedportrait!
A GRAPHED
PHOTO
Usethis graphed
photo to begin your
painting.
1 Drawthe Face
Usingthe gridmethod,drawthe faceon
your canvaspaper. When your line draw-
inglookslike mine, carefullyremovethe
gridwith a kneadederaser.
MATERIALS LIST
Paints
Alizarin Crimson
Burnt Umber
Cadmium Red Medium
CadmiumYellow Medium
Ivory Black
Titanium White
Brushes
%-inch (19mm) sableor syntheticfilbert
no. 2 sable or synthetic round
no. 1sable or synthetic liner
Canvas or Canvas Paper
x 12" (41cm x 31cm)
mechanicalpencil
kneadederaser
circletemplateor stencil
2 Black In Skin Tones 3 The Awkward Stage
Wi&aroundbnxghand&e~htonemixthatwetallred Thhhmernixhgtep~andadddesofAlizarin
abutonpage11% b l dinthetonesaroundthenoseand CrbmmandCadmiumRed Medium.Thisis fbrthe shadow
mouth Leavethelipsalonesoyoua tlosetheirdehition. coloralongthe sideofthenoseandthebasecolorofthelips.
Usetheroundhush toapplyandlayerthesecolorsintothe
paintins.
Now addsome Burnt Umberto themix andpaintthe ast
shadowsonthenghtsideofthenostrilandunder the nose.
Alsoplacesome ofthis colorontheinsidecornexsofthemouth
andstarttodewdtfielips.
4 Finishthe Mouth and Nose
Use alinerbrushandthebasicskintonemixtopaintsepara-
tions b e e ntheteeth. Studythephotographandcon- to
layerinsmalldetailswiththelinerbrush.Uselight,medium
anddarktone3forrealism Lookforthe subtleshadow onthe
l& sideofthenoseandthehighlightonthenose'stip.Also
noticetheshadowgunderthe m ethatalmostmeetthelip,and
thegmall aease-inthelip.Youcanseewhy I dlthis"draw-
ingwithabrush"
5 Start the EyeArea
Useacircletemplateors t m dtomakethe irigesandpupds
~circles.(Ihepupilandirisare~circlesdyifthe
eyesareh h n g d m d yatyou.)
Witharoundbrushandthebasicskintone mix M b e d
onpage 113,fillinthe a m aroundtheeyes.Usea smallamount
ofBurnt Umberonalinerbrushtomefully "draw"theoutside
edgeaoftheeya andeyebrows.
6 The Awkward Stage
CreateaIqbtolivegreenby mhhg CadmiumYellowMedium
with atouchofIvory BlackandgomeTitaniumWhik. Usethe
linerbrushbfillintheiriseswiththiscolor Fillinthpupd
withpure IvoryBlack leavingasmall dotfbrtheEghIight
(%s isalsohewnasa catchlight, andit shouldalwaysbe
placedhalfinthe irisandhalfinthepupd)LeAnnehasadark
edge aroundheririses,soapplyatouchOWwiththeZiner
brush.Also oudinetheeyeMs.
Thereisahugelyimportantdetailthatisoftenl& outofthe
eye inm k ,andthatisthe edg~ort l k h m s ofthelowerlid.
W eha9 averyprominentedgehere.Itwilllookevenmore
prominentwhenyouadddarklashesinthenextstep,
Withthe shadowcolorsdescrikdinstep 3, begrndefhing
theareasbesidethebridgeofthenoseandabovethe eye and
eyehds.
7 Finishthe Eyes
Continuetodevelopthe eye details.Noticethatthewhiteofthe
eye (aleohownasthesdera)isnotpurewbite.Ihaveshaded
thewhitesoftheeyeswithsomehghtgray andbasicskintone
mixtomakethemlwk roundedThesecolorsaredeeperonthe
rightsideduetotheshadows.
Lowsweepingeyelash aream h g partofkhne's
appeaTance. I suggestpra- eyelashaon a saappieceof
mvaspaper&sL Ittakesverythinpaintandquickstsokesof
thelinerbrushto makethelinestaper.Alsonotehowtheeye
lashesgrow inlittledumps,andappearlongerattheoutside
edges.
Addaquickstrokeofwhitetotheat& hghtareato make
theeyessparkleandlookmoist.
over thesideofherfu,Be sure touse
long strokes thatfollowthedirectionof
thehair.Remember;hairmustbebuilt
upinmanylayersa0looknatural.
Itismtmcesgafytotrytomatchthe
photographatthispoint.Thehairisjust
ahmeworkto makeyoulookatthe face,
andis supplementaltotheWt.
8 Finishthe Portrait
Nowitistimetoputallofthistogether
by addingthehair.Blondehairis made
upofmanycolorsalllayeredlagether.
Youa nseewhere I haveusedCadmium
Yellowand CadmiumRedfora reddish
hueaswellasBurntUmberandIvory
Bkckfbrdeep*.
Withthedbnxsh,basein&e
reddishcolorf kThenlayerallofthe
othercolorsona ~ pofthat. Paintthelight
blonde-IS last, andmted them
D E M O N S T R A T I O N
In this projectyou'll getan introductiontopaintingclothing.
MATERIALS LIST
I
Fabricis a challengeto paintbecauseitmoves and conformsto
the shapeofthe body. In this piece, itis interestinglylit,with
extremelightingand shadows.
You cangetmorepractice with paintingthe faceby using
the gridmethodwith the finishedportrait onthe next pageto
drawthe entirefigureonyour canvas;however, forthis exer-
cise, Iwillconcentratejust onthe jacket.
Paints
Alizarin Crimson
Titanium White
Brushes
%-inch (19mm) sable or syntheticfilbert
no. 2 sableor syntheticround
no. 1 sableor syntheticliner
Canvas T-
12"xlO" (31cmx25cm:
1171 .I ...
1 Sketch, Then Start Paintingthe Basic Shapes
Sketchthe overall shapeofthe jacket. Use a gridifyou'dlike.
Thejacket is madeup ofmany odd shapesand curvedlines.
Use a linerbmsh andAlizarin Crimsonto ''draw" inthe
basic shapes.Then,with a no. 2 roundbmsh, startto fillin the
jacket with a mediumpink mixturemadefromAlizarin Crirn-
son andTitaniumWhite.
2 The Awkward Stage
Oncethe entirejacket is Wed in with the mediumpink mix-
ture,createa darkerpink andbegin tofdlin the shadowareas
ofthe jacket. Look atthe finishedexampleonthe next page as a
guide. Now mix averyllghtpink andpaintthe highhghtareas
wherethe fabricprotrudes.
At this stage,the paint stilllooks alittletransparent,but
dodt stopnow!
3 Finish
KeepaPP1ying~~).ersOfpaint,plaang
the@ts andkksas&awn Theh&t
iscorningfromtheupperleft,which
detemheswheretheshadowsare.The
shadowsonthe jacketarematednot
onlyby hldsinthefibric,but alsobythe
Ifyouwantto paintthe entirepose,
m t ethebluejeansusingthesame
with PrugsianBlue andTitanium
Magazine PictundMagazinescontain lotsofphotos
ofclothingofallfabricsand styles.
Graph a photo,createa drawingon
your canvasand useitfor practice.
This isagreatwayto get moreexperi-
ence paintingcreases,fblds and all
kindsoffabric9
R~GlbserLook
. . .- , - . ,.
-
personality. In this painting,the jean -, . -- ..... ..- . -
-- - - - -
- - . .A .- ....
...
jacket addsruggedness, making this man i- . -...- .. . .
.-.* ........
...!--, - ..- -
appeartobe an outdoorsman.If I had e:-,. - :.
' _ _- - ._ .
painted him in a shirtandtie, itwould
have changedhiswholepersonality. . . .
The extremeuse of shadowsmakes
- . -
this paintingintense. Lookatthe way ..._ -.......-. . ... ,
the lightplays off ofthe man's faceand
illuminatesthe frontofthe jacket. Also
noticeallofthebrighthighlights on the
face.This paintingis areal challenge!
Ifyou want totrypaintingthis
portrait yourself,placea grid of %-inch
(13mm)squaresoverthis portrait. Then
placea grid of I-inch(25mm)squareson .:i; -"'- -
your canvas.This will makeyour paint-
ingtwicethe sizeofthis reproduction.
Really studythe colorsandtryto re-create
them. Refertothe portrait of LeAnneon
page 121forthe skintones. Refertothe
paintingon page 123forthe clothing.
Thepaintingprocessesin both ofthose
examplesarevery similartowhatyou
woulduse forthis painting.
Sam
11"x 7"(28cm x 18cm)
Conclusion
I hopeyou have enjoyedreading this
paintingbook asmuch as Ihave enoyed
creatingit. I feelvery fortunatetobe
branchingout,teaching my painting
techniquesaswell asthe drawing
methods I have longtaught.
It is awonderfulfeelingforme as a
writer andillustratorto knowthatmy
work will continueonwith my readers.
I have made somanywonderfulfriends
through my careeras an artist. Manyof
these friends I have sharedtimewith;
others Ihave never met. I'm looking
forwardto making many more!
My goalas awriter,however,has
never been fameand fortune. It is simply
to sharesomethingIlovewith others.
I am passionateaboutmy art. It is not
just what I do;it iswho I am.
Ihope artbecomes asimportantto
you,too. Goodlucktoyou always!
A TRIBUTETO OURMILITARY
Two years ago, my son-in-lawwent to Afghanistan as an army ranger. I tied this plasticyellow
ribbon around my gaslight in myfront yard, where itwill stay until hecomes homefor good. It is
nowtattered and torn and becomingworn out, much like manyofthe men and women who are
defendingour freedom.
This is for all ofthe bravesoulswho so courageouslygive ofthemselves to protectthe honor
and freedom ofothers. Mywish for the world isthat no moreyellow ribbonswould ever haveto
betied.
Seja pago para desenhar
Talvez você seja uma artista e provavelmente usa seu tempo desenhando ou simplesmente
rabiscando. Porém isso parece que não está te levando a nenhum lugar, além de uma prateleira
ou gaveta empoeirada dentro do seu quarto. No entanto, na realidade, é possível a troca de todo
esse trabalho por uma renda online. O e-book Como Ganhar Dinheiro Trabalhando com
Desenhos e Fotos mostra como começar uma carreira, e você nem precisa ser um Da Vinci para
receber o pagamento. Você pode ganhar dinheiro mesmo sendo um desenhista amador.
Muitas pessoas e empresas pagam por coisas como:
● Temas
● Padrões
● Logotipos
● Desenhos
● Artes
● Ilustrações
E para você trabalhar e vender essas coisas, não precisará fazer entrevista ou qualquer coisa
parecida. É um trabalho baseado na internet. Sem a menor quantidade de estresse e você ainda
pode trabalhar em qualquer lugar e quando quiser. Esse e-book afirma que pode ajudá-lo a
publicar o seu trabalho na internet, e ser pago por isso inúmeras vezes. Seu desenho será usado
mais de uma vez e você será pago a cada vez que alguém usar.
Alem disso, se o seu trabalho for uma obra de arte, um logotipo, ou um desenho, você poderá
receber muito mais em comparação com o que você imagina. A propriedade intelectual é muito
cara, e há muitos leilões online que podem garantir um excelente preço pelo seu trabalho.
Como Ganhar Dinheiro Trabalhando com Desenhos e Fotos é um e-book muito informativo.
Com muitas diretrizes de como você entrar no mercado de trabalho e ainda traz muitos extras.
São mais de 60 links que te levarão para sites de cursos, artigos técnicos e muito mais.
Esse e-book não promete dinheiro fácil, você precisará trabalhar para poder ganhar dinheiro
com desenho, mas se você gosta de desenhar, esse e-book vai mostrar o trabalho ideal para
você.
Além de poder trabalhar em qualquer horário ou lugar, você também poderá desenhar o que
quiser. Isso permitirá que a sua imaginação criativa assuma o total controle, e dessa forma se
tornará um trabalho muito gratificante.
Clique aqui e confira mais detalhes. http://carlosdamascenodesenhos.com.br/como-ganhar-
dinheiro-com-desenho/
Conheça também os Cursos de Desenho Online
Index
Acrylic paint, 8-10
layering,11,26,34,65,1og
mixing, 11,18,23
90% lefto~l's,g,I5
thinning, g, 11,66
Animals,gz
butterfly,104-106
cat, II*III
dogwithlongfur,9 6 9 8
iish,10=103
furpatternontigercub, 99101
hawk, 107-109
hone. 9395
Atmosphericperspective,7273
Backgrounds,~3,40,72.84.g7
Blending,23-z~,g7
Brushes,8,1z-13
liner,2526
filbert 24
flat,q , z 6
round, 12,~s
Bmshstrokes, 50.7617. I*
circuh, 97
toaeate texture,26,27
directionof,35,49,50,61,67
fill-in,q,49
Canvas,8,q
Cast shadow,28,39,42
Colorschemes,2-21
Colorwheel, 16,17
Colon.SeealsoComplementarycolors
basicpalette, g,18-19
darkening,20
mixing,18-1g
theory,16,17
unifuingpaintingwith,5a
Complementarycolon, 17,20, 31,
55-57137.83
Composition,55.59.64.74.86
Contrast,17,2o,33,82,88
Dabbing,23,26,77,91,111
Depth,33.64.70
Drawing,36,37,40.43,11a
Drybrushing,26,42,n,g1,111
Flowers,78
analysisoftechniques,91
onbackdropofcolor,8445
definingsubject,8-7
monochromaticflowerstudy,79-80
petalsin color,8143
in ame, 88-90
Foreshortening,70
Grid method ofdrawing,36,37
Highlights,32.33.34
Hue,17
Landscapes
atmosphericperspectivein,72-73
doudscape,6445
horizonlineplacement, 59
withperspective.7-71
seascape,monochromatic,5941
seascapein color,62-63
stormclouds, 6 M 9
tropicalsky,6667
Light source,28,48,53
Materials,8,15
Monochromaticpainting,z1,35
flowerstudy,7940
porhaif 116118
seascapedemonstration,5961
ofa sphm,28-30
stilllifedemonstration,46-48
Paints. SeeAaylicpaint
Palettes, 8,g, 15,18
People,IIZ,r16118.1rg-122, I Z ~
dothing,~3-1a4,
facialfeatures,115
hair, ~q
skintones, 113
Perspective,70,72
Photo references,36,86,124
Portraits. SeePeople
Realism,28,57,80,go,g5
Reflections, 3a,38,54,57
Shadesofcolor,17.18
Shading,elementsof,28.42
Shadows,ao, 31~33.34
Sponging,2675
Still lifes
analysisoftexture,27
complementarystudy,55-57
cutglass,43-45
glassandmetal,4-41
monochromaticscene,46-48
paintingglassandshineexerase,39
peachesandteapot,4951
pewtermug,42
Supplies. 8,15
Surfaces,8,g,rq
Techniques,za. SeealsoSponging;Dry-
brushing; Dabbing
blending,23-25.97
aeateformwithbrushshkes. 35,49,50
creatingtexture,26.27
foreshortenjng,70
letbgdarkraatethelights,40,79,81,91
lightoverdark,darkoverlight,65.87,
91.94
shading,28-30,34.3$
using avkwlinder,86
Texture,26.27
Tools,8,I$. SeealsoBrushes
Triadiccolorscheme,21
Value,17,29
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Pintura acrílica com lee hammond

Pintura acrílica com lee hammond

  • 3.
  • 4.
  • 5.
    -Lee Hammond paintinginher studio in Overland Park, Kansas. About the Author Polly "Lee" Hammondis an illustrator and art instructorfrom the Kansas Cityarea. Sheownsand operatesa private art studio calledTake ItToArtm, where sheteachesrealisticdrawingand painting. Leewas raised and educatedin Lincoln, Nebraska,and she establishedher careerin illustrationandteaching in Kansas City.Although shehas lived alloverthe country,shewillalways consider Kansas Cityhome. Leehas been an authorwith North Light Books since 1994.Shealsowrites andillustratesartides forotherpublicationssuchas TheArtist's Magazine. Lee is continuingto developnew art instructionbooks for North Light andhas alsobegun illustratingchildredsbooks. Fine art andlimited-editionprints ofher work willalsobe offered soon. Leelives in OverlandPark, Kansas, alongwithher family. YoumaycontactLeevia e-mailat Pollylee@aol.comorvisither website atwww.LeeHarnrnond.com. Foreword Therearemanybooks aboutthe manyways one cancreateawork ofart. Butwhat makes each paintingdiffer- ent?Ifwe allpainted the sameway orviewed things in the samefashion,we wouldneed only onebook tolearn fiom. Butlifeisdt that simple,thankgoodness!Thereason we have somanybooks to choosefiom is that each ofus isunique. Forthatreason,especiallyin art,there is dearlyno real "right"or "wrong"way-just many dif- ferent andwonderfd approaches.As creativepeople, we can experimentand choosethe techniquesthatfitour personal styles. Thisbook is allaboutmy techniqueforpaintingwith acrylics. I willnever saythat it isthe rightway orthe onlyway topaint. Ifyou have never paintedwith acrylicsbefore, thisbookwillbe a goodintroductionto the medium. As you paintthe projects in this book,you mayfindthatmy approachfeels naturaltoyou, oryou maydiscoveryour ownway ofpainting. Have funbuying otherbooks onthe subjectofacrylics (therearemany greatones outthere)and comparinghow each artisttacklesthe medium. Exploreand experiment. Learn from allyou do sothatyou canmakeyour ownunique statementwith your art. Most ofall,relax and enjoythe pro-
  • 6.
    getting started 8 Youdodtneedarwrnfidlofsuppliesb-painting withaaylicgjustafewpaints,brushesandother eaBy-*hd mariala. understanding color 16 Brrght, richacryllcpaints:areafunwaytoexplore colm Inthischaptayolfllleamcolortrrmsandhow tomix anh6nii-evarietyofcolorsh m abasicpalette ofswen*ts. basic techniques 22 WithL&s technqw,anyone candrawandpaint! Leeshowsyoubasicbrushwork,shadmganddrawing methodswith@t aercises. ICHAPTER4 still life8 38 Createyourfirsthished pinthgwiththese six still-& demonshtions! Evendections onglass are withinyour&.
  • 7.
    CHAPTER 5 landscapes 5s Moveontoseas,skies, clods andlandsapem e s int h eeqhtpahhgdemonstrations.Relaxand havefunasyou@nodidemewithyourbrush! flowers 78 Zoom inclogeandlearnhowtopaintbeautifulflower mts.kshowsyouhowwith&e demonstrations. animals 92 Useyour arttoeapturethebeautyandpmmahtyof all sortsoflivingmatures. Thesixdemonshitions inthishpter cowranimalslarge,small, furry and &them-plus afew surprises, people 112 It'seasierthanyouthinktopaintskintones, htures,hairanddohhg.Learnh-hem put themalltogethertocrateyourownreahtic ofthepeoplewhoarespecialtoyou. l w
  • 8.
    Introduction I hawbeenwritingarttechquebooksformorethana dede. Thisbook,however,ismy &st oneabwtpaintingratherthan drawing.Be@ anarthtmctor, I pushedmyselfasIwas m t - ingthe artfbrthisbook,tdmgnoteofthed 8 i ibetween my approachestopaintinganddrawing I alsonoticedthat I wed someofthesame thaughtprocewea andapphcationawith htfiWhen I createmy boob, I Iusethe illustrationsas exmplesinmy artclasses. I dmmy shuhts baskquestions w13etheywa~me~andIusetheirq~ms~gtude meas I write. Asmy studentswatchedmepaint,we allcameaoapower- fulcondusiouIt isveryimportanttolearntodrawwellifyou want tapaintwelL Manypaintersdonothavea soliddrawing ba- andito h shows.Thosewho doN u c epaint- ingswithaccuraw m v e andgoodd h e d o n a lfbrm. Thisbookisad d nofcolorfulprojectsw e dto helpyoulearntopaintwith aerylicg.Themorethana5 stepby- stepprojectswillalsogiveyou awide rangeofsubjectmatkrto enjoy.Some ofthe projectsmaylookcomplex,butm b e r thatpaintingwithacrylicisallaboutpaintinginlayers.Since q l i c s dry rapidly,i t i easytokeepaddmgdetailsw t o m upprwiausapplicxtionsalittleat atime. Yotirenever *stucEP whenyouworkwithq l i c paint,itisaveryfwvingmedium, Itis a h importanttorememkthateverypaintinggoes thou& what I all*the awkward stage." Theinitiallayersofa pain- whenyouareessentiallyseatinga wolorma$' to f b h ,willbe sloppy,andthewatereddownpigmentswilllwk we& Dcuitbecomediswuragedand stoptoo soon! By adding morelayersanddetailswiththickpaint,yodl achievethe realisticlook@re after. PATIENCEHASITSREWARDS This is an exampleofwhatyou can do ifyou keeppracticing. Ifyou lookclwely, you will see placeswherewlors am placedontop of othercolors. Afteryou havepaintedsome ofthe projectsinthis bookyou maywantto come backto this paintingandtryto paintit yourself.
  • 9.
    THEAWKWARDSTAGE This exampleshows thetypicalstoppingpoint for most beginningacrylicpainters.The paint lookswatemlor-like, thecolors lookweak and thecanvas shows through. However,this paintinglooksunfinished becauseitis. This important"awlward stage" is merelyacolor mapforthe moredetailed layerstocome. DON'TGIVEUP This pirrting looksmuch more pro- fessional. Thicker, undilutedpaint and layeredd-ils create a mlistic look Thecanvas nowism l l yccnr- end, andthecolorsare muchmore vibrant. Everythingcomestogether inthefinal sbges ofthe painting. Theeffort is definitelyworth it! TYgerSwallowtail on cr Butt@lyBd 16" x lann(41cmX 30cm)
  • 10.
    paints, tools andsupplies YOU DONT NEEDA ROOM FULL OF SUPPLIESTOBEGIN paintingwithacrylics.Iuse averysmalln m k rofcolorson my paletteandonlyafkwdifferentb r u d ~ .Keepingitsimple makesmefeelmorerelaxedinmy workarea. A t d e ~ i 9 a p t p l a w ~ ~ y a u r p a i n ~ r m p p l l e s . It'seasytom r ywithyouwhenyauwanttopaintonhtion. anditactsasa storageunitwhen@re notpainting.Havefun cJ.eatingyourownmstomaaylicpaintingkit!Everythingyotfll needtogetstartedislistedonthispage. Start-up Kit Belowis a listof essentialsyou should haveon handto get you startedonthe paintingprojectsinthis book. Happy painting1 Paints: Prussian Blue, Iwty Black, Titanium White, Burnt Umber, CadmiumYellow Medium, Gdrnium Red Medium, Alizarin Girnson. Surhees: Prestretchedcanvases, canvas panels and/or canvas sheets. Brushes: %-inch (igrnrn) filbert, no. 3 filbert, no. 4 filbert, no. 6 filbert, no. 8 filbert, no. 2 liner, no. r liner, no. 210 liner, no. 210 round, no. 2 round, no. 4 round, no. 6 round, no. 6 flat, no. 4 flat, hake. Palette: Plastic, with a lid (or improviseyour ow+- page151. Other MaterialsCloth rags, wet wipes, cans or jars, spray bottle ofwater, palette knife, maskingor drafiingtape, mechanical pencil with 28 lead, ruler, kneadederaser. PAINTS,TOOLSAND SUPPLIES A simple set oftools and a limited paletteo f c o l o ~are all you needto skrt pairrtingin acrylics.Atackle box makes agreatstorageunit.
  • 11.
    WhatIsAcrylic Paint? Aaylicpaintsaremadeofdrypigmentinaliquidpolymer binder;whichisaformofaerylicplasticAcrylics arewater- based,sotheyrequirenopaintthinnersasoilpaintsdo,though theymnbedilutedwithwaterwhilepainting. ktyEcpaintdriesquicklytoawaterprooffdsh Beause ofitsplastic,waterprdquality,itcanbeusedonavarietyof mrfaw~Itis a&writeforpaintinganwindows,outdmsigns, wallsandhbrk Itis v e n t , soitemspaintedwithitare washable. Varietiesof Aetylie Painf b yvarietiesofq l i cpaintsareavailable.Yourc h o k dependspardyontheproject@re planningtodo.Thereare auyZicsformulatedforfolkart,fineart,evenfbrpaintingon fabric,wansorsigns. Forthe projectsinthisbook,lookforpaintsbbeled%I&- vkosivor*professionalgrade."Otherkindsofacrylicpaint / willIE toothin,withapigmentwncmtration toolowforsatis- f x t o r y ~ t s . Studentgradepdrrt6adthose insqueezebottlesg e n d l y havealoweroncen~tionofpigmenLThepigmentis still highqualitythereisjust alittlelessofit. Many studentgrades aresogod &atprofkssionalsusethemaswell. Theyarevery fluid, easy toworkwithandeasytomix MksiinaLgRdc paintshaveaW e rumcenbtion of I pigment.Theyareusuallyabitthickerthan stdentgrade paintr;,andtheir colorsmayseemmoredeepandvmid FYofk- sionalg m h arefoundintubesorjars. Youwillfindpaintsintubes,jam, and squeezebottles. - , - A I preferusingpaintfromajar ratherthanh m atubeorbottle. TUBESJARS OR BOTTLES* Aaylicpaint driesquickly,soifIhaw someuncontaminated Acrylic pairrtscomeint u k , jars and squeme bottles. I p&r touse thejam, so Ican reuseI h r paint. Ican also mixspecialcolorsfor *rl~Overmm~~aleae*lRtumitmthe~armavoid-- rpedficpmject.,andplaoethoremlorrinemp*jarr. kgit Thisis notpsiblewithpainth m atubeorbottle.I also likejarsh u g e I a nmix my owncustwncolonforaparticu- larpaintingandstorethem inseparatejars.Thisishelpfulif you areworhngonalargeprojectandneedtokeepyour colors col3%istentasyoud Fortheprojectsinthisbwk, I usedapaletteof sevendm: IvoryBlack,M u mRedMedium. Burnt Umber, cadmium YellowMedium,AZizarinCrimson,PrussianBlueandTits- niumWhite. (Farmorei n f i t i o n onpalette colorsandcolor mixing, see chaptertwo, pagesISI~.)
  • 12.
    Paint Properties As wejust discussed,eachfbrmofpaint-jar, tubeorsqueeze bod& differentchmkristics. Oncee v e selectedthe paintyoupr$;er,youwdl findthat individualcolorshavetheir ownpropties aswell. Opac@ Somecolorswillcoverbetter thanothers,appear- ingmureopaque,whilesomewillbemorek m p r e n t . Withtimeandprdce,yolfllgettokmwyourpints.Play andexperiment6rst by ma@ somecolorswatches likethe onesonthispage.Thigwin giveyouakterunderstanding ofhoweachcoloronyour palettebeham. Theswatchesonthis page showhowsomecolorsare opaqueandcompletelycoverthem s , while othersaremore transparentandseem strdy. Permanenae:CettaincolorsaremorepronetoMhg over timethanm.Mogtbrandswillhaveapermanencyrating onthe pwhgetoletyouknowwhat~expea Amlor withan 'Exdent* ratingis adurablecolorthatwillholdits o@ colorforalongtime.A colorratedas uGood"or''Mdente" win havesome butnotahugedifferenceovertime.A color ratedas"Fugitidwilltendtofadeqpihntly. Youcan see this mostoftem withyellowsandceriajnreds. Trytoamidfup- tivecolors,but regardlessofacolds permanencerating,never hangapaintingindirect mdght Ultravioletraysinsunlight arethe prhmycauseoffa-. Toxi* Goodqualitypaintbrandswillincludesomeimic colors, Someofthenaturalpigmentsthatproducevividdm aretoxic, suchasthe Cadmiumpipmtsandsomeblues. ALIURI N CRIMSON 2 This redisdark buttranspamnt in nature. Ithas astreakyappearance, lkttingsomeofthe canvas showthrough. 1 L CADMIUMRED MEDIUM This red is opaqueandcompletelycoversthe canvas. Canyou seethe difkrence betweenthis and the Alizarin Crimson? Neverswalloworinhalethesecolors.Certaincolorsshould neverbesprayapplied;checkthelabel. IfyoEireworkulgwith children,alwaysfindabrandthatmbstitut~sgathetlr,manu- factwedpigmentsfbrthebxicones. f - PRUSSIANBLUE This blue is dark buttransparent. PRUSSIANBLUE+TITANIUMWHITE Justbyaddingatouch ofTitanium Whiteto PrussianBlue, you a n createan opaqueversionof it I Don't Eat Your Paint Bemiusesomecolorsaretaxic, neverho~a~rusnwinyour mouth. Also, use ajar or other distinctivecontainerto hold waterfor paintingsothatyou nevermistakea cupof paint waterfor icedh l
  • 13.
    ThinningAcrylics WithWater ma Mixingq l k pintwithwater makesit morem ~ tThisis usefulforthe beghdngstagesofapaint@ whenyou arematingthebasicpatternofcolmfm apainting. Thinnedaqlics areo husedto mateah kvery similarto thatofwater- colorpaints.Thedifferenceis hataqlic paintiswaterprwfwhenitdries. You mnaddmorecolorwithoutp u h g up prwiouslayers.Regularwatercolorwill mhydmtewhenwet paintis appliedon I topofit,usuallymuddyingthe colors. JUSTTHE BEGINNlNG hisexample shows how I beginmypainting. (1It lookswry underdmloped, but itgives me agoodfoundationto work on. The colorsof IIthe flower andthe backround are established, allowingmeto then add morecolor fbrthe IIdetails. Y Thesecond example shows how I reduced the amountofwater Iaddedto the paint, and addeddetaiIs. Thethicker paint covers uptheexist- inglayer. You can oee howthe lookofthe paintchanges here. ThefulI-strength paintis muchmore opaque.
  • 14.
    ChoosingBrushes Readall aboutbrushbasicshere,andseethelistonpag~8fm thebasicsetofbrushesneededfbrtheprojectsinthisbook BrZstk ep e Thewaypaintl& when a@ toeaflyaglargdydependson thetypeofbrushyouuse. Brushescomeinavarietyofbristle types. Stiffbri9tle:Thesebrushesaremadeh m boarbristle,ox hait;horsehairor0 t hcoarseanimalhairs. !We: Theseh h e saremadefromtheIAhairofthemale Minskysable,whichis fbundinRussia. Thisverysofthair m a t e s srnwthblends.Themrcityofthekohkymakesthese brushesexpensive,buttheyareworthit! Squid hair: Thesesoftb r u s h areabitfullerthansable brushes,andareoftemused fbrwatmcolor k wtheyholda lotofmoisture. Camelhair:Thisisanothersofthairthatisusedm t l y forbothaqlicandwa&r brushes. SyntheticMostsyntheticbrisk arenylon.Theycanbea morea&dible substitutefarmM-& brushes,butpaint isveryhardon&em. Theytendtolosetheirshapeandpoint fasterthan naturalhairbrushes. Goodbrushcleaninganda r e (seepage 13)isessentialtomakesyntheticbrushes1- Natura-hairbrushescanbequite-Howwer,if cleanedproperly,theywilllastlongerthans y n w ones, From leftto right:stiff bristle,sable, squirrel hair, camel hairand syntheticbristletypes. Brwh Shape Brushescomeindifferentshaps,andmmeshapesarebetter forceaainpaintapphcations. Belowisaquicklistofthediffer- entbrushs h a pandthebeatuses fbreach. Flat.Aflatbrushis usedforbroadapphtiions ofpaint Its wide shapewill m ralargearea.Thecoarseh - b r i d etype isaMbrushthatanbeusedtoliterally"smulfthepaintinto theeaflm.A sofkrsableorsyntheticbristleis goodforsmooth blendmgwithlessnohablebrushmafks. Bight.Bnghtsarem ysimilartoflats;however,thebristleg areabitlonger,whichgivesthebrushmorespring. Round:Use roundbrushfordetdsandsmallerareas. Thetipofastiffbristleroundis goodfbrdab@ inpaintor filling insrnallareas.A smallsoft roundanbeusedinplaceof alinerbrushformtinglongstraightorcurvedZincs. Filbert:Thigbrushshapeismy personalfavorite.Also lmownasa " d s imgu; thefilbertis usefulforfillrngin areas, dueInitsroundedtip. , Liner:Theliner'ssmall, pointyshapem a hitegsentialfor detailwork Youancreatetinylinesandcrispedgeswitha - From leftto right flat, bright, round,filbertand liner brushshap. Long or Short Brushes? Long-handledbrushesarc designedb r usewhile standingat an easel,sopu can paintat arm's lengthand h ma k r mralI vimofyourwork. Short handlesarc k r h r paintingwhile seatad or forworkingon small daails.
  • 15.
    rRQPER RUSH STORAGE Alwaysstore brusheswith their bristlesinthe "upnposition! HOWf0 Clean husk= apply some ofthe brush cleaner paste I. Swish the brush in a cleanjar ofwater to the bristles and press them into their to loosenany remainingpaint. original shape. Allow the pasteto dry 2. Take the brush to the sink and run lukc- on the brush. This keepsthe bristles warm water m r it. goingthe way they are intendedand 3. Work the brush into acakedThe preventsthem from dryingout andfrpy- Masters Brush Cleanerand Preserver ing. It's like hair conditionerfor your until it forms a thick lather. At this brushes! When you a n readyto usethe point, youwill noticesome paint color brush again, simply rinsethe soap off leavingthe brush. with water. 4. Gently massagethe bristlts between your thumb and fingers to continue looseningthe paint. AMYFAVORITEBRUSHCLEANER 5. Rinse underthe warm water. The Masters BrushCleanerand Preserrerwill 6. Repeat steps 3 to 5 until no morecolor removealIofthe p i n tfrom your brushesand comesout. conditionthe bristles. I've used i t 6 rmany 7. When you arc surethe brush is clean, yearsandswear byit
  • 16.
    Painting Surfaces Many studentsaskmewhatthebestpainting~is.CranvaaPaneb Thatdependsonyawp e f andwhatkindofpainting Canvaspanels arecanvaspiecesgluedontodboardbackings. youared&g. Aqhcpaintcanbedone m y h qbmfine TheyareagoodalternativeIDswkhed canvasifyouwould pre artcawasestow a d , fibrk,metaland&ass. Forthe sakeofthis hto spendless.A m v a s panelisveryngdandwillnotgive book,I willammtrateon &s normallyusedfor paintings. youtheb o u n ~feelofpaintingons h k h d a r m s . Withmvaspanels,unlikestretched canvas,youhavethe Stretched Canvas optionofhmhgwith amat.A coloredmatwn enhancethe Stretchedcanvasprwidesapmfesgionallaok,~ lookofarismk A m n ~ spanela h dhwsyouto pmktyour yourworkresembleanoilpaintingS W m m a s is paintingwith&s. easilyh e dandcomesinstandardframesizesfrommini (an1x 3' [gunx 8cmDtoextralarge (48"x 60"[~aacslx 15aunI Canvtw Sheets orlarger).Youwillnaticeabitof*bwnee"whenapplying hothmalternativeiscanvassheets.Somebrandsarepi- painttoshkhedmmas. ofactualprimed~vas,nota%ixedto~Othersare Stretchedcanvascomes 'pruned/ whichmeansitis coated prmexsedpaperswitha canvastexture andamatingthat withawhiteauylic &-so to proteathe rawcanvash m resemblesgesso. Bothkindscanbepurchasedindividually,in dle damagrngwofpaint. pdagesorinpads. S ~ w n ~ a 8 w n b e r e g u l a r c o t b n d u c k , ~ b t f w Withanvaa sheets,aawithwnvaa panels,fbmmgmnbe mostm k ; &ragmwth cotton,o hused fmportraitwork;or mative. SheetsareIIghtwmghtandeasytomatandframe.For linen,whichisalsosmooth. the artinthisbook,I usedd ymvassheets. PAINTINGSURFACES Stretchedcams (I) isthe mostpopular surfaceforfineart painting. It mustgo intoa frame 'as is" andis held intoplacewith frame clips. Theseare metal bracketsthatsnap over thewoodenstretcherframes and gripthe insideedgeofthe framewith sharpteeth. Canvaspanels(2) arecanvas on cardboard backings.They are morerigidthan stretched canvas, andthefinishedpiececan bematted andframed. Canvas sheets b)mnalso bemattedand framed. Theyarefound in singlesheets, pack- ages and pads.
  • 17.
    Palettes and OtherTools Palette I Kreferaplasticpalettewithalid,multiplemixingwells anda center areafbrmixinglargeramountsofpaint. Bmuseacrylic paintisahofplastic,driedaqliccanbepeeledorsoaked fromaplasticpahe. I findthig moreemnomid thandispcs- ablepaper palette^ However,youdmlthavetospendafortuneon stated-the- art materials.Manyartistsmaketheirownpalettesusingold dinnerplaaes,butcher'straysorfoameggcartons. Youa nuse your creativitytomakedowithwhatis aroundyou. Other Toob Thefollowingitemswillmakeyaurpaintingeqmiencemore organhedandpleasurable.None o f his expensive, andthey Y O U pal* towipe excesspaintb m ~ h h .Ym canalso plates,egg cartonsor'plasticcontainers. Bec k t i w !- - usethemtowipeexcesswaterfromyowbrushasyoupaint, whichkeeps your paintingfromgettingu n m ywatered . ' ,-. :,, ' dawnby aloose drip. Paperbwdsworktoo, but theycanleave lintanddebris. Wktwipes: Iusually havea containerofwetwipesorbaby wipeshandyfordeaningmy hands,my brushesorthef h rif I -paint. Assortedantainm: Collectjars, am a dplasticcontainers touseaswatercontajnersorforstoringbrushes. I SpmyM edwakr: Usethisto mistyourpaintstoprevent themhmdryrngoutasyoud PalettehikThisisusefulfbrInn&rrjng aa~licpaintto orhajaraswellasfor~paintonpurpalette. Maskineordraftingtape: IfyouworkwithmvassheetE,you willneedtotapethemtoabaclangboardasyouwork Usedr&- ingtapeoreasy-rehe maslangbpetobpetheedges ofthe sheetdown.Thesekindsofiapewillnotdamageorripthe sheet aroring ~cftoverPaint A palettewith a lid makesiteasyto preserve leftwer paint. Sprayafine mist ofwateroverthe paintsonyour palette, then sea the lid.Theextramoisture acts likea humidifierandwill keepthe paintfrom dryingoutfor acoupleof d v . lfyouputthe misted,m l e d pal- ette inthefreezer,the paintwill keepfor weeks. Itmayskinover, butitwill still bewet inside. ADDITIONALMATERIALS Additional handy studio items, such asjars, plates, plastictrays, wet wipes andrags, can usuallybefound aroundthe house.
  • 18.
    Iunderstanding c ol o r ACRYLIC PAINTINGISA GREATWAY Inexplorecolortheory. Itsbright,rich pigmentsarefuntoexperimentwith. Artiststellalotaboutthems&es bythe colorsthey choose.Butcoloris much morethanjust experimentingorchoos- ingcolorsbasedon&emerefact~you 'like" them Colorisscien* C&~t.eaabeachother,andpkc- ingcertajncolorstogetheranmake quite a s t a s . Tofullyd t a n d howmlmwork, thecolorwheelis essential.Y dlearnaboutthecolor wheel andsomeimportantcolortermsin dlis chapter.
  • 19.
    ColorBasics The Color Wheel Thecolorwheelisanessentialtoolforunderstandingand mixingcolor.Havingonehandyanhelpyoupickoutcolor schemegand seehowdifferentcolorscolorsonea n h For colormixingpractk,mate a colorwheel ofyour ownwiththe paintsonyourpal-. Herearethebask colorrelationshipsto how* himayCdors:Theprimarym harered,yellowandblue. Theyarealsod e dthe *Wcolors.All othercolorsare m akdfromthesethree.hokatthe colorwheel andseehowthey formatriangleifyoumeetthemwithaline. Secondarym l o ~Eachsecondarycolorisaeatdbymixing t w o p r h a r i e s ~ .Blueandye~&greewredand bluemakeviolet,andredandyellow makeorange. T d a y CobmT d a qcolorsarecreatedbymixingaprima- rycolorwiththecolornmttait onthe colorwheel Forinstance] mixingredand violet producesred-viok Mixingbluewith greenmakesbluegreen,andmixingyellowwithorange gives you*-ow. bmplementamyCdors:Anytwocolorsoppaiieeachother onthecolorwhee.l ared e dcomplementarycolors.Redand grea, fbrexample,arecomplements,Thepaintingontheh- ingpageis anexampleofacomplementarycolorschemeused inapainting.Theredandgreencontrastbeautifully,e& color mahg the otheronereallydout. THECOLORWHEEL Thewlorwheel is a valuabletool for Ikarning colortheory. Red, yellow and bluearethe primarywlors; orange, green andviolet are thesewndari-. The restare called tertiaries. = I Other Color T e r nto Know Hue: Hue simplymeansthe nameofacolor.Red,blueandyel- lowareallhues. Intensitj:Intensitymeanshowbrightordulla coloris.Cad- mium Yellow,fbrinstance,is b+t andhigh-intensityMixing cadmiumYellowwitfiitscomplement,violet, createsalow- i n ~ m i o n o f y e l l o w . Temperature: Colorsareeitherwarmorcool.Warm colors arered, flow andorange oranycombinationofthose.when used inapainting,warmcolorsseemtocomef o r d Cool colorsareblueIgreenandvioletandalloftheircombinations. Inapain-, coolcolorswin geemto recede. Oftemtherearewarmanddversiona of& samehue, Forhsbme, IuseCadmiumRedandAZizarinCrimson.While bth areintheredfamily, admiurn Rediswarm,withan orangeylook,andAZizarinCrimsoniscoolerlbemuseitleans towardtheviolet- Wlut Valuemeansthe@mess ordarlmessof a color. Lightehg a color eitherwithwhiteorbydilutingitwitfiwater pmducesatint. Deepeningacolorbymixingitwithadarker &r producesashade. Usingtintsand s h a htogethercreaw d u ec o r n / YELLOW GREEN 1 yLuE-GREEN ( LED VIOLET /
  • 20.
    YourBasic Palette andHow to Expand-I It ~ l o v e t o h a w a l l o f t h e t o y s a s ~ w i t h & i r dIam no-t Iwddlmen&ngmhasetofartsupphes withahundrad-htnhhhtwhileitsounds ~at.ti9ticnirvana,itreaflyisnot~.Colormjxingismuch more d u d o dandemnomid YOURBASICP A L E ~ E With a very small paletteof onlysewn wlon, you can createan endless arrayofwlor mixes. Alizarin Qlmson Burnt UmberCadmiumYellow Cadmium Rcd Plusslan Blue Medium Medium Ivory Black Tltanium White Two NEUTRALCOLORS TINTS Mbinga palettewlor with white producesa tint. Cad. ~ e d+white - ~ l i z .crimson+white - Burnt Umber +white - Prussian tl~ue+wnrtt - + -grays peachylwral wlor pink beige sky blue ad. yellow+white- paleyellow SHADES Mixinga palettecolorwith blackproducesa shade. Cad.Yellow+ black= dark olivegreen Cad. Red + black= rnarwn Aliz. Crimson+black Burnt Umber+ black= Prussian Blue+ black= -plum dark brown dark blue
  • 21.
    GREENS Greensa n kdifficulttomixduetothe hun- dredsofpossiblevariations.You canachieve greenwithyellw and blue, orwith yellowand blackAddingbrownyieldsan 'earthy" green. Cad. Yellow+ lwry olive green mix+white PrussianBlue+Cad. blue/yellow mix+white Black- olivegreen -grayishgreen Yellow -green -mint green VIOLETSAND PURPLES Shadesofvioletand purplecan becreated by mixingCadmium Red Mediumand Prussian BlueorAlizarinamson and Prussian Blue. Addingwhiteto thesemixeswill giveyou shadesof lavender. orchid. mauve.andsoon. Cadmium Red Medium maroon mix+white -+ PrussianBlue- warm gray maroon Aliz. Crimson+ Prussianblue-plum plum mix+white -lavender ORANGES CadmiumRed MediumorAlizarinGimxm mixedwith CadmiumYellowwill producevari- ous shadesof orange. Addingwhitetothese wlom will giwyou coral, peach, melon, and soon. . . ...I - . , ; ..- , -:.;;:@$fig- U I . '.- - -# ' - : -- ,I,,,, . - Cadmlum Red Medlum +CadmiumYellm = orange orange m k + whlte = peach Allzarin Crimson + oranpmd mbr +whlte (LdmiumYellow= = mnl onnpred EARTHTON~d Earthtonescan beueated byaddingdifferent wlors into BurntUmber.All ofthesecolors can beturned intoa pastelbyaddingwhite. These swatches showthe earthtone mix (top Burnt Umber+ blue Burnt Umber+ black andh a tit loohlikewithh i t e added (bottomswatch). Burnt Umber+pllow Burnt Umber+ red Burnt Umber+yellow +white Burnt Umber+red+ white Burnt Umber+blue+ white Burnt Umber+ black +white
  • 22.
    Color Schemes Therightcolardmmis onehtrepresentsthe subjectyet alsoaddsinterestfbrtheviewer. F m t toachievethe &feel youwantyourpaintingtohave. Complementaty Comphentaycolors,you!ll reall, are c o l o r eachotheronthcolorwheel (seepage q). Whencomplementsareused neareachother, theycontrast withandW s l f y eachother, as seenonthispage. Whencomplementarycolorsarem h d , theygrayeach OtherdowaYouanusethisknmvMgetodarknawlor withoutIdllmgit.Whendarkemmgacolorto paintshadows,for m p l e ,youmayinstinctivelyreachforblack Butblackisa neutralcolorandwillproduceoddresultsinmixhlre9.Instead, &ken aIIghtcolorwithitsmmplemmt. CornPLEMENTS: YELLOWAND VIOLET Aviola backgroundintensifiesthe yellow ofthis apple, makingit appear morepureandvibrant. Yellow m i dwith violet makesa good IC rhadnvcoorfor sy e wobject. (Yellowmixedwith ba& onthe other Yellow +violet - Yellow +black- green! hand, m a k green!) pleasingshadow wlor COMPLEMENTS:GREENAND RED COMPLEMENTS:3RANGE AND BLUE A green pepperlooks morevibranton a red background. M i n gred and green producesag d colorfor the shadowareas. Theorangeyhueofthis peach looks brighterwhen surrounded byblue. the shadowareas area mixtureofblue and orange.
  • 23.
    Molaochrornafic A paintingm ak dusingvariationsof onlyonecoloris calledmonochromatic. Thisis how I oftenwill introduceanew studenttopainting.A momchromatic painting mlookvery dramatic,likethis painting ofmy sods dog, K i m k Triadic A e c colorschemeusesthreecolors thatareevenlyspaced aroundthecolor wheel.Thigemmple, ''Butterflyand Lilacs," containsorange,purpleand greeu A triadicschemealwayspIwides wonderfulcon- yetthe colorsarestill
  • 24.
    ~ba&techniques - LEARNINGSOMETHINGNEW ISALWAYSABIT Trythe egerdsminthischamtogetafkd fbrkt,filbert, in- As withan- else,theb& teacherisjust roundandlinerbrushes andhowtheyareused Learnthefive plainaperierm-trd and-Thischapterwillshowyou elementsofshadingandhowtousethemtomatetheillusion howtogrababrush,dipitinthe paintandexperiment.Inno offormonaflatcanvas.Finally,hlearn g d methodofdraw- timeyoushddfeeldrtable~enwghto~theKrojectsin ~ w h i c h d ~ b l e y o u t o d r ; r w a n y s u b j ~ Y o u d ~ b e thelmok,foracrylicpaintis hghlyfbrgivhg.Ifyoudodtlike readytomove aheadto thelargerpq*eckinthebook sometlung,youa n simplycover itup!
  • 25.
    Exercise: BlendingWith aFlat Brush FlatM e 8 aremostcommonlyuaedfbra p p hlargeareas ofcolmandfmstingblendedbackgrounds, 1% donethis bhdmgexercisewith PrussianBlueandTitaniumWhite for aresultthatresemblesasky.'Ikyitwithagainwithdj&ent colors.W u m RedandntaniumWhitewillmakeatropical scene. Havefun! My Terminology When mixingpaint, Iwill A n usethe terms 'a dab" and "a touch." A dab ofpaint isenoughtocovertheerrtiretip ofthe brush. A touch is a slightamountofpaintthatwill cover only thecornerofthe bristles. 1Take ablobofTitaniumWhiteaboutthe 2Add just atouch of PrussianBluetothe 3 Mixanotherblobof paintthatis twice as size ofa quarterandset itaside. white. (When mixingpaint, alwaysaddthe darkasthefirrt darkercolorslowly intothe lightercolor; it doesn't t a k mu& to deepena lightcolor.) 4Dipyour brushintothe darlcerofthetwo bluesyou mixed in step 3. Holdthe brushflat againstthe canvasandm n l y distributethe pintwith longsweepingstrok. Quicklygo backandkrth untilthe paintcoversthecan- vas. You do notwanttoseeany ofthewhite canvas showingthroughthe paint, souse enoughto get goodcoverage. 5When you haveawide stretchofdark blue, dip intothe lighterblueand applyitto the canvas slightlybelowthefirst stripe using thesamestroke. Quicklyblendthetwo blues togetherbystrokingbackandforth. Trytoget the paintto blendas evenlyas possible. Use a clean, dry flat brushto furtherblendand soften. This blendingtakes practice,sodon't getfrustd. For moreexperience, createa horizon lineand repeatthe processin rewrse to makea mirror imageofthe sky, which wilI then look likeawater dection.
  • 26.
    A Hbeabrushisverysimilar toaflat,butthetipofitisround- ed, muchlikethe shapeofatungue.That'swhythisbrushis sometimesd e d a *cat'stongue." I liketouse afilbertfmalmostany shapethatrequiresfill- ingin.I theroundededgescomfortablewhengoing along curved edges. A filbert brushisg o d b r fillingin areas and h rgoingaroundcurves. Try usingyourfilbert to fill in a simplecircleofmlor. The roundedtipofthe filbert brush madeitmucheasierto paintthe curvedfeatures ofthese subjects.
  • 27.
    Exemkc Using RoundandLiner Brushes -.-m- Pointdbrushessuchas roundsa dliners are d tfbr creatinglinesand smalldetails.Theycomein a*of sizes andareessentialforpaintingthngsliketrees,grass,hairand fur.Theyarealsogod fbrmaEangsmall ~OIS forhghhghtsand textums. Usedadlinersontheirtips. Mtplacealotof pressureonthem,h u s etheb r k h willbendwrr, 1Paintatreetrunkwith Burnt Umberanda no. 6 round.This size roundbrushwilIgiveyouthewidth you needto createthebunkwithout repeatedstrokes. 2Switchto a no. i roundor a linerbrushto matethe branchesand small Iirnbs. Add enoughwaterto your paintto give itthe consistency ofthick ink It needsto befluid, but notkanspamnt.Afier loading your brushwith paint, gently pull the brushupin longstrokes, lifiing itslightlyasyougo. Thiswill makethe linetaperattheend, and the limbswill get smallerandsmaller, just as in nature. 3Add manyquid4 short, overlappingstrokes tocreatetheillusionof layersofbark. Remem- berto keepyour pairrtfluid byaddingafew drops ofwater asyou work.
  • 28.
    Creating Texture There aremanywaystomeatetexturewitha~ l i cpaint ~ m a ~ a r n u g h , t e g t u r e d a p ~ ~ ~ o e b e a u s e d w pdntisusedsosparingly~itdoesdtfdywverthe~. .s ~ i s ~ f o r ~ t € x h l r e s s u c h a ! 3 d i s t a r r t f o l i a g e . Dabbingwithalinerbrushofhsgreatercontroloverthe placementofpaint Forthistechnique, usea stiff hog-bristleflat brushand unthinncd I paint. Dipjust theends ofthc bristlesintofu-strength paint Wipe the brush backandforth onthe paletteto removeexcesspaint.Wipe a littlemorc paintofwith arag.Then, scrub lightlywith shortstrokes. Becausetherc is bartlyanypaintonthe brush,the paintwill be"hit and miss." This irregularapplicationcreatesamutedapprancc. SPONGING Tearoffsmallpiecesfromacommoncellulose kitchensponge. Dip them into paint,then applythe paintwith aquickdabbingmotion. Use manydfirent layersofcolor, h m light, mediumanddark andyou can makebeautifultrees and landscapes. Tearingoffnew piecesensuresthattheedges aredifirent every time andyouwon't end upwith repeat patterns. Adry spongepiecewill create amoredistinctedge; adamp one makesasohr impression. When the paintgetsdry,the spongebecomeshardened;justthrowthe piecesaway. Sometimesyouneed morecontroloverthe paint's application.Dabbing meansmakingtinyspots ofpairrtwitha small linerbrush. You could use thistedrniquem c ~ t e h l i a g +smallfl-rr or patternsin ace.
  • 29.
    ANALYZE THIS STILLLIFEPAINTING forthe techniquesandbmsh strokes we have covered sofar. Eacharea of the paintingwas createdin aunique approachduetothe subject's variedtex- tures and surfaces. Somesurfacesare smooth,while somearerichlytextured. These contrastsintexturesmake forvery interestingpaintings. I used my entirecolorpaletteforthis piece. Referto the swatcheson pages 18-19 to seehow I mixedthe colors. IDENTIFYINGBRUSHES AND STROKES This painting has a lot ofinterestingquali- ties due to its range ofcolors and contrasting textures. Identify the type o fbrush used, and which type ofstroke created each area. 1 Classvase: Filbert brushes, smooth strokes. 2 Fireplacescreen: Flat bristle brushes, dry- brushing. 3 Lace ribbon: Round sable brushes, dabbing technique. 4 Bricks: Filbert brushes, fill-in and dry-brush techniques. 5 Flowers: Round sable brushes, smooth fill- intechnique. 6 Fern leaves: Round sable brushes, fill-in and dabbingtechniques. 7 Fireplace brass: Filbert brushes, fill-in and dry-brush techniques. 8 Baby's breath: Sponging technique. Look x'exture Still Life 16" X 12" (41cm X 30cm)
  • 30.
    TheFiveElements ofShading -=I Ih d ybelievethatthefindation foranyreahticmdenq &s ofthemedium,a nbefwndinthefiveelements ofshadmgonthe sphere.I begm eachandeverybook Iwrite withthis,andstart every new studentwiththisvaluablelesson. Ifyouanmate abelievableandrealisticdeprctionofa sphere (forexample,aball onatable),theabilitytorrnder& elseisnghtatyourfingerbps. Whenrenderinga sphere,eachoftheh eelementswill camqmdwith a shadeonavaluesale. Thesphereonthis pagehasbeenaeatedusingam o W t i ccolorschemeof BurntUmberandTitaniumWhite. Thepaint swatdmh t h the spherecormpmdwiththeh e elementsofshading.Use &esedj&rent~asaguide. 1 FullLightThisisthewhite area,wherethehghtsoureis hittingthesphereatfunshqth. 2 MktdLight: Thisisahght gray. Meckdhghtisalways foundalongthe edgeofanobjectandseparatesthedark- nessoftheshadow edgefromthed a d a ~ softhecast shadow, 3 HaRon= Thisisamedium It'sthe areaofthesphere that'sinneitherd k c tlightnor shadow. 4 Shadow EdpcThisdarkgrayis notattheveryedgeofthe object.It isoppsitetheI+t sourcewherethesphere cumesawayhmyou. 5 CastShadow:Thisistfie~toneonyourdrawing.Itis alwaysoppitethehghtsource. Inthemseofthe sphere, itkundemeath,whethe*meets the s&. This areaisvoidofhghtbecause,asthe spherem,it block3lightanda s t s a shadow. 'Rythe examplebelow,andcommittomemorythe fiveele- mentsofshadmg.Thesefiveelemen&areessential~n&c pain-
  • 31.
    Exercise: Practicethe FiveElements ofShading Lets paintthis spheretogetherusing Ivory Black andTitanium White. Identifjrwherethe fiveelementsof shading(seepage 28) will be, andlookatthevalue scaleshownin step I. Lookand see howthevalue scalewith the brown tones compareswith the graytones. Itis importantto make the depth oftone foreach boxthe sameforboth. For example,the #3 brown tones should be the samevalue,or darkness,asthe #3 in gray. Ifthe brown scalewere copiedon a black-and-whitephotocopier,itwould lookthe sameasthe scaleonthis page. MATERIALS LIST Paints Ivory Black Titanium White Brushes no. 4 sable or syntheticround no. 6 sable or syntheticfilbert Other mechanical pencil ruler 1 Mix Your Colors Value#5 is pure Ivory Black. Mixavery smallamountofTitaniumWhitewith Ivory Blackuntilyou matchthe #4 dark gray.Whenyou arehappywith your color, take someofthe dark gray,and mix a little moreTitaniumWhite intothat to create the#3halftone.Add somemorewhiteto thatto createthe#2 lightgray.Value#I is pureTitaniumWhite. 2 Draw the Circle With a mechanicalpencil,trace aperfectcircleontoyour canvas paper. With a ruler,createaborderbox aroundthe sphere,then drawahorizontallinebehindthe sphere.This will representa tabletop, and givethe illusion ofabackgroundarea.
  • 32.
    3 Paintthe BaseColors 1 With adarkgraythatmatchesthe#4 onyourvaluescale, baseinthetabletopwith a , n o . ~ d b r u s h . T h i s b r u s h i s p o i n t y ~ o d ~ g e t t o t h e m m ~ ~ d p ~ A nwed surface easily.This deepgraywillgiveusah d a t i o ntobuildthe restofthe paintingon. Topaintthesphere,beginwiththedarMareah s t Inthism e ,it isunderthe sphereinthemst shadow.UsetheIvory Blackfullstrengh (#sonthevalue sde) to matetheastshadow over thedarkgray. Usethesame no.4 roundbrush Switchtothe no.6 soft f l h tbrush, and intheentirespherewithamedium mixture.Thisshouldmatchtfie#.j onthevaluesale. Be suretocompletelyfillin the spheresothatthere isnocranyagshowingthrough. 4 TheAwkward Stage Withthe#4 darkgraymixture]applythe shadowedgeofthe spherewithano.6 suftfilbertbrushwhilethemediumgray paintisstillwet Thefilbertbrushwillblendthetonestogether. Make suretheshadowisparalleltotheedgeofthesphere, allowingthetwocolorstoblend.AUow thedarkgraytoshow alongthe edgeofthesphere]matingthedected light. Whilethepaintissiill~addsomeafthemediumgcaymix- turealxmthedafkgrapa n d b l e n d t h e ~ ~ u s i n g l o n g ~ ~ ~ f o l l o w t h e ~ o f t h e s p h e r e t n ~ t h e ~ a r a ~ ~ t h e d ~ a r e s m o o t h . 5 Finish WithTitaniumWhite, applythe fulllightareaandblenditinto thehalftoneusingano.6filbert.Tomaketheh&t areasstand out, applys u mofthe mediumgraymixturebehindthe sphere tocreatethebackgmdThe]Ightedgeofthespherecmtsasts againstit. Thisisnotas easy as itlooks,sopleasedonotgetm t e d Remember,youcangomhnpasmany timesasyouwant. I oRenwilladdsomepaint,and sofflyreblendintothe paint thatisalreadythere.I canspendalotoftimetryingtogetitjust right.Thisis allpartofthechallenge!
  • 33.
    Creak Spheres Using ComplemenfatyColors Practicepaintingthemonochromaticsphereh m the previ- ousexercise.Itreanyisthefoundationforewqfhmg elseyafil paint. Whenyoufeelyou've gotit,trypaintingspheresincola Rememberthe fivevaluesyouaeatedonpage zg?For spheresincolor,themaincolorofyour sphereisa3 onthe valued e .MixtheWtervdw (Iand a) by a d d qXla- nium White. Mixthe darkervalues(4 and5)by addingthe complementofthe maincolor.Asyoulearnedonpage ao, cofnplementsproduceapleasinggrayed-down&, fbr paintingshadows. I Use Color Complements Complementarycolorsarecolorsoppositeeachotheronthe colorwhcel (seepage17). Usingcomplementarycolorswill he1p intens@the colorsinyour painting. For moreoncomplt ments, sccchaptertwo,page20. iCadmium R d Mdiurn 2 Cadmium Red Medium m i dwith Titanium W h i i 3 Cadmium Rcd Medium mixedwith green (Prussian Blue+Edmium Yellow Medium) 1 CadmiumYellow Medium 2 CadmlumYellow Medium mlxedwlth Tltanium White 3 CadmiumYellow Medium mixedwithVlolet (AlizarinCrlmson+ Prussian Blue) i Green (Prussian Blue+CadmiumYellow Medium) 2 Green mixedwith T-taniumWhite 3 Green mixedwith Edmium Red Medium 1 Prussian Blue t PrusslanBlue mlxedwith Tltanium White 3 PrusslanBluemixedwithorange (CadmiumYellow Medium+Cadmlum Red Medium)
  • 34.
    Exercise: Paint Reflections Itis easyto see,whenlooking atthese grapes,thatthe five MATERIALS LIST elementsof shadingplayed an importantpart in creatingthem. Whilethe grapescloselyresemble a sphere,the reflectionsare much more extremeandwillvaryfromone grapeto another. This looksmore complexbut is much easierto paintthan the overlycontrolledsurfaceofthe spheres.Thehighlightshere do notblend outand disappearintothe othertones. Here,they are starkand canbe createdwith a swipeofthe brush. Paints Cadmium Red Medium CadmiumYellow Medium IvoryBlack Prussian Blue Titanium White Brushes no. 4 sable or syntheticround no. 210 sable or syntheticliner Other- mechanical pencil 1 Paintthe Base Colors 2 The Awkward Stage Beginby lightlydrawingthree stacked Mixa touch of Ivory Black intothe circleswithyour mechanicalpencil. Fill Cadmium Red Medium paintto create in eachonewith Cadmium Red Medium a darkred mixture.Apply the "shadow using a no. 4 roundbrush. edge"to each grapeusing a smallround brush. Be suretoleavereflectedlight aroundthe edges. Blend and softenthe tones bybrushingthe darkercolorinto red. With the darkercolor,be sureto createa shadowwhere one grapeover- lapsanother. 3 Finish Using a smallpointed brush, suchas a no. 210 liner,addthe shinylookto the grapeswith llghthighlights ofTitanium White paint. Use brushstrokesthat followthe round contoursofthe circle.
  • 35.
    4 Create aBunch! Haveevenmorefunby maringthewholebunchofgmp. Simplysketchinthecircles,drepeattheprwiousv s s overandove~ Tomatetheleaves,mix Prussian Blue and Cadmium YellowMediumtogethertomakegreen.Witharoundbrush, 5llintheleaveswiththismkbm. FeelfreeInmakeyourhaves lighterthanmineifywdd like.Thisbatimefbryouto experi- mentandhavefun. Mix some IvoryBlackintothe greenmjxturetoaeatethe veinjng. Usetheno.a10 linerbrushtomatethed e h t e1in.a. Forthe areas,addsomewhiteintothe grem mix Use Contrast to Geute Depth I alwaysfind itso amazinghowmuchcolorand depth can becreatedwith so fewcolors. Deep shadows and bight high- lightsmakethis possible.The exbemewntrast w n them createsan illusion ofshine,which I find verykutiful.
  • 36.
    Exercise: Paint Shadowsand Highlights The grapeson the previous pagehadveryfewcolorsin their MATERIALS LIST creation.Although this appleis less complexin its shapewhen comparedtothe grapes (wearedealingwith one continuous surfaceinsteadofmany overlappingones),the color is more complicated. Not only dowe have variegatedcolor,we alsohave the extremelightingsituationto replicate. All ofthe colorsof the appleareaffectedby intenseshadowsandbrighthighlights. 1 Draw, Then Paint the Base Colors When Ipaint, I alwayscreatemy paint- ingswith layers.The firstlayerofpaint is oftenvery lightandtransparent. I use this firstlayeras a road map and color guideonwhich tobuild. In the firststageofpaintingthis apple,startwith alightpencil outline first.Apply Cadmium Red Medium and CadmiumYellow Mediumwith diluted, transparentlayersusing curvedbmsh- strokesforform. Paints Alizarin Crimson Cadmium Red Medium CadmiumYellow Medium Ivory Black Titanium White Brushes no. 2 sable round Other mechanicalpencil 2 The Awkward Stage Build up colorwith thicker applications ofpaintusing curved strokesto main- tain roundness.Add Alizarin Crimson intothe red formore depthof color. Place some Ivory Black aroundthe edges ofthe appleto beginthe background. Streakthe black intothe surfaceofthe appleto createa shadowedge.Atthis stagethe colorswill startto mix intoone another. 3 Finish Tofinishthis piece,continueadding layersofpaintwith the curved strokes, allowingthe colorstoblend together somewhat.Look closely,andyou can see wherea brownish hue has been created in areasby the red,yellowandblack mix- ingtogether. You can also seeatouchof greenwheretheyellowandblackblend- edtogether. Add someTitaniumWhitehighlights tothe upper portion ofthe appleandtip ofthe applestem. Draw a squarearound the applewith a ruler,and fiU inthe back- groundwith black. Look atthe paintingofthe fruitbowl on page 6.You can seehow I painted the appleinthatpiecethe very sameway.
  • 37.
    This simpleprojectin abrownmonochromatic color scheme willgiveyou somepractice goingoutsidethe continuouscircle ofthe sphere.You can seehow addingthe neck to the pot changesthe shapeandthe affectsofthe fiveelementsof shad- ing. Comparethisto the sphereon page 28. MATERIALS LIST Paints Burnt Umber Titanium White Brushes no. 4 sable round Other 1 Draw the Pot Lightlysketchthe pot's outlinewith a mechanicalpencil. Be sureit is syrn- metrical. hghtly fillin the areawith a transparent mix of Burnt Umber and TitaniumWhiteplus a touch ofwater. mechanical pencil . q - - 2 The Awkward Stage Createthe dark sideofthe potwith Burnt Umber. Followthe contourswith curvedbrush strokes. Fillthe inner rim ofthe neckaswell. 3 Finish Add TitaniumWhitetothe Burnt Umber,and continueto developthe k shapeofthe pot. You can seehow I , literally "draw"with paint. Mybrush- i strokescreatethe formwith their direction.
  • 39.
    Exercise: Practicethe GridMethod I Lets practice using the gridmethod. The shapesofthesewine glasses arefairlysimpleto drawwhen using the gridmethod. You canuse regular paper forthis exercise. The canvaspaper Iused forthis book iswonderfidforthe gridmethod,becausepencillinesliftup and areeasyto erase with akneaded eraser. Itbecomes more of a challengeon stretchedcanvas,becauseofthe rougher surface.Stretchedcan- vas, while stillerasablein smalldoses,reallyholds the graphite andwill smear.For stretchedcanvas,I would suggestusing a projector (seethe tip below)to getyour outline,soyou don't have to removegridlineswhen you arereadyto paint. Formorepractice withthe gridmethod,gothrough the book and practice creatingthe linedrawingsofthe projects you wouldliketotry. Use regularpaper atfirst,just to getthe hang ofthe method. When you arecomfortablewithyour abilityto drawandwant to startpainting,switchto canvaspaper. 1Studythe graphed example. Reallylook hard and try to see everythingas interlocking non- sense shapeswithin each square. lsing a Projector you don't want to erasegrid lines, you can use an art projectorto shine an imageofa referencephoto onto your canvas. Adjustthe projectoruntil the nagefills the canvasthewayyou want ,.to, then tracethe image lightlyonto the canvaswith a pencil.Art projectors are availablewherever art and craft supplies are sold. 2Lightly apply agrid ofone-inch squaresto your paperwith a mechanicalpencil. Usingthe grid as your guide, begindrawingthe shapes ofthewine glasseson the canvas paper, one box at atime. Go slowly, concentrateon one square at atime, and forgetyou are drawing a glass. 3 When you have accurately drawn the shape ofthe glasses, erasethe grid with a kneaded eraser, and leavejust the outline.
  • 40.
    C H AP ' ITS TIMETO DO OUR FIRSTFINISHEDPAINTINGS! elementsofs h a hinthebackofyourmindasyoupaint(see Thischaptmstart4;offwithasimple subjea:wine glasses. page 28)andanaccurawlinedrawing,your arewellonyour M tletthehctthattheyaremadeofglass rnyou.Itis way togreatpainting. actuallynohardertopaintshinyandtransparentt h q s than Continuethrmrghallthepaintingdemonstrationsinthis itisto paintapplesorgrapes. Paintingdections ismerelya chapterandlearnhowtouseshading.backgroundsandcolor matterofviewingthemaspatternsofcolor.lfyouhavethefive relationshipstopintanystilllife subject. . . I..
  • 41.
    I selectedthesewine glassesforthisexercisebecausethe five elementsof shading-st shadow,shadowedge,halftone, reflectedlight andfulllight--are easyto pick out. 1 Sketch and Paint the First Strokes Sketchthe wine glassesonyour canvas using the gridmethod. With a diluted mixture of Prussian Blueand a smallno. 3 sableor syntheticfilbertbrush, apply some streaksofpaintwherethe shadow edgeofthe glassis. Thisbegins the processof creatingroundness. MATERIALS LIST Paints Other IvoryBlack mechanical pencil PrussianBlue ruler Titanium White kneaded eraser Brushes no. 210 liner brush no. 3 sable or syntheticfilbert 2 The Awkward Stage Use a no. 210 linerbrush to paintthe smallstems ofthe glassesusing the diluted Prussian Bluefrom step I. Now mix a smallamountofTitaniumWhite intothe Prussian Blueto make itmore opaque.Withthe filbertbrush, continue blockinginthe colors.Canyou seehow itis coveringthe canvasmore?At this stageyou arecreating "patterns"of dark andlight. 3 Finish To deepenthe shadowareas,mix some Ivory Black intothe Pmssian Blueand whiteto createa darkblue-gray.With a linerbrush, addtheblue-graymixture to the shadowedges.The roundness ofthe glassesreallyjumps outnow. Tomake the glasseslooktransparent and shiny,takepurewhiteintothe high- lightareas. Paint right overthe existing painting,whichmakesthe whitelook like itis reflectingoffofthe outer surface ofthe glass. You arepaintingblotches andpatterns ofcolor,whichgotogether to createthe illusion of glass.
  • 42.
    Thewine glasseswere asimpleprojectbecauseofthe simple color schemeandthe whitebackground.Now let'stry some- thingabit morecomplicated.This projectbrings intwo new elements:a darkbackgroundandthe use ofcolor. 1 Do the Drawing Use this gridto createan accurateline drawingofyour own. Lightlydrawa grid ofone-inchsquaresonyour canvaspaper and then drawwhatyou seeoneboxat a time. Whenyou aresurethe drawingis accurate,removethe gridwith akneaded eraser,leavingjust the outlineofthe candleholder. 2 Paintthe Candle and Start the Background Look atthe candle.The fiveelementsof shadingarethere.The stripesoflightand dark createthe look ofa cylinder.Theplace- ment ofthe lightsand darks makes itlookrounded. To paintit, mix atouchof CadmiumYellow Mediumwith TitaniumWhite, then add atouchof Burnt Umber. This makes a darkyellow ochrecolor. In addition,createa light and a mediumversionof this colorby pulling asideportions ofthe mix and addingwhite. Createthe candlewith verticalbrushstrokesand a filbert brush. Startwith the llghtestcolormixture first,andthen blend the darker colorsintoit.Thepatternsareimportantin creating the lookof a cylinder. Savesomeofthisyellowforstep3. Startto fillin thebackgroundwith Ivory Black.The dark backgroundwill createthellghtedgesofthe subject. Let the Darks Create the Lights Ratherthanoutlining objects, let dark colors createthe edges for light areas. In this painting, we can createthe light out- side edges ofthe candle holder byfilling in the black backgroundaround it. MATERIALS LIST Paints Burnt Umber Cadmium Red Medium Cadmium Yellow Medium Ivory Black Titanium White Brushes no. 4 sable or syntheticfilbert no. 2 sable or syntheticround no. 1 liner brush EanvasorCanvas Paper 9"x 7" (23cm x l8cm) Other mechanical pencil kneadederaser
  • 43.
    Si r '- 3TheAwkward Stage k Finish6llmginthebackgroundto crateallofthe outside edges. Fillinsomeofthe smaller bla& areasinsideofthe candleholder.h katthese areasobjectivelyas smallshaper;, L andassigneacho m acolaAny subjectis easiertorepbte if B youthinkofit aspwzkpieces. Mixagrayusingblackandwhite andapplyitwithano.a L m u n d r n t h e l ~ t u ~ a s o f t h e g l a g s . A d d ~ o f t h e ~ fromstep a intothelowerrghtside oftheglass.Thig iswhere &e colorof the candlebreflectedinthe glass. AddatouchofcadmiumRed Medium Burnt Umber. Lookattheareaswhere I usedthis warmbrowntone,andapply byourpaintingmmdmglywith a smalllinerbrush 4 Finish Tofdshthepaintingconhue 6 h ginareaswithpatterns ofcolorusingano.zrmmd.AddM u mYellowMediumto someareastomatetheb kofgolddoredm d . Tomakethe glass lwk real,mix somewbik andyekw togetheranddryhushitintothe glass withdbrush- strokesincreatepeflectons. Justasinthewineglass d s e onpage39,theIhigMghtscurvetom t etheroundnessofthe glass. Tomakethe m d e flame,mix anorangeatofCadmium YellowMediumand Gdmium Red Medium. Itisthep& fidnngtouch.
  • 44.
    A Close A -5r;;serLook THISPEWTER MUG WAS PAINTED using allofthe samecolorswe used for the glass candleholder in the previous demonstration.You can seehow reflec- tions on pewter arepainted the sameway asreflectionson glass. Again,the fiveelementsof shad- ing (seepage 28)were used to makethe muglookrounded.The reflectionswere appliedverticallybut curvedfollowing the mug's roundedcontours. I created the lookofbrushed pewter by taking somewhiteand drybmshingthe texture in a horizontal strokeacrossthe paint I had alreadyapplied. Comparethe mugto the candle holder onthe previous page. You can see allofthe samecolors.Thehandlesare almostidenticalin the way that theywere painted. Pewter Mug 11%" X 9%" (29cmX 24cm) 1 Full light 2 Dry-brushing for pewter look 3 Halftone 4 Reflected light 5 Shadow edge 6 Cast shadow
  • 45.
    D E MO N S T R A T I O N I selectedthis decanterforitsbeautifulpatterns andtexture. It MATERIALS LIST Imay seemabit dauntingatfirstwith all ofthe delicatedetails, but subjectslikethis areactuallyeasierthan you might think. Theobjectis madeup ofgeometricpatternsthat go together much likepieces of apuzzle. I likeworkingin just black and white. It givesa dramaticlook andhelpsillustratethe extreme shineofthe crystal. Paints Ivory Black Titanium White Brushes no. 3 sable or syntheticfilbert no. 2 sable or syntheticround no. 2 sable or syntheticliner Canvas or Canvas Paper 16" x 12" (41cm x 30cm) Other mechanical pencil kneadederaser A GRAPHEDPHOTO This graphed photowill help you draw the decanter and all of the small shapes and patterns. 1 Draw the Decanter Lightlydrawagrid of one-inchsquaresonyour canvaspaper, andthen drawwhatyou seein the graphedphoto (atleft), onebox atatime. Whenyou are surethe drawingis accurate, removethe gridwith akneaded eraser,leavingjust the outline. Now you arereadyto paint!
  • 46.
    2Start the Background3 The Awkward Stage Withpure Ivory Blackandano.3 sableorsyntheticfilbert Finishpaintingthebackgmmdsothatthesidesdthe deanter brush,applypaintaroundthe edgeofthedecanterandintothe arefullyd e m i .Continueblodunginthedetails oftheglass. bedcground.W~thano.z roundbrush,addsomedark strokes Atthis siageyouaremerelycreating"patterns"ofdarkand into&e glasstobeginthepatterns. h& L o o k a t t h e p h o t o ~ ~ o n p a g e ~ ~ f o r p r o p e r p ~ mentofthe patternpieces. Howrwr, donotbeupsetifyou dodtapture everyminutedetail;heillusionofmtc r y d win still comethrough Atthis slage I haveusedodylvoryBlackThewhiteyou see hereisjust thewhiteofthe anvas.
  • 47.
    4 Finish ContinueM op i n g thedarkpatterns. T h epatternshelpcreatethe illusionof roundnessandform,sofollowthecurves ofthedecanterWithano.alinerbrush, addsomeXtaniumWhiteontop ofthe blacklinesthatdehethe glass'spattern. Be carefultofollowthe contoursofthe pattmmastheygoaroundtheglass.Can you seehowthe cums ofthepatterns createthe form?Theroundnessofthe glassisnowveryobvious. Placemorepurewhiteintotheh@- lightareas. Noticethatyouhavenotpainted "mnsparmtlf tomakeglass. Youpaint- edpatternsofhghtanddarkthatwent togehertomatetheillusionofglass.
  • 48.
    As withtheglasspatternsintfiedmnteronpage43, itisnot impmianttobeoverlymt ewiththeareaoftheplantinthis pain- It is just aconglumerationofh&t anddafk shapes thatcreatesthe illusionofplantlife.Thispaintingisnotas blackandwhite astheonebefore;itusesmoregraytonesto mpturethe scene. A GRAPHED PHOTO Usethis graphed photographto createan accurate linedrawingdthe patioflower pot. 1 Drawthe Subject Lqhtly drawagrid oforwinchsquaresonyour mvaspaper, andthen drawwhatyousee oneboxat atime. Muchofhis amishmashofshapes,sojustgettheimportantones. Itwill reallycomebgehmwhenyoustart topaint.Whenyouaresure pu haveenoughinfbmation,removethe gnd with aheaded eraser,leavingjust the outhe. MATERIALS LIST Ivory Black TitaniumW h i i Bruskes no. 4 sableor syntheticfilbert no. 2 sablc or syntheticround no. 2 sablc or syntheticliner CamasorCamas P a p 14x11' (36cmx2lcm) ww mechanicalpencil beaded eraser
  • 49.
    2Startthe Shadowsand Background Createamediumgraywith Ivory BlackandTitaniumWhite andapplyittothebackgmmdwith ano.4filbertbrush. Let thebacEEgraundgrayextend intotheareawheretheplants willgolater. Addabit more IvoryBlacktothemixture,matinga d a r hgray,andpaintinthebase oftheconcretestand Withpure IvoryBlack, paintinthe stripofdarknessalong thehorizonline. 3 TheAwkwad Stage Continueto"bidkf thepatternswithtlw no.4filbert, strivingforsmoothandevencowrage.Thebackgmmd,the f;oregroundandthepotareallvariousshahofgray,h IIght ton^ to darkTheflowerpothasaroundsurface, solook fbrtheh&t suurceandrememberthefiveelementsofsbadmg whenpaintingit. PaintthefoliageontherightsidewithIvoryBlackand a no.2 roundbrush,painting rightover thebaclrground. Alsowiththe no.a roundandlvwy Black,paintIhb e p - ningofthe patternsthatrepresenttheplantsinthe pot It is just anillusioncreatedbyblobsofpaint,sopaintMy,concen- tratingontheoverall shapeyouaretryingtomake,notonthe plaoementofeverylittleleafandM. Everyhng atthisstage of& paintingisjustbl& infor shapeandtone.
  • 50.
    4 Finish Thefinaltouchesofthepaintinga ntake awhileIbutas youcanseelitisworththe effort.W~thTitaniumWhite andtheno. a linerbrush,matethe small detailsand thehghhghb.Thesebrightareasadda newdhemhofdepthtothepainting andreallycapturethehghtsuurceofthe outersu&ces. Thefullh&t candearly be seenonthe rightsideoftheplanter andantheleaves.
  • 51.
    Iliketoplay colorsoffeach other.In this piece,the colors of the peachesenhancethe color ofthe teapot.This isbecausered and greenareoppositesonthe colorwheel (seepage 17),and placing them sideby sidealwayscreatesa goodcolor contrast. You can seeanother complementarycolorschemeinuse here aswell. The colorsblue and orangeareopposites,sothe sky colorhelps illuminatethe orangecolorsofthe peachesandthe orangecolorsreflected on the tabletop. Thisis a goodproject forpracticingyour strokework.This paintingwas mostly donewith the no. 3 filbertbmsh, andlong "fill in"strokes.When paintingin longstrokes,it is important to followthe contours ofthe objectyou arepainting. In this example,curvedstrokescreatethe roundness ofthe teapot, straightstrokescreatethe flat surfaceofthe table,andhorizon- tal strokesgivethe illusion of a skyinthe background. A GRAPHEDPHOTO The graph will help you drawthis still life scene. MATERIALS LIST Paints Burnt Umber Cadmium Red Medium Cadmium Yellow Medium Ivory Black PrussianBlue Titanium White Brushes no. 3 sable or syntheticfilbert no. 2 sable or syntheticliner no. 2 sable or syntheticround Canvas or Canvas Paper 16" x 12" (41cm x 30cm) Other mechanical pencil kneadederaser 1 Draw the Still Life Createan accurateline drawingon your canvaspaper using the gridmethod. When you are satisfiedwithyour drawing,erase the gridlines.
  • 52.
    2 Black Inthe Colors Blockinthecolorsofthepainting,usingano.a roundfw smallerareas suchastheteapot's spoutandhandleandano, 3 f l k tforlarge,openareas.Payattentiontothedjrectionof yourbru9hstrokes:Letthemfdowthe contoursoftheobjm tobeginmatingtheirforms. Withthe no.j filbertandamixhw ofPrussian Blueand TI* White, paintthe skywithhorizontals-hh.Save someofthiscoloronyour palette; itwillber e f b e dintothe teapotandthetabletoplateron. PaintthepeacheswithamixtureofM u mRedMedium andCdmiumYellow Medium, AddatouchofBurnt Umber intotheM u mRed Mediumforthe shadowareas. Mixajade greenwithTitaniumWhite, M u mYellow Medium, Prusr;ianBlueandatouch ofIvoryBlackto gray it. Usethistopaintdwteapot Savethis coloronyourpalette. Paintthebrownbiblewithamix of&Imt Umber,W u m RedMediumand M u mYellow Medium. 3 The Awkward Stage Forthisstep,usethe same mlm,but applythemmareheav- ilyfbrmorewverage.A p n , thebrushskokesinthispieceare veryimportantformatingthefonns,espeaallythoseofthe teapot andthepeaches.Tosatethefinelinesseenontheedge oftheteapotanditslid,useano.a linerbrushfbrmorepreci- sion.Use lvwy Black fbrcontrast,es-y inthehandle. Create Form With YOUP Brushstrokes Makesureyour brushstrokesalways bllowthe contours ofthe surfaceyou a n painting. I
  • 53.
    I tar aFinished LOOK, I Completely Cover the Comparethefinal paintingto step3, andyou can reallysee the difference itmakeswhen you takethetime to completelycwerthe canvasand smoothoutthe shadingand edges. This atra care iswhat takes a paint- ingfrom "the awkward stage"to a finishedwork dart! <!]I I 4 Finish Usingtheno.alinerbrushandthesame colorsasinthepreviousstep,smooth outthe m sanddeanupthe edges. Makesure thepaintcompletelycovers the canvas.Use gome TitaniumWhiteto addafkwhqgldqhts:ontherimandbelly - - ofthepot. Peachen and Teapot 16"X 12"(41cmX aOcm)
  • 54.
    -7 D E MO N S T R A T I O N Thisis awonderfulpaintingusing earthtones. Thebrownish MATERIALS LIST hues giveit a naturalfeel,and graytones givethe illusion of real ceramic.Look aroundthe painting,andyou will seethe brown tones reflectedintoeverysurface.Thisreflectingand distributingoflightis essentialto a goodpainting. Tyingin the colorsofyour subjectwith its environmentmakes a painting lookmore realistic. A GRAPHED PHOTO Usethe graphed photo to achieve your foundation shapes on the canvas. Paints Burnt Umber Cadmium Red Medium Cadmium Yellow Medium Ivory Black PrussianBlue Titanium White Brushes no. 4 sable or syntheticflat no. 2 sable or syntheticround no. 2 sable or syntheticliner Canvas or Canvas Paper 8" x 10" (20cm x 25cm) mechanical pencil kneadederaser 1 Draw the Subject Use the graphedphoto atleftto create an accurateline drawingonyour canvas paper. Removethe gridlinesonyour canvaswhen you arehappywith your drawing. This is afairlysimplesubject to sketch.
  • 55.
    2 Paintthe FoundationColor Well,thismh h l y doesrItla& like much,but it is anim-t fmtlayer Min Burnt Umber;EdmiumRedMedi- um andatouch ofW u mYellow Medium,diluteitwithsomewater,and &thisinusingano.4flatbrush. Usedqonal brushstcokestaskrt indi- stingthewoodgrain ofthetibleaop.kt yourbrubtrokez~dintotheareas wherethebowlandotherobjectswill bepaintedThigassumgoodcoverage inthel-Whenyouetthe objectsintheTI& step,youd thave toworryaboutgapbetweenheobjects' e==dthe-. 3 The Awkward Stage Nowitistimebm z t ethe formofthe placesetting.withothercolors.Continue "drawing"inthe shapeswith ano.a raundbrushanddilutedpaint.M a k the hshstrokeso ~ twiththe shape oftheobjects.Youanseethe ruundness andckw&rence ofthehwl,dishand glass withinthebrush strokes.Atthis stage,establishthedcolorofthe objects,usingdifferenttomstocreate theshadowsandhghlghts.Useblack tonesinthe shadow areas andinthe ~ o f ~ s ~ . W h e n p u matethe shadows,*re alsoindicating thedirectionofthelight source.
  • 56.
    P h Setting 8"x 10"(2Ocm x 2 h ) 4 Finish Mostofthisstepisdonewiththeno.aroundbrush.Continue Therearealotofd e c b n sonthe objectsinthispiece. tobuild layersofcolorforgoodcxwerage,ushgdistinctbrush- OncethepaintlayershavebeenMt up,usethe smallliner strokes&at arecon&tent withthe shapes.Useasmall liner brush andTitaniumWhite tocreakthesmalledgs-ofdected brushwith IvoryBlackandTitaniumWhitetomaatethelights IIghtalongtherimsoftheMziaussurfam.Y wanseethese anddarksaroundthe rimsofeachobj- edgesonthe rimofthebowl,therimofthe plate,therimofthe Youanseethattheceramichasabitofamauvecolortoit. glassandalongthe edgesofthesilverware.Use IvoryBlackthe Youactuallydonotneedanybluetomate&is color.Simply sameway fbrthedarkcontrastalongthesem. addatau& ofIvoryWto amixtureofBurntUmberand White. Thereis,how eve^,atouchof PrussianBlueinthe subtle greenseendectedinthedrinkingglass.
  • 57.
    D E MO N S T R A T I O N MATERIALS LIST Complementarycolorscanmake apaintingcomealive. Red is my favoritecolor. I loveitforitsbrillianceandvibrancy.To enhancered,use its oppositeonthe colorwheel, green. Lookat the graphedreferencephoto andyou can seehowmuch more impactmy version has than the photo. Paints Burnt Umber Cadmium Red Medium Cadmium Yellow Medium Ivory Black PrussianBlue 1 Draw the Subject Followthe graphed example,and create this line drawingonyour canvaspaper. Simplif)the plants to createa more dra- maticpainting. When your drawingis accurate,erasethe gridlines. not become a human copy machine. You can makechanges to improve your composition. Titanium White Brushes no. 3 sable or syntheticfilbert no. 2 sable or syntheticround no. 2 sable or syntheticliner Canvas or Canvas Paper 16" x 12" (41cm x 30cm) Other mechanical pencil kneadederaser
  • 58.
    2 Paintthe Backgroundandthe Red Claps 3 TheAwkward Stage WithM u mRedMediumandano.3 filbertbrush,fillin Createane m dp e mmlor bymixingadabofPrugsian dwhckgmmdareas,i n d mthosebetweentheleaves, (Use BlueintosomeGdmiumYellowMedium. Usethisandano. ano. a roundfbrsmallerareas.)Redanbea color,and a dtofillinthelargerleavesandthebaseoftheothershot youmayneedtouse acoupleofcoats. Paintinthebase ofthe glass.Addmoreyellowtothe mixto getahghwgreen,anduse shotglassontherightAddsomeredinsidethe glass= toindi- &is tofiUinthestems andremaininglea=. atethattheyaretmsprent Togiw theh c k g m dsomedepthoftone, Zikeanillusiun ofshadows,addsome IvoryBlackto Gdmium RedMedium andplacethisdarkenedredintothecornersandalongthe area abovethebbleline.Thisbiantlygives thepaintingmore impact. WithBurntUmber,fillintheareaalongthebottomedgeof thepaintingtosuggestawoodentabletop.layer onsome Ivory Blackto mateaghadow undermaththetablecloth.
  • 59.
    14 Finish Thisfinalstep isah g h yonewith manymall details,Fill inthetablecloth withaa ~ tofTitaniumWhite. Thenadd shadowstoitwithabluegraymixture madeof'I"1tmiumWhite, IvoryBlackand atouchofPrussian Blue. The"rolls"in thehbricresembleqlindersandhaveall ofthefiveelementsofs h a hwesaw in the sphereonpage29. Correalycaptur- ingthesehghtanddarkareaswilld t inconvincingfblds. Addmoreofthe darkredh m step 3 intothebadcgmmd.Usethedry-brush technique(seepagea6)witfia6lbert brushtoblendthisdarkerredintothe firstla ye^ofred.Addmgthedarlmesa helpsmate anaturali3arnmwork,lead- Iingthe eye intothecenterofthe painting andtothemainfocalpoint. W~thalinerbrush,addall ofthemall E ~ t o t h e m a u y s u r h e s o f t h i s p i ~ , --,: ,,,,-- hd&~:;,;b:;,b,,i,ili,id Forinstame,adddstreak~ofw anddarkgreentotheleavestomake themlooklikephrlodendrans.Addhght edgesto sameofthelearn andtothe stems. a Realistic Look Canyou see howthe basecolorof each glass is reflected up intothe glass itselRTheircolors arealso dected ontothe whitebblecloth.Tocreate the r d dcolorsonthetablecloth, I usedthe same scrubbing methodas Addhght edgestotherimsofthe glassesandinsidetheglasseswhere the stems come Thegesmall swipesofwhite &theglasslookvery d d v e . Forthebases ofthe shotglasses,use dabsand streaks ofwhite andblackto - Grsclos givethemfbnnandpatterns.These 16"X 12"(41cmX h) patternsmakethebaseslookmuded. Theyalsomaketheglass appeartobe "bubbled"inside.
  • 60.
    IlandscapP LANDSCAPESARE ONEOFTHE MOSTPOPULARbecomeprof~cientatanyskiUrequiresconstantpracticeand subjectsfbrartists. Notonlydotheyprovidebeautifulcolorsto repetition.Skiesandwaterareagoodsubjectonwhichto mpture(asinthe skies andseascapeswewillmverh t ) ,the andperfeayour paintingM s . I d t thinkofabetter additionalsubjectma- withinalandsapehelpstella story. wayto getusedtothefkelofthepainhrushinyourhand.You Theprwiauschapte~~gaveyoutheinfirmatianrequired cana hreferbackto thebrushworkd s e s and e ~ a ~ p l e son tohelpyoupaintanythingyouwanttopaintinacryk To pagesa3-27.
  • 61.
    EMONSTRATION M O NO C H R O M A T I CS E A S C A P E A scene suchasthisonelooksmuchmorem p h t e dthan theprojectsinearlierchapters,butitis actuallyexkmely simple.Bemuse oftheWand-whitecolorschemeinthis project,pcanreallyconeenkiteonthe ton^ andpainting kchnqw.Anothernicet h q aboutanoutdoorscene such asthisisyoudorithaveto usethe gridmethodtogetitonthe paperb u s e accuracyofshapesisnotaitidto ahitland- smpepainting. Inthispieceyouwillalsogetbpracticeblendmgtones smoothlyonthe mvas. MATERIALS LIST IPaints Ivory Black TitaniumWhite Brush- no. 8 sableorsyntheticflat no. 2 sableorsyntheticrnund no. 2 sableorsyntheticfilbert no. 1 sableorsynthetic liner Camsdw Canvas P a p 12'x16 (3Ocmx41cm) Other 1 mechaniarl pencil rulet 1 PlanYour Composition Outdamscenesstartwithasimplehorizonline (I). Thisis wherethesky(a)andthegroundorwater (3)meet.As a general ruleforany landsape,bednot cutyour composition d y inhalfwiththe horizonZinc. Ifyoudo,theviewer's eyeworitknowwhattofwuonh~Placethehorizoneither abovethe middleofyourcanvas (toernphasjxthegroundor waterarea) orbelowit (toemphasizethe skyarea). Forthe seascapethatb e ponthenextpage,wewillplace thehorizonlineabovethe middleoftheanvas. 1 Horizon line 2 Sky area 3 Gmund or water area
  • 62.
    " V ~ or idown,d u a l l ya d i n ~marewhite- - tothemixtomakethegroundllghteras you approach&e bottom ofthemm. i3 The Awkward Stage htisaverydarkp y a h o s tblacl- I andDaintthe m da l mtheshorehe.
  • 63.
    I , '. -'. 8 . ... .- ;:.. :,:;;,,;,;:$ji 4 Finish Mixalightgrayandpaintwaveswith meephgstrokesandano.a fdbeabrush Studymy m p l eandwatchthe diredonoftheflow,andhow theyworkoffofthe rocks. Letthe diredonofyour brushsimksdepxtthemovementofthew a t e ~ Thinsomepure Imny Blackwithwatertoaninklikeconsistenq,butdonotlet ithcometmqwent. Paintthe reedswithlong,qui& taperingstrokesofano.I linerbrush smthg atthehmmofeachreed Refertopage a5 forthetechnique. Addthelittleleaveswith smaUdab-hthetipofthelinerbrush. I liketheway theblack silhouetteofthe r d s con^^ ag;iinstthe shore.Thelight& wavearea attheshorelineseemstog hbetweenthereeds. TheAtZadc In Whter From a photograph by Janet Dibble Wellenberger 12"X 16"(3Ocm X 41cm)
  • 64.
    D E MO N S T R A T I O N I Thispaintingis doneusing the samecolorsasthe previous demonstrationon pages 59-61,butthis timewe areadding some Pmssian Blue-andthistime,the horizonline isbelow the centerofthe canvas,placingthe emphasison the sky. For sucha beautifulpaintingit certainlyis an easyoneto do! MATERIALS LIST Paints Ivory Black PrussianBlue Titanium White Brushes no. 6 sable or syntheticflat no. 4 sable or syntheticfilbert no. 2 sable or syntheticround hake brush (for blending) Canvasorcanvas Paper 9" x 12" (23cm x 30cm) Other mechanical pencil ruler 1 Draw the Horizon and Base In the Colors Drawthe horizonlinewith your ruler andpencil. Mix a sky- blue colorwith Pmssian Blue andTitaniumWhite. Paint the skywithyour no. G flatbmsh, workingfromthe top downand addingwhiteasyou go. Use your hakebmsh tohelpthe colors blend. Somestreakingwill giveyour skyatmosphericmove- ment. Let the skycoloroverlapthe ground area abit. Fill in the entirewater areawith pure Pmssian Blue on the no. G flatbmsh. Use ahorizontalback-and-forthstroke. If some streaksshow,thafs okay;they'llbecome part ofthewater's surfacelook. 2 The Awkward Stage Using a no. 4 filbert,paintthe largestmountainrangewith the skycolorfrom step I mixed with abit of Ivory Black. Lighten the mix onyour palettewith alittleTitaniumWhite,then add the smallermountain. Now add moreblack intothe mix and createthe darkestmountainin frontofthe othertwo. Be sure thatallofthem end atthe horizonline,andthatthe horizon looks straight. Add streakycloudswith TitaniumWhite,using a no. 2 roundbmsh andhorizontal strokes.Itis okayto allowthe color behind themto showthrough.Thehorizontalbmshstrokes help maintainthe feelingofatmosphereandwind movement.
  • 65.
    3 Finish Jamaica 9"x12"(23cm x 30cm) Dekdthewaterwith quickhmhond streaksofTitaniumWhiteonano.2 round brush,c~eathgamirror reflectionofthewhitecloudsinthemiddle.Forthe restof thewater,usethe samequickhorizontalstokes,butvarythecolorsfromdarktohght. Theresultwillbeafeelingofwatermavementand sparklingsunshine.I paintedthis fromaphotoI tookononeofmy *art misd in Jamaica.Amazmgly,thesewerethe actualmlorsofthescene;I haverltalteredthemfbrthispainting. Beautiful!
  • 66.
    D E MO N S T R A T I O N Sometimesan entire scenecanbe createdfroma skyalone. Cloudshave away ofcreatingtheir own storyand composition. Thebonus to a skycompositionis thatitrequiresno horizon linesorgrids!AU you need is a freespiritand somepaint! The skyoffersyou the opportunityto experimenttoyour heart's desire,becausethere is no rightorwrong. MATERIALS LIST Paints PrussianBlue Titanium White REFERENCEPHOTO I lovethis photograph. It shows the full soft- ness o fbillowy clouds. I particularly likethe way the colors ofthe clouds in this photo range from verywhite to pale blue to the dark blue ofthe large cloud's underbelly. The sense ofdistance is evident in the way the clouds get smaller as they recedeintothe background. Brushes no. 6 sable or syntheticflat no. 4 sable or syntheticfilbert CanvasorCanvas Paper 8" x 10" (20cm x 25cm) 1 Paint the Base Colors Add atouchofTitaniumWhiteto Prus- sian Blueto createa mediumblue. With wide sweepingstrokes,coverthe upper portion ofthe canvas. Be sureto add a touch ofwaterto the painttomake it smooth,but it stillneedsto be opaque. The skyis darkeratthe top and gets lighterthe closerit gets to earth. Soas you work down,add abit morewhite painttothe mixtureto createmore of a skyblue. Continuedownthe canvas, lighteningasyou go. Use rapid strokes whilethe paint iswet to softenthe tones intoavery gradualcolortransition.
  • 67.
    2 TheAwkward Stage UsingpurentaniumWhite,createthe shapesofthecloudswithyour6lbert brush. Donotmakethepaintso thick thatitbuildsup. Wedodtwantmugh texhareforfl~@douds.lightlyblendthe whiteintothebedcgwnxndtomakethe Qouds arelaymedandhavedimen- sion.Togivethem form andmakethem lookfull, blend shad^ ofllue,fromdark tolight,intothe whiteusingano.4 3 Finish Addthe s h a h ofthecloudswith manyvariedshades ofprussianBlue. Themoreshadesywuse,themore realisticyourpaintingwillbe.Someof the cloudsarepainted*lightover dare while o&ers are"darkoverlight." Thewonderfir1thingabut acrylic paintistheabilityto keep layering and adding lightsand darks, blending them together asyou go. Don'tgive uptoo soon! Itt a k practiceto learn brushcontnrl. ~talsotakestime to 'A1build up realisticdetails.
  • 68.
    D E MO N S T R A T I O N Ifyou areluckyenoughtotravelfarfromhome,you'll getto see the skyin a differentenvironment-and wen ifyou don't travel, the skyrightwhereyou live is a constantlychangingshowof color andllght. Keep a camerahandy just in casenaturedecides to giveyou a photo opportunity. To completethis painting,you willuse allofthe blending techniqueswe have alreadycovered;you'lljust changethe colors.This skyhas a lot ofmovement.Thehorizontalstreaks arevery apparent,soyou canuse the paint strokestoyour advantageby lettingthem showinsteadofblending the strokes perfectly. MATERIALS LIST Paints Alizarin Crimson Cadmium Red Medium Cadmium Yellow Medium Ivory Black Titanium White Brushes no. 6 sable or syntheticflat no. 4 sable or syntheticfilbert no. 2 sable or syntheticround Canvas or Canvas Paper 12" x 16" (30cm x 41cm) Other mechanical pencil 1 Sketch, Then Paint Base Colors Find your horizonline andlightlydrawit onthe canvaswith a pencil. This horizonline isvery dosetothe bottom ofthe page, dowing forahuge skyscene.Onyour palette,you will need yourwarm colors:CadmiumYellow Medium,Cadmium Red Medium andAlizarin Crimson.Youwill alsoneed Ivory Black andTitaniumWhite. Mix avarietyof coralcolorson your paletteusing Cadmium Red Medium, CadmiumYellow Medium and atouchofTita- nium White. Itis not importantto exactlymatch each color I've used. As with alloutdoor scenes,you'llpaintfromback to front. With your flatbrush, startlayinginthe colorsofthe sky. Look wherethe skyis lighter dueto the sun, andblock in someyel- lowandwhite. Thisis wherethe sun glowwill comefrom. Now createthe redness ofthe skyby streakingin the other warm colorswiththe no. G flatbrush. Dilutethe paint so you canmove it quickly.Transparentmixtures areokay. My studentscallthis my "slapping-instage"!You can seewhere I used awide rangeofreds,fromlightones (tints)to dark ones (shades).Havefunapplyingquick strokesof color.Thereis no set "recipe"here, no right orwrong. Take someAlizarin Crimsonand Cadmium Red and mix in atouchof Ivory Black. Paint this dark color alongthe horizon line. Add someofthe colorsfromthe skyareaintothewater areaforthe mirrorimageaffect.
  • 69.
    A 2 TheAwkward Stage Buildupthepaintwiththesamemlorsyouusedinstep I. Use lesswater now sothatthepaintis moreopaqueandancoverup thecmvas. Usequ~&horizontalstrokestomatethe e e s 9 oftheslrj.Unlikethe paintingsinearlierdmmsbtions,thissky doesnothavetoberepeatedlyblendedfbri r m de t i o n s of dm. 3 Finish Whenyoulikethecolorsofyourpaint- ingandyouhavecompletelycoveredthe anvaswitfiasmootha p p W nofcolor, youcanaddhishmgt o w k . Addthe sparkleofthewaterwhereit d e c k the 1sunusingwhik paint.Double-chdthe paintingtobesure&is amred, beause oncethetrees goin,thereisno redoingthelwkgmmd. LLghtlydrawinthe ofthepalm trees withyour medunidpencil.You a naddsomemoretrees ifyoddlike.Do notdrawineverypalmfrond,howewr; thogewillbe createdwithyour brush. ThindownsomeIvory Blackwitha touch ofw a b Makeitthinenoughto flow,butnotsothinthatitbecwnes-parent andstreaky. 1211x 16"(30cm x 41cm) Fill inthetrunkwiththig blackmixtureand ano.2 round brush. theendandbecomethinner.Ifyoupakt hthe*outsideir2" Beforeyouaddtlw palmhnds,I suggestyoup c hh t theendswillbewideandunnatural-lookmg. ona smppieceofm s . Paintthemwithquick,verysmall Besureto addalittlebit ofsandatthelmtbm., soyourtrees strokes, hthestem outwardThiswaythelinegwilltaperat lookplanted!
  • 70.
    D E MO N S T R A T I O N T O R M C L O U D S Iviewed this sunsetright frommy porch in Kansas.Wehave someprettyintenseweatherhere (rememberThe Wizardof Oz?)andthis was the sceneas athunderstormwas rollingin. The differencebetweenthis paintingandthe one on page 67 is that herewe have more color changesandmore contrasts in color.Thereis alsono foreground subjectmatterto dealwith this time. This skyhas a distinctsenseofdistancewithin it.The yellowglowofthe sun seemsmuch fartherback,whilethe clouds seemvery dose.This is dueto the intensecontrast between the two. -- r -_- 1 Paintthe Sky's Base Colors MATERIALS LIST Paints Alizarin Crimson Cadmium Red Medium CadmiumYellow Medium Ivory Black Titanium White Brushes no. 6 sable or syntheticflat no. 4 sable or syntheticfilbert 9" x 12" (23cm x 30cm) CanvasorCanvas Paper 16"x 12" (41cm x 30cm) MixTitaniumWhitewith a touch of CadmiumYellow Medium. Thinthe mix with water soitwill move easilybut not somuch thatitbecomes transparent.Apply this paleyellow startingat the top ofthe canvaswith a flatbrush and sweepingback-and- forth strokes.Alternatewith strokesofpurewhite,then blend the yellowandwhiteintoeach other. As youwork downthe canvas,addmore andmore Cadmi- - um Yellow Medium to createwarmth. Mix atouchof Cadmium Red Mediumintotheyellowto createorange,and addthat into your skyatthe bottom. Streakybrushstrokesareokay they will suggestthe movement of air. 2 The Awkward Stage To createcolorsforthe clouds,startwith the yellows and orangesyou mixedforthe backgroundand add someAlizarin Crimsontothem.This will giveyou deeperreds andpinkish colors. Streakthese ontothe canvaswith horizontalstrokesand a flbertbmsh. Use many differenttones-whatever's onyour palette. Now, mix touches Ivory Blackintothe colors onyour palette and streakthe resultingbrowns,mauves,coralsand grays onto your sky.This isthe funpart. Be creative,but do not completely coverup the lightskyyou painted in step I. Makelayersandlet the lightglowofthe skyshowthrough fromthe distance.
  • 71.
    3 Finish Continueaddinglayersofpaintuntil the canvasiscoveredandyou likeyour painting. Ifyou lovethe color orange,go aheadanduse more. Or add morered if you like. Studymy paintingto seewhere I streakedin the merent colors. Add the pure black silhouetteofthe hillonthe bottom, andyou arefinished! .#,*",,-y -W&r+. I-, , . ----. ' I . Before the Storm 16" X 12" (41cm X 30cm)
  • 72.
    This paintingprojectis similartotheprecedingonesin this chapter,butwe're addingan element-the road-that creates perspective. In this project yodlllearnhowtouse the technique offoreshorteningto createthe appearanceofdepth and per- spectiveon a flatpiece ofcanvas. 1 Paintthe Base Color, Then Draw Mix a mediumgrayusing Ivory Black andTitaniumWhiteand coveryour canvastolooklikemine. Letdry. Withyour mechanicalpencil,drawinthe horizonline. Use avery lighttouchto keep from scratchingthe paint. Thehori- zonline,wherethe lakeshoremeetsthe mountains, isbelow the centerpoint ofthe canvas. Drawin the highwayaswell. Itis a largeupside-downV shape.This pieceis a dear demonstrationofforeshortening. Thehighwayis receding (gettingsmaller)as itheads intothe background,whichillustrates ahuge amountofdistance. MATERIALS LIST Paints Ivory Black TitaniumWhite Brushes no. 4 sableor syntheticfilbert CanvasorCanvas Paper 9" x 12" (23cmx 30cm) 3ther mechanicalpencil -2 The Awkward Stage Withpure Ivory Black,base inthe mountainrangethat creates the horizonline. Fillin the V-shapedareasof groundon either sideofthe highway.Atthis stage,you alreadyhave a feelforthe landscapeandthe distance. 1 Create Depth With I Foreshortening Lookat step 3 and comparethe width ofthe road at the bottom ofthe can- vas with where it disappears intothe distance. Common sense tells usthat the road is the samewidth all the way back, but it appears to get smaller. This is calledforeshortening,and it is an importanttechniquethat will giveyour paintings afeelingofdepth and space.
  • 73.
    3 Finish A Tripta L m h George 9"x 12"(29cmx 3Ocm) MixaIIghtgmyand startplacingthe clouds.Onceyoulike&e shapeandmovement ofthem,addpureXtaniumWhitetothemtomakethemappearflufFy. Add some darkgrayclouds, s- themintotheZlghteronesfbrmoredepthoftone and senseofdistance. Gointothe solidblack areasofthemountainandthe groundandgivethemsome verysubdetexturewithadarkgmy.Thisgrayisjust onetoneWterthanbladr,butit helpskeepthingsh1- &t Withhghtgray,addthe thetothethe- Justtwow-grayZincs areenough to adection.Addthehighwaydividerlines.Withalightergray,sstreakthe hghway pavemmt,keepingconsistentwiththeV shape.Makethepavementlighter asitfadesintothedishme.
  • 74.
    D E MO N Treesarean important elementforlandscapepainting. Entire books have bewrittenjust onhowto drawandpaintthe many varieties oftrees. We've alreadylearnedhowto paint apalm tree (seepage 67).This simpleprojectwill giveyou somepractice paintingevergreens. I've used a monochromatic color scheme,but not because Iwantedto skimpon color.ThisfoggysceneinVermontreally lookedlikethis.AU I could seewerevarious shadesofgreen fadingin and outofthe morningmist. Notice thatthe trees appearto getlighter asthey recedeintothe distance. In this project youwill learnhowtouse thatphenomenon, called atmosphericperspective,to createdepthin a landscape. Usually I paintthe skyfirstandthen work back to front. Thistime,however,I am goingtoleavethe skywhite. Atmospheric Perspective Elements receding into the background ofa landscape appear not only smaller, but also lighter in color the farther backthey are. Also, the farther back something is, the more ofthe sky color itwill take on. This is called atmospheric perspective. MATERIALS LIST Paints Cadmium Yellow Medium Ivory Black PrussianBlue Titanium White Brushes 1no. 2 sable or syntheticround no. 4 bristleflat no. 2 sable or synthetic liner brush Canvasorcanvas Paper 10%" x 10%" (27cm x 27cm) 1 Rough In the Tree Shapes You'llstartthis paintingby drawingthe treesinwith paint. Mix a smallamountof Prussian Blueintosome Cadmium Yellow Mediumto createa greenmixture.Then add some TitaniumWhiteto make a pastel version and dilutethis abit with water. Using a no. 2 linerbrush,paintverticallinesto representtreebunks. Thisestablishesthe placement ofthe trees inthe painting. Onceyou havethe trunksbased in, switchto a no. 2 round bmsh and addbranchesandlimbswith a somewhatsquig- glyback-and-forthstroke.Thetrees shouldbe smalleratthe top and getlarger atthebottom, forminga coneshape. Paint looselyand don't letyour strokesfallintotoo much of a repeat- ingpattern.
  • 75.
    2 The AwkwardStage Takesomeofyourgreenmixtureandaddalittlemorewhite toit.Smibthiscolorintothe areaatthe middleofthe paint- ingusingano.4bristlefkLTakesomeofthe darkergreen mixturethatyouused forthetreesinstepI andaddsome Ivory Ella& intoit. Usethig mix andano.2 roundtoadddarktrees inthe foreground.hinth etreeslarger sothattheyappear d mWtenthemix withabitofwhiteasyouwork intothe distance.Closer*s shouldappearlargerandd a r k distant trees,d e randlighter. Use abitofdarkergreento indim* bitsoftreetrunk onthe distantpines. VermontFog 10%"x 10%"(27cmx 27cm)
  • 76.
    D E MC S T R A T I O N C I E N C I N C T R E ES C E N E -- 1As you can see,the landscapeprojects in this chapterhave MATERIALS LIST become increasinglymore detailed.This park scenewillchal- lengeyou to perfectyour skills. Whilethis paintingmaylook extremelycomplicated,ithas allofthe sametechniquesyou have alreadyused in the previ- ousexercises.The only differenceisyou willnowlearnhowto paintfoliage.The spongingtechniqueyou'll use forthis (see page 26)is reallyfunto do. 1 Draw and Paint Base Colors Lightlydrawthe horizonline abit abovethe centerpoint ofthe canvas. Mixa skyblue outofTitaniumWhiteand a touch of Prussian Blue.Thin itwithwater. Coverthe skyportion ofthe canvaswith atransparentapplicationofpaintusing a%-inch (~gmm)filbertandhorizontal strokes.Most ofthis paintwill be coveredup later,but itis importanttohave the skycoloras a base sothat it canpeekthroughthe leaves in spots. Mix alightgreenoutof CadmiumYellow Medium and a touch of Prussian Blue. Usingthe sametype ofapplicationas you didforthe sky,coverthe entireareabelow the horizonline. Paints Burnt Umber Cadmium Yellow Medium Ivory Black PrussianBlue Titanium White Brushes %-inch (19mm) sable or syntheticfilbert no. 6 sable or syntheticround no. 4 stiff bristleflat 1no. 2 liner brush Canvas or Canvas Paper 12" x 16" (30cm x 41cm) Other cellulosekitchensponge 2 Paintthe Tree Trunks Theplacement ofthe trees in this pieceisveryimportantto establishinga senseof depth. Whileyour trees do not have to look exactlylikemine,you shouldpay particular attentionto the sizerelationships between the trees. Thiscompositionhas a distinctbackground,middle ground and foreground.The treesaresizedin relationshipto their placementwithin these three areas. Blockinthe treeswith diluted Ivory Black and a no. G round,startingwith just the trunks andthe majorbranches.
  • 77.
    3 TheAwkward Stae MixMu mYellow MediumandPrussianBlueto crate a darkgreen.Scrubthis colorrightabwethehorizonlinewitha no.4 tlatbristlebrushto mate atreerow, orwhatisalsocalledahedgerowThisdarkgreenisanotherfindation colorupon whichyouwillbuildlater. Takeacellulose(nutfbam!)kitchenspongeandtearoffachunkaboutaninch around. hghdywet itand squeezeoutanyexlcessw a b -ten thedarkgreenmix- turefromstep a bya d h g amuchmorem u mYellowMedium. Dipthe sponge intothisandhghtlydabsomecolorintothebadcground abovethedarkgreenhedge raw.Lookatthetexturethist d q waeate~!Itis aperfkt reprewmlation ofdistant fbliage. MixatouchofwhiteintosomeBurnt Umber.Applysomeofthisto the rightsides ofthetrees:andbrancheswithano.a linerbrush.Thiseaablishesthatthe sunis comingh mtheright. NowitBtimetobuildupthe grounddm.Theh tapphtion was somewhat -t andstdcy. Wenowneedtothickenthepaintandlookfbrthepatterns oflightanddarkto matethe illusionofshadowsandmahofsunshe. Theentire groundisnathingmoredun streaksofcolor.Useafullrangeofgreens andvarious mixesofbrownandano.6 round.Bynow,youshouldbeabletokdethecolorson purpaletteandexperimentbmatethecolorsywwant. y i p , Don'tP Quit oo Soon! This isthe stage dthe paintingthat looksvery a w k r d . This is alsothe sbgc ofthegamewhere many beginningartists haveatendencyto give up. Pleasedon't! This iswherethe real learningcomesin, and your skills a n grow exponentially.All pirrtings passthroughthis *yucy' sfagc. Itis a necessarypartofthe process.
  • 78.
    4 Finish CentralPark 12"x 16" (30cm x 41cm) Thisisafairlylargepaintingwithmanydetails,so I've f din onhsmallareas ofthe painting soyouwnseethemk t b x Letthe enlargeddebils onthefwngpage beyourguidetohishmgthepainting. Learn Fmm Finished Paintings You can learn a lot byshdyingotherartisk' finished paintingsupclose.Try goingto an artgalleryand lookingat the brushstrokeseach artist used. Manytimes,what look complicatedis nothingmorethanquickdabs ofcolor.
  • 79.
    DETAIL:B A CK ~ ~ ~ U N DHEDGEROW Tocreatethe lookofdensebrush, useyour spongeto dab in many layersofwlor. Then usea liner brushtoaddtinybranchesamongst thefoliage layers. DETAIL:TREEBARK Usea dry-brushtechnique (see page26) tocreatethet a r e oftree bark. Concentrateon eachtree's rightside, wherethe sun is brightest. Layer lightanddark paint,and usetinybrushstrokesfor redism. DETAIL:THEGROUNDUNDERTHE LARGE TREES Buildupthe ground aroundthe basesdthe largetrees usingacombinationofbrushstrokesand sponpdabbing.You candabwith a bristlebrushaswe l asthe sponge.
  • 80.
    WITHTHELANDSCAPEPAINTINGSINT H EPREVIOUS withlitdedabofcola thishpterwillshowyouhowtopaint chapterIyouwere pin* anentirescmeh m foregmd In anentireh v mupdose. farinthedistance.Youused patternsoflightanddarktomate Tocapturealloftheshapesanddetailsoffbwers,we &e illueionofshape-thatlookredbticata&me. willonceagainrelyonthegrid method ofdrawing(seepaga Fortheflowerpain- inthischamdetailsaremore 3637). Thiswonderfultoolwinallow youtomateaccurateI conspicuous,andaccumybecomesmoreofank.While beautifulflowrrpainhgs. youcouldindudeflowersinalandsapeandrepresentthem
  • 81.
    Paintingyour firstflowerprojectwith amonochromaticcolor MATERIALSLIST I schememay seem strange,but itis an excellentway to concen- trate on shapeandvalueswithoutbeing confusedby color. A GRAPHEDPHOTO This photo with a grid over itwill beyour guide to painting the rose realistically. Refer backto page36-37 to refresh yourselfon howto draw usingthe grid system. I Let the Darks Create the Lights For realistic results, avoid outlining every shapeyou paint. Instead, let the dark shapes create the edges ofthe light shapes. Inthis case, the black background describes the shape or the rose, and dark areaswithin the Paints Ivory Black Titanium White Brushes %-inch (19mm) sable or syntheticfilbert no. 2 sable or syntheticround no. 210 sable or syntheticround Canvasorcanvas Paper 8" x 9" (20cm x 23cm) Other .: . , . .. . . mechanical pencil kneadederaser 1 Draw the Rose Lightlydrawone-inchorlarger squaresonyour canvas. Referto the photo onthis page and carefullydrawwhatyou seein each square.When you are sureyou have an accurateline drawing, gentlyremovethe gridlineswith akneadederaser.
  • 82.
    2 Fill Inthe Background Outlinearoundtherosewithpurelvwy Blackandano.a dsoyoucanget closeto the edgesofthe Mr.leaves and stem ThenIwithyour %-inch (~gmm)filbert,fillintherestofthe c;m~smdlngdleflm,malang theentireback;groundpureblack. 3 TheAwkward Stage Thefloweris madeupoftones ran& fmmwhitetoverydarkpy. Studythe photowellandseewherethelightsand darh are. Startbyestablishingthepetal edgeswi~hIvory~anda~/ornund b d Thismates thelayers.Mixvai- ousgraysoutoflmry BlackandTRauium White,thenlayinbkks oftonetom t e eachoverlappingpetal]leavingtheWt- est areasunpinkdfix Thetones willcowruptheblackedgezinesyou madeinitially.Fillinthe stemaswell. 4 Finish Detdeachpetal oneatatime.Lookfbrthepattamsofhghtand dark Everypetalhas&ent tonesdependq onhewayhe hghtishittjngit.Acrylicpaintallowsy0utoaddlayer;r;werand over untilyougetitthewayyoulikeit BeverydnottooutlineeachpetaLAn* withan outlinesurroundingitwillIdmorem n y than&tic XImakethebackpmdmoreintemtbgandnotso flat, s m bdarkgayintogome areastosuggestlea=. Later,if youlike,youcouldcomebackandtrypaintingthis roseinrealisticplnkhues! &nochromatic Row 8"x 9" (20cmx 23cm)
  • 83.
    DEMONSTRATION In the previousmonochromaticdemonstration,you learned to createlayersofflowerpetals by lettingthe darks createthe lights. Nowwe'll try it in colorwith alily. The rose on the previous exercisewas extremein itstonal range. Thetonalvariationsin this lilyaremuch more subtle. Likethe rose painting,this oneuses a darkbackgroundto createthe floweis shape. MATERIALS LIST Paints Cadmium Red Medium CadmiumYellow Medium Ivory Black PrussianBlue Titanium White Brushes %-inch (19mm) sable or syntheticfilbert no. 2 sable or syntheticround no. 210 sable or syntheticround Canvasorcanvas Paper 11" x 14" (28cm x 36cm) Other mechanical pencil kneadederaser A GRAPHEDPHOTO Usethe grid lines on this photo to obtain an accurate drawing. Remember, you can make your painting as large as you want by enlarg- ingthe squares you place on your canvas. 1Drawthe Lily This is whatyour drawingshouldlook like afterdrawingthe detailsofeach box one at a time. Gently erasethe gridlines fromyour canvaswhen you aresure of your accuracy.
  • 84.
    2 Basecoatthe Wl s 3 The Awkward Stage Painttheflower@withXtaniumWhitethathasjust ahint Createanorangecolorfor the center ofthelilyby mixingCad- ofCadmiumYellowMediumaddedtoit,usingano.a round miumYellowMedium withatouch ofCadmiumRedMedium. brush.Toestablishthe podg and&e darMa m softheflower; Paintthe centerofthelilywiththismlorandano.a round usepure CadmiumYellowMedium.Thishelpsdefinetheover- Thiswillhelpthecenter ofthehlyappearrecessedLeave areas lappingpetalsandbegintlxprmessofmatingfbmL oftheh&ter colorexposedfortlxstamens. Swikhto ano.a/oroundforthedetails. Usethe orange mix youcreatedforhelilfs centertodetailthe shadowareasinthe flowerandonthe pis.Paintthe sternwithagreenmated by mixing atouch ofPrussianBlueintoCadmiumYellowMedi- u m A l s o ~ s o m e d t h i s ~ i n t o t h e p o d s t o ~ t h e m lookreal. Painttheshadowonthestemwithabrownmadeby mixing some Cadmium Red Mediumintothe greenmix Mix FWssianBlueandIvory Blackand startpaintingthe badcpundwiththismix andaY-inch(~gmrn)filbert.This definestheoutsideedgesofthe@. More Impact Don'tbeafraidto use lotsofwntrast inyour painting. Comparethe areas oftheflower nearthe backgmundwl ortotheareaswherethe background hasn'tken paintedyet Isn't itarnaz inghowmuchtheaddedcontrast
  • 85.
    4 Finish Ye l hLily 11"X 14" (2&m X h) Continuefilling inthebdgroundwiththe darkmixtureh m step 3. Tomakeit lookmoreinteresting,blendinmdesofothercolon insome areas.Add some hghtblue andahintoflavenderintheupperleftcorner.Thisla& coloractsas acomplementtotheyellowoftheMy.Youcanaddmorevialetinthebadcgroundto help=-st againstthe yellow, Werto page ~;rinchaptertwofor areksher onhow mmplementqcolorsworkinapaint@ Addtwo subtleleavestobalanceoutthe composition.I emowageyoutochange this inanywayyouwant andmakeittrulyyour ownpiece.Justhavefun!
  • 86.
    D E MO N S T dA T I O N I lovethis photo forthe way the colorsplay offeach other. Even thoughthe backgroundis outoffocus,itplays just asimpor- tant a rolein the paintingasthe main subject.Thisis a color copyof a digitalprint,and someofthe colors aremorebluish than the original,so I adjustedthe colorinthe painting. MATERIALS LIST Paints Alizarin Crimson Cadmium Red Medium Cadmium Yellow Medium PrussianBlue Titanium White Brushes %-inch (19mm) sable or syntheticflat %-inch (19mm) sable or syntheticfilbert no. 2 sable or syntheticround no. 210 sable or syntheticround Canvas or Canvas Paper 8" x 10" (20cm x 25cm) Other mechanical pencil kneadederaser 1 Draw the Flower 2 Paintthe Background Usingthe graphedphoto asyour guide, drawthe floweron Mix Prussian Blue andTitaniumWhiteto createa skyblue your canvas. Makethe paintingaslargeasyou likeby alter- color. Coverthe entirebackgroundwith this color and a %-inch ingthe sizeofthe grid squares.When you aresure ofyour (~gmm)filbert;theblue willbe a foundationforthe othercol- accuracy,gentlyremovethe gridlinesfromyour canvaswith a ors. Letthe backgroundcolor createthe edgesofthe flowers. kneadederaser.
  • 87.
    3 TheAwkward Stage Fillinthemwithano.adandah&tpmkrnadeof AZizarinCrimsonandTitaniumWhite. AddmoreAlizarin Crimsontotfiemixto makeadarkerpink.Usethisandano. a10 roundto paintthe separationsbetweenthe@. Some of the shadowsrequireadeepertone, soaddatouchofPnxssian Bluetothe mixforthese. AddTitaniumWhitetosome oftheba- colorto makeahghtblueandusethisto paintthe centerofthemain flower.Mix aTnintg m ausingPrussianBlue,CadmiumYel- lowMedium andXlaniumWhite;usethisto paintthe skm 4 Finish Add variousblues,gmns andpurples intothebackgroundby scrubbingthe paintinwitha %-inchflatbrush.This alhwthe mlwg toowrkponeanather withsubtleedgez,similar to aphotogra- pher'sb a c k p u d Detailtheflowersby drybrudmgonvarious s h a h of@ andwhite. Dotonb m andplnkwith ano,a10 roundbrushinthecenterof themainflower,Addhghtgreendetails tobothfbwercenters.Addsomesubtle leaveswith mediumanddarkgreens.
  • 88.
    D E MO N S T dA T I O N Thisdaisyhas manyofthe samecolorsasthe previous project, but ithas much more contrastand sharperdefinition.That and the many, manyoverlappingpetalsmake this paintingseem more intense. This is actuallya smallportion ofa muchlargerphotograph. The originalphotowas of an entirevase fullofflowers.To isolatethe flowerI wanted, I made a smallviewfinder. I took apiece ofblack constmctionpaper and cuta two inch square intoitwith an artknife. I placed this littleframeoverthe photo, moving it arounduntil I capturedthe image I wanted within the square.I then taped the framedownandhad the image enlargedon a color copier. A viewfinderiswonderfulforcroppingimagesand finding minicompositionswithin larger referencephotos. I made a paperview- finder to isolate a small segment o fa larger photograph. MATERIALS LIST Paints Alizarin Crimson CadmiumYellow Medium PrussianBlue Titanium White Brushes no. 8 sable or syntheticfilbert no. 2 sable or syntheticround no. 210 sableor syntheticround Canvas or Canvas Paper 9" x 8%" (23cm x 21cm) Other mechanical pencil kneadederaser 2 Paintthe Base Colors Mix alightpink withTitaniumWhiteand a touch ofAlizarin Crimson. Use a no. 2 round bmsh to base in allofthepetals with this color. Mix a darkpinkby addingmoreAlizarin Crimsonintothe whitethanyou didbefore. Alizarin Crimsonis a pretty power- 1 Draw the Daisy fulcolor,soit doesn't takemuch to createa deeppink. Use Refertothe photo aboveanduse the gridmethodto drawthis this darker color on a no. z/oroundto createthe streaksin the floweronyour canvas.Takeyour time;the overlappingpetals flowerpetals. This is wherethe formofthe flowerreally starts arecrucialto achievinga realisticpainting. Makethe imageas to show. largeasyodd likeby alteringthe sizeofthe squaresonyour Mix alightgreenwith CadmiumYellow Medium and a canvas. Whenyou aresure ofyour accuracy,you canremove slighttouchof Prussian Blue. Basein the entirecenter ofthe the gridlineswith a kneadederaser. flowerwith this color and a no. 2 round.
  • 89.
    3 The AwkwardStage . UsepureTitaniumWhitetodinhghhghtsonthe petals withano.a10 round.Now shadethepetalswithvariouspinks, switchingamonghght,mediumanddarkprnkuntilyoulike thelookofyour flower. R e k tothephotoasyouwork. Remember: Light OverDark, Dark Over Light It is importantwith a flower such as this toestablishthe separation betweenpetals rightaway. Itis very similarto the approachwe took with the black-and-whiterose (see page79).wth Alizarin Crimson, paintin theshadows on and undereach petal. Donot paintan oub linearound each one. I,. 14 Finish Fill inthe entirebackgmdwith Ivory Blackonano.8 Tomakethetextweinthecenter oftheflower,dabinpure Cdmium YellowMedium withthetipofano.2 roundbrush.AlsodabinsomeAZizarin Crimsonalongtheleftedge andnearthe middleoftheM s cmtm Pink Daw 9" x 8%"( a hx 2 1 4
  • 90.
    D E MO N S T R A T I O N Flowersarebeautiful allbythemselves,but they'reeven prettierwhen enhancedby avasein a still-lifearrangement. Thisproject andthe next one showcaseflowersinvases. Thevase in this projectbelongsto my mother. On oneofmy visits toher house, I sawthis arrangementperfectlyilluminated by sunshine.I alwayshavemy camerawith me fortimesjust likethis. I am alwayscarefultobalancethe lightsanddarkswhen photographing my subjects,butthis piece turned outbetter than I expected.The shadowsenhancethe flower arrangement anddividethe backgroundintowonderfulgeometricshapes. ' A GRAPHEDPHOTO A photowith extreme contrast between light and shadow can make a beautiful piece o fart- work. Contrast is everything! 1 Draw the Flower and Vase Usethe gridmethod to drawthis stilllifeonyour canvas. Sim- pllf)shapeswhereyou can,becausemuch ofyour drawingwill be coveredup inthe beginningstagesofthe painting. Concen- trate on the largeshapes.Erasethe gridlines. MATERIALS LIST Paints Burnt Umber Cadmium Red Medium CadmiumYellow Medium Ivory Black PrussianBlue Titanium White Brushes %-inch (19mm) sable or syntheticfilbert no. 2 sable or syntheticround no. 210 sableor syntheticround Canvas or Canvas Paper 16" x 12" (41cm x 30cm) kdkFgh.. , ' mechanical pencil kneadederaser
  • 91.
    2 Def~nethe Basic'ColorMapn First, placecolorineachareato createacolormapy d fdowthroughthe&ofthe pain- Begindevelopingthemrmtonesintheglassvaseaswell, Mixthelightwarmgoldwith Bumt Umber,M u mYellowMedium andTitani- um White. Youcan controlhedepthoftonebyvaryingthe amountofwhiteyouuse. Thiscolorisusedinthe center ofthevaseandinsomeofthepet&- ofthe flower Createtherustcolorby mixingCdmiumY e hMediumwith BurntUmberand atouchofW u m RedMedium. Youcanh@knthecoloralittleby a d d q some whitetoitaswell.Thiscolorestablishestfiefluted shapeinthevase.Also applyitto thecenteroftheflower. Mixamediump e nwith CadmiumYellowMediumandatouchofPrugsianBlue. Addabuch ofwhitebdullthe mlor.Begg addiqd thisbtheleaves,o u t h qthe leafareastohelpseparatethem h m the petalsoftheflowers. Mixanothergreen,anolivegreenusing CadmiumYellow Mediumand Ivory Black Adda&ofwhitetothig mixtomakeitmoreofap d . Useboth ofyour greensto baseinthe colorsoftheleaves.It isimpmanttovarythe typesofgreensyou useinafloralpain* themietymatesamorenaturallook 3 The Awkward Stage Continueadding~owshades ofgreeu intotheleaves.~somegreendown intDthevase aswell. Paintsome Ivory Blackintothebeck- groundtohelpmeatethe outsideedges ofthe@. Paint onlyinthe areas showntoformgeomekk shapesthatadd totheinterestofthiscompaitbn. en Pointing Overall Impression When paintinghighlydetailed subjects such as cut glass, itcan beoverwhelm- ingtotry to matchewry little shape and coloryou see. Instead, lookat it asjust nonsenseshapesthat create the ultimate illusionofcolorful, shiny glass. As longasyou getthe basic shapes and diredon ofthe colors accurate,your paintingwill lookfine.
  • 92.
    I/4 Finish Tomixthe beqecolorfmthe petals,startwithTitaniumWhiteand I CadmiumYellowMediumtomakea Zightyellow.Tothat,addsmall touchesof Burnt Umberand WmiumRedMedi- um Usethosedarkcolorssparingly whiteshouldstaythedominantcolor. W~ththiscreamyk&e,~inall oftheflowm+s, thenghtside ofthe badqpund, andthek m p u d Continueaddingcolortothevase. £lowersandlearn. Forh e dekhmih as thegreenveinsintheleavesorthe brownveins inthe+, lightenthe basecolorwithwhite,tfiinthepaintwith waterabittomakeitflowlikeink,and paintthed d d swith ano.a10 liner. Addtheblacktothebackpmd tocreatetheM cpattamsofthe mmwsitim.Ontheleftside,repeatthe bluish greenh m thelea= intheback- ground,goftlyb h h g it intotheblack TIYEgradualh d qofcolorintoblack suggest~distance. Paintthe shadowofthevaseusing beigesand v.Be suretousesome olivegreenliketheoneyoumixedinstep a toindicatethattheleafcolorisreflect- ingintotb.e sbadow. Subtletiegs ~ &as thseaddalotofrealismtoapainting.
  • 93.
    AcGJbser Look WHILE THISSTILL-LIFESCENE appearsextremelycomplexand dimcult, I itfollowsallofthe sameproceduresthat we used forprevious demonstrations. I Look aroundthe paintingcarefullyand seeifyou cantell how I painted certain I areas.The answersarebelow. Stopread- 1 inghere and quizyourself! Thisvase is smooth,unlikethe texturedglassofthe projectbefore. But I itis stillfilledwith patternsand colors. Reflectionsarefunto paintbecause they I don'thavetobe totally accurate.Look at my colorsand shapeswithin the glass andyou can seethat they arevery ran- I dom.Theyarejust a suggestionofthe surroundings,andyou don't necessarily knowwhat they maybe reflectionsof. Thebiggestspotofreflectiononthe right siderepresentsawindow,but the details aredefinitelyundeveloped. Ifyou feelambitious,trythis paint- ingonyour own. Placea graph over my paintingand drawthe imageonyour own canvas.You can even trypainting itin amonochromaticscheme,likeyou didforthe black rose in the beginningof the chapter (seepage 79).Whateveryou L - . ,. .-. . 5. .. . ..:. . . . , . .- . ... . .. ..- .... .I . f . : , -, . ::.,jtl ! .-- . -.. . r 4. - .... , .. -. , - . ,- ?,..--: . ..1 f l .- . "?,,$;?;;,,>. ' t:.. :: . - , , -!.> ..: .' I . - . I : ' . I *:: ' ... . . ~ - , . . I > . ' ~* :" :-:. ' C.. . $$;-,; , .' .'?. -$ . .- , . . . . -2 . .. . ... - ' I 1 .,- .,G, - .! .. I.$ hi h chooseto do,the main focusshouldbe A Study in Red 16"X 12"(41cm X 30cm) onlearningand fun! Now, forthe techniquesused in the dabbingtechnique. The rose petals this painting:Thereflectionofthe red demonstrate"lightover darkand dark onthe tablecloth showsuse ofrepeated overlight." Thebackgroundis aclassic colors. I painted the babjs breathwith exampleoflettingthe darkscreatethe lights.And finally,the wood texturewas drybmshed.
  • 94.
    C H AP T E7_1 Ianzmals ONEOF THEJOYSOF BEING AN ARTISTIS INTHE Yodllearnbrushandshadmgtechniques todepctanimals abilitynotonlytomatebeauwpiaures,butalsototnrly withall sortg offur,h m shortand smmthtolongandshaggy apturethelovewefeelfornature,animalsandaurpets.This andevenpatterned But dolitstop*birds, butterfliesand chapterwillhelpyoulearntodrawandpaintlivingthmgs. even5shmakfimsubjectsfwpainting! =JJ3?,> !,, .y ' I j'y , . -- a m : . a
  • 95.
    D E MO N S T R A T I O N I PA N T I N C Thehorsehas been the subjectofmanypieces ofartwork. Thelargeanimalwith its strongshapesand gentle spiritis a wonderful subjectfor acrylicpainting. Formore information on howto drawhorses,please refer to my book Draw Horses (NorthLight Books,2001).We'll startsimpleby focusingon this horse's face. A GRAPHED PHOTO Usethis graphed photo ofa horseto beginyour painting. 1 Draw the Horse Use the gridmethodto createthe drawingonyour canvas.When your line drawinglookslikemine, carefully removethe gridwith akneaded eraser. MATERIALS LIST IPaints Burnt Umber CadmiumYellow Medium Ivory Black PrussianBlue Titanium White Brushes %-inch (19mm) sable or syntheticfilbert no. 2 sable or syntheticround no. 210 sable or syntheticliner Canvasorcanvas Paper 10"x 8" (25cm x 20cm) -.. .. Other mechanical pencil kneadederaser
  • 96.
    2 Block Inthe Color Map 3 TheAwkward Stage Applykmsparmtpaintwith afilbertbrushto mverthecanvas, Deepenthel x d p m d colors,usingth;rlrwvenions ofthe fbnningyour "colormap."Thegreeninthep sareaisacom- samecolorsyouusedinstep I. Besuretocompletelycoverthe binationofCadmiumYellowMedium,atouchofPrussianBlue m s . andadabofTitaniumWhite. Forthe disimtba&pmd, add Forthehorse,mixthree ad^ ofbrown:aZlght (Ehmt moreF!msian Bluetoyourpmixture.Blockinthehorse UmberandTitaniumWhite),amedium(BurntUmber)and withpure BurntU m k adark (BurntUmberandIvory W).Mixagray outomta- niumWhiteandIvoryBlack forthedetailsonthemuzzle. Withtheno.a roundbrush,start to addthe colors.Your strokesshouldfdowthehorse's form.Thejaw isllghtmthan &e TI& thism t e sthe jawedgewithoutyourhavingtowt- lineit. ( k m e m k ...hghtrndarkanddarkoverllghd) Use the darkbrownmixtureto deepentheshadowsintheears,on &eneckandundertheeyes. Withblackandano.210 h e q fillinthe nostds andthe eyes. Usethegrayinthemuzzleareaas shown.
  • 97.
    4 Finish Finishingthe paintingissimplyamatter ofcontinuingtob d d up the paintlayers I to createrealism. Studythe photo and I my paintingexamplecloselyandfindthe smalldetailsof anatomy.These subtle detailscreatedwithlittletonalchanges I willbringthe paintingtolife. Themuzzle,forinstance,has abit ofpink in it. It is awarm pink, somix it with Cadmium Red Medium (thewarm- !er ofthe tworeds onyourpalette)and TitaniumWhite. i Createthe manewith quick strokesof ano. 210 liner,followingthe directionof the hair's growth.Add atouch ofred to thebrown to giveit arustyglow. Buildup the maneusing many layers,andcom- pleteitwith light,drybrushedhighlights on the outsidelayers. Portrait of a Horse 10"x 8" (25cm x 20cm)
  • 98.
    D E MO N S T R A T I O N Thoseofyou whohave otherbooks ofmine may alreadyknow my dog Penny,my studio"artdog." Shegracedthe coverofmy coloredpencilbook Drawing in Color:Animals andhas been apresence in two otherbooks ofmine. Sheis a fin subjectto drawand paint. Painting Penny requiredthe samecolorsandtechniquesas the didthe horse paintingon the previous page.Very fewthings changedin the artisticprocess. Themain differenceisthe need formorehair strokes,since Pennyhas silkylongfir on her ears.The most obviouscolorchangeis inthe background. A GRAPHED PHOTO Usethis graphed photo o f Pennyto 1 Draw the Subject Draw Penny onyour canvasusing the gridas a guide.When your line drawing lookslikemine, carefullyremovethe grid with akneaded eraser. beginyour painting. MATERIALS LIST Paints Alizarin Crimson Burnt Umber Cadmium Red Medium Cadmium Yellow Medium Ivory Black PrussianBlue Titanium White Brushes %-inch (19mm) sable or syntheticfilbert no. 2 sable or syntheticround no. 210 sable or syntheticliner Canvasorcanvas Paper 1 3 " x l O (33cmx25cm) Other mechanical pencil kneadederaser
  • 99.
    2 Blodc Inthe BaseColors Usepure IvoryBlackandalinerbrushtosuggesttheeye. Indi- atetheroundnessoftheirisandfillinthepupil.leavea small dotopeninthepupilforthehigblqhtthatwillgoinlater. Fill inthe nosewith lvwy Black LeaveunpainaedhQ&ht areash maswell,k u s ethenoseiwetandshmy. Withthe no.a roundbrush,b e pb h h ginhefaceand earwithdilutedBurnt Umber Letyourstrokesfollowthedkc- tionofthehair.Thisisthe thefirst oflayeringthefiufbr deplhAddswneofthe lvwyBlacktotheeartomatchwhatyou see inthe photo. I Choose Background COIOITto Create the Mood You Want The blue backround makesthis paintingfeel likeast~dioportrait. A green backgroundwould make it look likean outdoorscene. 3 The Awkward Stage Fillintheirisoftheeyewith B m t Umber.Agam,be sureto leavethesmall dotfbrtheeyehighlightunpainted Continuebuddq upthe furwithlayersofcolor.Addsume M u mYdowMediumandCadmiumRedMediumto the Burnt UmbertogivePennu'sfursomesubtle,warmw t - ing,andaddsomewhitetoBumt U m ktocreatethehght areasonherface.Continuetostudythe directionoffurgrowth andapplyyourbrushsmhaccdqly. Mix hwskmBluewithatouchofTitaniumWhitefbrthe backgmmd Usinga%-inch(~grnm)flbert, startatthetop. Thebackgmmddefmesthe edgeofPennqshead.Asyouwork down,usek swhite inyour towardthebattom,addIvory Blacktomakeadeepnavyblue. Blendwith acirculargtroketo givethe bxkgmundcoloralittlemotthngandt&me. ThisBa goodtechniqueforportraitsofanykind,whetherofpeopleor ofyourfavoritecriw WithTitaniumWhite andjust atouchofAlizarin Crimson, blockintheprettypinkofPennvscollarwiththeno.a round brush.
  • 100.
    4 Finish Buildupthebackgmmd&. Repeat theprocessoflayeringthefurcolors withtheno.a roundbrwhtobuildup thethiclams offur, lookulgatthephoto toseewherethehghtanddarkcolors belong.Paint somewisps offuroverthe b d g m u n d w i t h q u c k ~ sofaliner brush. Usingalinerbrushwith somediluted IvoryBlack,matethewhiskerswith quck strokes. Finishthecollarby paintingthering with IvoryBlackandXtaniumWhite. Med is easyto paintbecauseitisjust extremepatterns ofdarkandhght. fintry lantx loll (aacm x 26cm)
  • 101.
    D E MO N S T R A T I O N MATERIALS LIST Paintingsomeanimalsis more aboutpatternsthan subtlecolor changes.Thislittletiger cubis a greatcombinationofbeauti- fulcolorand interlockingshapes.The graphingtechniquewill reallyhelpyou drawthe shapescorrectly. Paints Burnt Umber Cadmium Red Medium Cadmium Yellow Medium Ivory Black PrussianBlue Titanium White Brushes %-inch (19mm) sable or syntheticfilbertI This tiger cub's fur is made up o f many patterns and small shapes. no. 2 sable or syntheticround no. 210 sable or syntheticliner CanvasorCanvas Paper 8" x 10" (20cm x 25crn) Other mechanical pencil kneadederaser 1 Draw the Tiger Cub Use the gridmethodtotransferthis drawingtoyour canvaspaper. Carefully studyeach squareandthe smallshapes capturedin each one. Bemost careful with the shapesthatcreatethe eyes,nose, ears andpaws. Dodtobsessoverthe fur spots;ifyoumiss some,you cancreate themwithpaintlateron. When your line drawinglookslike mine,removethe gridfromyour canvas with akneaded eraser.
  • 102.
    2 Block Inthe Base Colors BlodEinthepaintingwithtransparentapphcah ofcolorto aeateyour *colormap."A greenb d g m d , m i dh CadmiumYenowMediumwithatouch ofhussianBlue,will mateanoutdoorfeelthatworh wellforawildanimal. Mixatransparentbrown outofBurnt Umber,atouch of M u m RedMediumandwater. Usethis d o rtoblockin theheada dhe.AddwaterandatouchofCadmiumYellow Mediumto theremaininghonyourpalette,anduseitto base ingome moreofthe faceandthepaws. UsedilutedBurnt Umberunderthe paws.Baseinthestripesandthe eye,me, earandpawM s withdilutedIwryBlack 3 TheAwkward Stage Buildupcolorsusingthesamecolorsas instep I butwithlesswater Thelayers youapplyinthisstepshouldbethicker andmoreopaque.Thepa-8 ofthe tigercubnowbecomemoredistind
  • 103.
    4 Finish Thisiswherethislittlepaintingreallycomestolife.Mixap enandaddatouchofIvoryBlackto ittomake adeepforestgreen.Usethistodarkentheb d g m d , malungthehghtcolorsofthetigermb standout. Becauseredandgreenarecomplemenls(oppmitesonthecolorwheel), thisgreencolorcon- nicely withhreddishhuesinthedsfk Buildupthepaintandaddquickbruhtmkesthatshowthetature ofthefur.Add whitewhiskersand *eydashefwithdilutedTitaniumWhiteandalinerbrush Inthedkemephoto,someoneis holdingthecub. Formy painting,I c h etaturnthehandler'sarm intotreebarktomakethe swnelo& morenatural.Mixthreebrownsfmthebark:Bumt U m k ,Burnt Umberpluswhite,andBurnt Umberplusbla& layeryour strokztomimicbarktexture. Tiger Cub at the Zoo 8"x10* @ O m x 2 6 4
  • 104.
    CD E MO N S T T I O N F I ~ S~ I V DSCALES Not allpets arefurry.Someofmy favoritefiiendsareinthe many aquariums Ihave allovermy house.This is one ofmy fish,a calicofantailgoldfish.YodU be surprisedathow quick and easythis littleproject is. MATERIALS LIST Cadmium Red Medium Cadmium Yellow Medium PrussianBlue Titanium White %-inch (19mm) sable or syntheticfilbert no. 2 sable or syntheticround no. 210 sable or syntheticround Canvas or Canvas Paper 1 2 " x l V (30cmx4lcm) mechanical pencil kneadederaser .... .. 1 Draw the Fish 2 Paintthe Base Colors Use the gridmethodto drawthe outlineofthe fishonyour can- Mix aprettyorangecolorwith CadmiumYellow Medium and vas paper. Whenyour outlinelookslike mine, removethe grid Cadmium Red Medium.With a no. 2 roundbmsh, applythe lineswithyour kneadederaser. orangetothe fish's back,belly andtail. Mix a mediumgrayoutof Ivory BlackandTitaniumWhite. Stillusing the no. 2 roundbmsh, applythe graytothe fish's faceandbegin paintingin the detailsofthe fins.
  • 105.
    3 TheAwkward Sbge Takesomeoftheorangemixyouused instep a andaddmore yellowandwhitetoitforalighterorangecolor.Usethistopaint therestofthe W sbelly.Thelightercolor seemstomakethe bellypmtnrde. Adddafkdetailstomakethefishlookreal.Justafewblack dabsandlinesbringthe&htolife.Painttheflowingh swith IvoryBlackthinnedwitfiwater. 4 Fin-ish! Abluegreenba- willmakethisfishlooklikeheis floatinginwaterratherthanair.W e someTitaniumWhite andmix inaverysmallamountofPrussianBlue.Thenaddjust adabofM u mYellowMediumtomatetheaquamarine dm.Paintthelxkgmund, andalsopaintsomeaqwmarine withinthefinstomakethemappeartransparent. Thisspeciesofgoldfishis puffy, andits abdomenshould appearveryround.Toachievethis,mix alittlegrayintoyour orangeandpaintashadow edgealongtheabdomen Continuedabbingthedark" d i d spotsintothebody ofthe fish. Justforfun,addsomebubbles. hokclosely,andyouwill seethattheyarenot- marethantinyspheres. AN UNDERWATERLANDSCAPE Ifone fish is good, atankfull offish iseven h r . Fish are so beautiful the way the colorsdanceoffofthem. Aquarium gmnery is quitesimilar to the leavesyou've already painted in landscapesand floral still lifes. Lookaround and you will findthat even ordinarythings in life, things we take for granted, can besubjectsfor creativeand enjoyableart lfyou fee adventurous, trythis paintingyourself! lfyou like,you can add afew diRrent fish species by lookingat photosin booksaboutfish. You can createyourown aquarium n n e !
  • 106.
    D E MO N S T R A T I O N M c N P , R C H B U T T E R F L Y A wholebook couldbe written on paintingbutterflies. I make a point each summerto searchforthem andtake asmanyphotos aspossible. They're sobeautiful, andthe artisticpossibilitiesare endless. This is a greatprojectfor abeginningpainter.Thewings and patternsare seen stralghton and areeasyto drawusing the gridmethod. 1 Draw the Butterfly Use the gridmethodto drawthe outline ofthe butterflyonyour canvas.When your outlinelookslike mine, removethe gridlineswith a kneadederaser. MATERIALS LIST Paints Alizarin Crimson Cadmium Red Medium Cadmium Yellow Medium Ivory Black PrussianBlue Titanium White Brushes %-inch (19mm) sable or syntheticfilbert no. 2 sable or syntheticround no. 210 sable or syntheticliner Canvas or Canvas Paper 1 4 " x l l " (36cmx28cn- %her mechanical pencil kneadederaser
  • 107.
    2 Paintthe BaseColors Thisveryco l dbackgomdis almostas im-t tothe paintingas thebu-y i M .Use amultitudeofcolors,and smibeadloneinwith& d a r strokesofaflatbrush.Most of theseare pastel colors,whichmeansTitaniumWhitehasbeen addedtothemix Ex@ment withthe colors. Black inthedarkorange areasontheM y withan orangemixedfromCadmium Red MediumandM u m YellowMediumForthelighr orangeareas, addatouchof XtaniumWhite totheorangemix. 3 The Awkward Stage Oncethe orangeareasoftfiebutterfly arecamp&, paint TitaniumWhiteonallofthes-. Thendilutesome Ivory Blackwithwarntoanink-& comhncy andaddtheblack detailswithano,a10 Zinerbrush.Withthea t i o noftheblack details,youbegintoseethebeautyofcontrast! Fillintheflowerstemwitha greenmixedhmPrussian Blue,CadmiumYellowMediumand'I"rWumWhite. Mix an olivegreenusingIvoryBlackandM u mYellowMedium anddabthisontocreatetheheadsofthe flowers.
  • 108.
    4 Finish Build upadditionallayem-ofcolor.Add flowerdetailswithamallno.a10 liner brushandAlizarinCrbmmandTita- niumWhite. Thelightcolorsseemto danceagainstthe darkbaclrgrmtnd. Tofinish,m blayerafterlayerofdif- f m tcolorsintothe backgmmd,mak- ingsurethatthetmsitionsofcolorare smoothThisk dofblurred background makegitlookasifthereis so- in thetxkgmrd butthatit's simplyout ofh s .Thisletstheviewerfixus onthe mainsubject,thebutterfly. Monarch on the Lilac W h 14"X 11" (36cm X 2-
  • 109.
    Birds arebeautifulcreaturesto paint.Iliketo usebirdsin my MATERIALS LIST I artworkbecausethereare somany differentshapes,sizesand colorsofbirds. In fact,I createdan entirebook aboutdrawing them in coloredpencil,called Birds, part ofthe Drawing In Color series (NorthLight Books, 2001).Thephotos and color explanationsinthatbook couldeasilybe usedto paintfrom aswell. I likethe pose ofthis red-tailedhawkbecauseofthe strength itportrays. Thispoor birdwas injuredand canno longerfly; fortunately,itisliving outits lifeat a zoo. Zoos and raptor cen- ters aregreatplacesto take photos and findreferencematerial. Paints Burnt Umber Ivory Black Titanium White Cadmium Yellow Medium Cadmium Red Medium PrussianBlue Brushes %-inch (19mm) sable or syntheticfilbert no. 2 sable or syntheticround no. 2 sable or syntheticliner 1 Draw the Hawk Use the gridmethodto drawthe outline ofthe hawk. Whenyour outlinelooks likemine,removethe gridlineswith a kneadederaser. Canvas or Canvas Paper 1 6 x 1 2 " (41cmx30cm) Other mechanical pencil kneadederaser
  • 110.
    2 Block Inthe BaseColors Startthebadrgroundwithasky blue colormixedh m Tib- niumWhiteandatouchofFhssianBlue.Usethe %-inch (~gmm)filbertbrushandpaintthehckpmdwithhorizontal strokes. W~thIvoryBlack,paintthe shapeoftheeye. Usetheliner brushformorecontrol.Use a dilutedmixweofIvory Black andBurntUmberwithano,a roundbrushtoblockinthe hawksbody andwings. Yourshahshould startbm z t ethe shapesofthefeathers,givingyousomedingtofollowinlater step9* 3 TheAwkward Stage Ehdduplayersofpaintugingmoreopque mixhlresofthe samecolorsas instep a. Keepdefimq the feathershapeswith yourbrushstrokes.Beginto developthedmhw,whichare h t e dunder theface,underthewingsandontheunderside ofthetreelimb. Doritworryifyour paintinglookssloppy"the awkward isjust partoftheproms.
  • 111.
    MudHawk 16"x 12' (41cmx3hm) 4 Finish Nowyodlstart to l a d ethedetails. h dtbeahid; takeyourtimeandliter- allydraweachshapewithpaint,oneat atime.Thelinerbrushishelminthig e- StudythephmgraphandlookfwaJl thesmall areasofcolorthatarelayered ontop0fex.hother Form p l e ,the f& ofthecheststandoutagainst thedarkbrownbeneath.Thedetailsof thewingsarelayeredontopdthedark- enedBurntUmberyoupamtedinstep a. This abilitytolayerdm iswhatmakes q l i cpaintingsomW! Addt o d m ofCadmiumYellow Mediumand CadmiumRed Mediumto Burnt U m k tomateawarmb m . Usethiscolorinthedmtfeathers, on thebottomsofthefeetandonthetree limb.Add some CadmiumYellowMedi- um totheeye. Fortheedges ofthe feathem,add atouchofEtaniumWhiteto Burnt Umber.Paintalongevery kther edgeto Is q m t e t h e r n , ~ t h e m ~ ~ Z i k e ~ s m a w o f : Keepwwhg, C o m ~ y o u r p a i n t - ingtothephotograph,andseehowmany littledetailsyoucan capture.lookatmy finishedpaintingandyodlseethat I ofknsimplifiedareas,espeaallythosein shadow.Itmaytaketimeandmanylay- erstogetyourpaintingwhereyouwant it,butthat's okay.As Itellmy students, it isallinthe #-!
  • 112.
    SOMETIMESNATURE PRESENTS the artistwithalmostmagical opportuni- tiesto paint. The sceneinthis painting was one ofthosetimes forme. I lovethis paintingofmy kittyformany reasons. First, I think Mindyis acutie,andher facemakes me smile.Artistically,her fur is abeautiful combinationofcolors and patternsthatwas challengingyet funto create. Compositionally,the angleofthe Mindy in the Sunshine 9"X 12"(23cm X 30cm) bricks createsa senseof depth,andthe plantscascadingoverthe bricks actlike a subtleframe surroundingthe kitty's head. Butwhat Ilovemost of allabout this paintingis the colorscheme.The complementarycolorsmakethis paint- ingreally standout. Look athowthe red tonescontrastagainstthe greens.The goldentoneswithin the reds createa warm sunsetglowthroughoutthe entire piece. Whereveryou go,carryacamera so thatyou cancapturemomentssuchas this when subject,compositionand color all cometogether perfectly! Seethe detailsonthe facingpageto fnd outhow I painted this.Tryityourself!
  • 113.
    BRICKSAND BUSHES I usedadabbings h k e to meatethe bushes. I beganwith the dark tones, then addedthe lighterm l o ~in layers,dabbingeachoneto createtexture. HIP To createfurthat is madeupofmanycolorsand pmrns, you needto paint layerupon layerupon layer.The beautyofacrylicpaint isthe abil- ityto continuallyaddcolorsand builduplayers. Lookat howthe paint strokes createthe patternsanddimionofthe kitty'sfur. Iusedthedry-brushtechniquehere, buildingupthecolorsofthe ground in layers. Always followthe directionofthe suhcewhen apply- ingyour strokes. I appliedthese strokesdiagonallytogivethe illusionof distance.
  • 114.
    NOTHING ISMORE REWARDINGTHAN CREATINGA realisticporhit ofa spead person.I haw speciahedinp r traitureformy entire am^ I've matedthousandsofporkaits: ofcbkhn, families,presidmt. andNASCAR drivers. My mm- 1positesketchesandforensicillustrationshelplawenforcement o&ials mpturecriminalsandsolve "JohnDoe"mysteries.My f i r s t b o o k w a s H o w t o D m w L ~ i h ~ i t s F r o P n P ~ k (NorthLight B&, 1995).Whilepeopleareapopularsubject fbralotofartis&, theyarealsoconsideredoneoftheb d ~ subjectstoprtray inart Thedif5cdtycomesh m the needtobetotally accurate. Ifanythinga h ttheprtrait isnotright,thelikenessofthe personislost.I always suggestthatmy s h h & 9drawing -IS beforetheyattempttopaintthem.Drawingisthebest waytogetagoodsolidu d m h h gofficblanamy.This chapterwillgiveyousome q w r k x ewithportraitpainting. Y 0 ~ 1 ~ h o w b m i x g o o d ~ ~ ; s l d n t o n ~ a n d w h t b lookforinthe anatomyofaface.
  • 115.
    Painting Skin Tones I~ w i t h t h e s a m e ~ ~ t o n e m i x f o r a ~&tmm,but I alterthefbmulad e p e d q onthe depthandtone ofthecom- plexionI amcrating. Here's how I doit D h h BaslcMIX+more Basic Mbr +more Burnt Umber CadmiumYellow Medium+ Prussian ,! '$3 --., . Bnsk Mix LrSkin Tones Trtanium White + dab of Cadmium Yellow Medium + dab of Cadmlum Rcd Medium+touch of Burnt Umber wme? Basic Mb:+more Cadmium Red Medium 1 LIGHTSKIN MydaughterLeAnnehas a very palewmplexion, and inthis lightit tookon avery pinkcast. Iadded atouch ofAlizarin Gimsontothe basicskintone mixtureto make itpinker. Fortheshadowareas, I darkenedthe basicrnbrturewith touchesofAlizarin Gimson and Burnt Umber.This makes amlshadow, whichwill appeartod e . Golden Forhighlightareas suchas the nose, I usedGdmium Red Medium Basic Mix + touch becausewarmer colorstendtowme foward. Cooler Basic Mix+touch of Prussian Blue w w Basic Mix+more Burnt Umber ofCadmiumYellow PoHmi Medium 16"X 12"(41cm X 3km) DARKSKIN I paintedthis boylsskin with the samecolorsasinthe other portrait, but Iusedmuchmore Burnt UmberandAlizarinamson inthesldn tone mixhrreto mak hiscompldon deep. As with Mnne'c portrait, I madethe mixcoolerinthe shadows andwarmer inthe highlights.This iswell illustratedinthe boy'sfomrm.
  • 116.
    Whenpaintinghair,itisveryimptantthatyourbrushtrolm page 113isaperfectexample.Lookatthepain-andyoucan gowiththe djreciicmofthehairitself.Itisalsoimporhntto seethemanyb m h d d c ~ ,h ndarktolight.H e & are developthehairusingmany,manylayers.Whether it'sthickor addedlasttomatethe shine. tfiin,hairismadeupofthausads ofmds.L€your realhair Fortightlycurledhair thatoftheboy onpage 113,you has ~o,ooostrandsIitwillbeimpsibletoaccuratelydeplctit dodthaveahairdirectionto follow. Rather,youhaveat&ure. inapaintingwith acoupleof s i d e s . KeepbuddhgcolorIlayer Createthiskind ofb a i ~witha dabbingdry-brushtedmique. afterlayer,andthehairwilllookrealistickAnne!shairon Straight or WavyHair 1Start LeAnne's hair with longstrokesofa no. 2 round brushfollowing thedirectionofthe hair. Paintthedarkesttones first Tightly Curled Hair --L 1Start with a single,scrubbed-in layer. Usea no. 2 round. 2 Fill inthehair with quick, t a p e d m k e s . You'll need to paintrnany layers. 3Add layersoflighter colorson top usingthe same longstrokeyou usedatthe beginning. This giwsthe haircolor and shine. 2~ d dpaintwith a dabbingtechnique, holding 3Add lightertones usingthe same dabbing the brush perpendiwlartothe canvas. technique.
  • 117.
    Exercise: Paint FacialFeatures M s practicepainting somep e r kf a dfeatureswitha h u s etheshapesaremorecompk.Theeyeswillbetheb- r n o ~ m a t i ccolorscheme.Smrtwiththenose,h u g eitis gestchahge. Theyhavemanysmallshapesanddetailsthat theleastcomphtedofthefeaturesandmcsth e l yresembk areimprtantto aptweacmraidy.I lovepainting b u s e asphere.ThemouthwillbeabitmoredBicultthanthe nose oftheirbeautyandthewaytheyreflectemotion. 1"Drad' theshapes inwith a linerbrushand 2Witha no. 2 round, addmore mediumgray 3 Refinethecontourswith variousshades a mediumgray.This isthe start oftheoverall to createthe skintone. Keepingasphere in ofgray. Usedarkergrap forthe nostrilsand form. mind, letyour strokes createthe roundnessof shadows. UsepureTitaniumWhitehrthe the nose. highlights. Mouth 1"Draw" theshapes inwith a linerbrushand 2W~tha no. 2 round, addmediumand light 3 Deepenthe skintones. Usedarkgray inside amediumgray.These s h a p are morecom- grayfor the skintone. Use lightergrayacross the mouth, and suggestteeth with blackanda plexthanthoseofthe nose. the middleofthe lower lipto makeit look liner brush. Resistthetemptationto makethe rounded. teethwhite; theinsideofthe mouthin shadow. Highlightthe skinwithwhite and lightgray. Eyes 1It'svety importanth rthe irisesand pupils 2~ t hmediumgray, beginplacingtoneto 3~ d dmoremediumgray skintone. Use both to beperfectcircles, sodraw themwith acircle createthe curveofthe browandthe shapeof lightand darktoneson top ofthatto create templateorstencil. (Thisrulechanges ifthe theeye. Add sometonetothe irises. theform. Add smalIdetailstothe irisesto q e isnot lookingstraightahead.) Leavean makthem sparkle. Fortheeyebrowsand unpaintedareaforthecatchlight,plaungit eplashes, usediluted paintandvery quick halfinthe pupilandhalfinthe iris, "Draw" the strokeswith a linerbrush.Thiswill create shapesinwith a linerbrushand Ivory Black smalltaperedlines.
  • 118.
    DEMONSTRATION PAINT A Mo O C H R O M A T I C PORT IhavedrawnAbraham Lincolnfbrmany ofmy pwtraitbmh. F m m e , m ~ f a c e h a 9 m m u c h ~ i n i t . T h e p h o t o belowis ahvoriteofminethatshows Lincolninhislateryeam, Theweatheredlookofhisficeisevident,andthewrinklesof ageapparent. Sincethisisavintagephotograp4Ithaughtit wouldbeagoodportt-dtto doinsepia-liketones. MATERIALS LIST Bunrt Urnkr Tiinium White B r u s h %-inch (l9mm) sable orsyntheticfilbert no. 2 sableor syntheticround no. 1 sableor synthetic liner CanworCanns Paper 1 2 x 9 (30crnx 23crn) Other rnehaniul pencil kneaded eraser I A GRAPHED PHOTO Usethis graphed phototo beginyour painting. 1 Drawthe Faee Drawthefaceonyoureaflyagpepex Dodtfeeltheneedtoeap t u r e e v e r y ~ w r i n k l e a d d e t a i l . Y w w i l l b e ~ ~ detailwithpaint.Whenyour linedrawingb b likemine,care- fullyremovethe gridwithakneadederaser.
  • 120.
    4 Finish As youfishthepain- ref= o hto the~ h g r a p h . Usetheroundbrushtofillinthehair andbeard withmorepure Burnt U m k Usethelinerbrushtoaddsubtlehght h ~ t s . ~ h b f o I l o w thehairdirection. W~thBurntUmber;work onthe eyes, dar+ the shadowsandmalungthe eyebrowshairia Addh@ghts tothe eyebmwswithlighthwn, just as you didthehairandbead Developthe noseandmouthformore realism,payingparticularattentiontothe shadowsanddectedlight.Remember theh e elementsofshadq (seepage as)andreferto the d s e 9 onpage115 ifywneedhelp, Continuetoaddsmall debis inmany layers,usinglight,mediumanddark shades ofBumt Umber.Lookatthetie, andyou canseehowb ethreeshades matedtherealismofthehbric.Use shadesofwhite,darkenedwith Burnt Umber,tomeatethedefinitiononthe shirt Althoughitisaw b i l ~shirt,it shouldnotbeleftpurewhite,
  • 121.
    ID E MO N S T R A T I O N WOMAN'S COLOR Thisphoto ofmy daughterLeAnneis a goodoneforpracticing paintinga facein color.The dose-uppose combinedwith good lightingmakes the featuresand colorseasyto see. Thisportrait maylookdimcult,but you cando itifyou takeyour time, start with an accuratedrawing,andpaintthe facialfeaturesone at a time. Whenyou aredone,you will have a finishedportrait! A GRAPHED PHOTO Usethis graphed photo to begin your painting. 1 Drawthe Face Usingthe gridmethod,drawthe faceon your canvaspaper. When your line draw- inglookslike mine, carefullyremovethe gridwith a kneadederaser. MATERIALS LIST Paints Alizarin Crimson Burnt Umber Cadmium Red Medium CadmiumYellow Medium Ivory Black Titanium White Brushes %-inch (19mm) sableor syntheticfilbert no. 2 sable or synthetic round no. 1sable or synthetic liner Canvas or Canvas Paper x 12" (41cm x 31cm) mechanicalpencil kneadederaser circletemplateor stencil
  • 122.
    2 Black InSkin Tones 3 The Awkward Stage Wi&aroundbnxghand&e~htonemixthatwetallred Thhhmernixhgtep~andadddesofAlizarin abutonpage11% b l dinthetonesaroundthenoseand CrbmmandCadmiumRed Medium.Thisis fbrthe shadow mouth Leavethelipsalonesoyoua tlosetheirdehition. coloralongthe sideofthenoseandthebasecolorofthelips. Usetheroundhush toapplyandlayerthesecolorsintothe paintins. Now addsome Burnt Umberto themix andpaintthe ast shadowsonthenghtsideofthenostrilandunder the nose. Alsoplacesome ofthis colorontheinsidecornexsofthemouth andstarttodewdtfielips. 4 Finishthe Mouth and Nose Use alinerbrushandthebasicskintonemixtopaintsepara- tions b e e ntheteeth. Studythephotographandcon- to layerinsmalldetailswiththelinerbrush.Uselight,medium anddarktone3forrealism Lookforthe subtleshadow onthe l& sideofthenoseandthehighlightonthenose'stip.Also noticetheshadowgunderthe m ethatalmostmeetthelip,and thegmall aease-inthelip.Youcanseewhy I dlthis"draw- ingwithabrush"
  • 123.
    5 Start theEyeArea Useacircletemplateors t m dtomakethe irigesandpupds ~circles.(Ihepupilandirisare~circlesdyifthe eyesareh h n g d m d yatyou.) Witharoundbrushandthebasicskintone mix M b e d onpage 113,fillinthe a m aroundtheeyes.Usea smallamount ofBurnt Umberonalinerbrushtomefully "draw"theoutside edgeaoftheeya andeyebrows. 6 The Awkward Stage CreateaIqbtolivegreenby mhhg CadmiumYellowMedium with atouchofIvory BlackandgomeTitaniumWhik. Usethe linerbrushbfillintheiriseswiththiscolor Fillinthpupd withpure IvoryBlack leavingasmall dotfbrtheEghIight (%s isalsohewnasa catchlight, andit shouldalwaysbe placedhalfinthe irisandhalfinthepupd)LeAnnehasadark edge aroundheririses,soapplyatouchOWwiththeZiner brush.Also oudinetheeyeMs. Thereisahugelyimportantdetailthatisoftenl& outofthe eye inm k ,andthatisthe edg~ort l k h m s ofthelowerlid. W eha9 averyprominentedgehere.Itwilllookevenmore prominentwhenyouadddarklashesinthenextstep, Withthe shadowcolorsdescrikdinstep 3, begrndefhing theareasbesidethebridgeofthenoseandabovethe eye and eyehds. 7 Finishthe Eyes Continuetodevelopthe eye details.Noticethatthewhiteofthe eye (aleohownasthesdera)isnotpurewbite.Ihaveshaded thewhitesoftheeyeswithsomehghtgray andbasicskintone mixtomakethemlwk roundedThesecolorsaredeeperonthe rightsideduetotheshadows. Lowsweepingeyelash aream h g partofkhne's appeaTance. I suggestpra- eyelashaon a saappieceof mvaspaper&sL Ittakesverythinpaintandquickstsokesof thelinerbrushto makethelinestaper.Alsonotehowtheeye lashesgrow inlittledumps,andappearlongerattheoutside edges. Addaquickstrokeofwhitetotheat& hghtareato make theeyessparkleandlookmoist.
  • 124.
    over thesideofherfu,Be suretouse long strokes thatfollowthedirectionof thehair.Remember;hairmustbebuilt upinmanylayersa0looknatural. Itismtmcesgafytotrytomatchthe photographatthispoint.Thehairisjust ahmeworkto makeyoulookatthe face, andis supplementaltotheWt. 8 Finishthe Portrait Nowitistimetoputallofthistogether by addingthehair.Blondehairis made upofmanycolorsalllayeredlagether. Youa nseewhere I haveusedCadmium Yellowand CadmiumRedfora reddish hueaswellasBurntUmberandIvory Bkckfbrdeep*. Withthedbnxsh,basein&e reddishcolorf kThenlayerallofthe othercolorsona ~ pofthat. Paintthelight blonde-IS last, andmted them
  • 125.
    D E MO N S T R A T I O N In this projectyou'll getan introductiontopaintingclothing. MATERIALS LIST I Fabricis a challengeto paintbecauseitmoves and conformsto the shapeofthe body. In this piece, itis interestinglylit,with extremelightingand shadows. You cangetmorepractice with paintingthe faceby using the gridmethodwith the finishedportrait onthe next pageto drawthe entirefigureonyour canvas;however, forthis exer- cise, Iwillconcentratejust onthe jacket. Paints Alizarin Crimson Titanium White Brushes %-inch (19mm) sable or syntheticfilbert no. 2 sableor syntheticround no. 1 sableor syntheticliner Canvas T- 12"xlO" (31cmx25cm: 1171 .I ... 1 Sketch, Then Start Paintingthe Basic Shapes Sketchthe overall shapeofthe jacket. Use a gridifyou'dlike. Thejacket is madeup ofmany odd shapesand curvedlines. Use a linerbmsh andAlizarin Crimsonto ''draw" inthe basic shapes.Then,with a no. 2 roundbmsh, startto fillin the jacket with a mediumpink mixturemadefromAlizarin Crirn- son andTitaniumWhite. 2 The Awkward Stage Oncethe entirejacket is Wed in with the mediumpink mix- ture,createa darkerpink andbegin tofdlin the shadowareas ofthe jacket. Look atthe finishedexampleonthe next page as a guide. Now mix averyllghtpink andpaintthe highhghtareas wherethe fabricprotrudes. At this stage,the paint stilllooks alittletransparent,but dodt stopnow!
  • 126.
    3 Finish KeepaPP1ying~~).ersOfpaint,plaang the@ts andkksas&awnTheh&t iscorningfromtheupperleft,which detemheswheretheshadowsare.The shadowsonthe jacketarematednot onlyby hldsinthefibric,but alsobythe Ifyouwantto paintthe entirepose, m t ethebluejeansusingthesame with PrugsianBlue andTitanium Magazine PictundMagazinescontain lotsofphotos ofclothingofallfabricsand styles. Graph a photo,createa drawingon your canvasand useitfor practice. This isagreatwayto get moreexperi- ence paintingcreases,fblds and all kindsoffabric9
  • 127.
    R~GlbserLook . . .-, - . ,. - personality. In this painting,the jean -, . -- ..... ..- . - -- - - - - - - . .A .- .... ... jacket addsruggedness, making this man i- . -...- .. . . .-.* ........ ...!--, - ..- - appeartobe an outdoorsman.If I had e:-,. - :. ' _ _- - ._ . painted him in a shirtandtie, itwould have changedhiswholepersonality. . . . The extremeuse of shadowsmakes - . - this paintingintense. Lookatthe way ..._ -.......-. . ... , the lightplays off ofthe man's faceand illuminatesthe frontofthe jacket. Also noticeallofthebrighthighlights on the face.This paintingis areal challenge! Ifyou want totrypaintingthis portrait yourself,placea grid of %-inch (13mm)squaresoverthis portrait. Then placea grid of I-inch(25mm)squareson .:i; -"'- - your canvas.This will makeyour paint- ingtwicethe sizeofthis reproduction. Really studythe colorsandtryto re-create them. Refertothe portrait of LeAnneon page 121forthe skintones. Refertothe paintingon page 123forthe clothing. Thepaintingprocessesin both ofthose examplesarevery similartowhatyou woulduse forthis painting. Sam 11"x 7"(28cm x 18cm)
  • 128.
    Conclusion I hopeyou haveenjoyedreading this paintingbook asmuch as Ihave enoyed creatingit. I feelvery fortunatetobe branchingout,teaching my painting techniquesaswell asthe drawing methods I have longtaught. It is awonderfulfeelingforme as a writer andillustratorto knowthatmy work will continueonwith my readers. I have made somanywonderfulfriends through my careeras an artist. Manyof these friends I have sharedtimewith; others Ihave never met. I'm looking forwardto making many more! My goalas awriter,however,has never been fameand fortune. It is simply to sharesomethingIlovewith others. I am passionateaboutmy art. It is not just what I do;it iswho I am. Ihope artbecomes asimportantto you,too. Goodlucktoyou always! A TRIBUTETO OURMILITARY Two years ago, my son-in-lawwent to Afghanistan as an army ranger. I tied this plasticyellow ribbon around my gaslight in myfront yard, where itwill stay until hecomes homefor good. It is nowtattered and torn and becomingworn out, much like manyofthe men and women who are defendingour freedom. This is for all ofthe bravesoulswho so courageouslygive ofthemselves to protectthe honor and freedom ofothers. Mywish for the world isthat no moreyellow ribbonswould ever haveto betied.
  • 130.
    Seja pago paradesenhar Talvez você seja uma artista e provavelmente usa seu tempo desenhando ou simplesmente rabiscando. Porém isso parece que não está te levando a nenhum lugar, além de uma prateleira ou gaveta empoeirada dentro do seu quarto. No entanto, na realidade, é possível a troca de todo esse trabalho por uma renda online. O e-book Como Ganhar Dinheiro Trabalhando com Desenhos e Fotos mostra como começar uma carreira, e você nem precisa ser um Da Vinci para receber o pagamento. Você pode ganhar dinheiro mesmo sendo um desenhista amador. Muitas pessoas e empresas pagam por coisas como: ● Temas ● Padrões ● Logotipos ● Desenhos ● Artes ● Ilustrações E para você trabalhar e vender essas coisas, não precisará fazer entrevista ou qualquer coisa parecida. É um trabalho baseado na internet. Sem a menor quantidade de estresse e você ainda pode trabalhar em qualquer lugar e quando quiser. Esse e-book afirma que pode ajudá-lo a publicar o seu trabalho na internet, e ser pago por isso inúmeras vezes. Seu desenho será usado mais de uma vez e você será pago a cada vez que alguém usar. Alem disso, se o seu trabalho for uma obra de arte, um logotipo, ou um desenho, você poderá receber muito mais em comparação com o que você imagina. A propriedade intelectual é muito cara, e há muitos leilões online que podem garantir um excelente preço pelo seu trabalho. Como Ganhar Dinheiro Trabalhando com Desenhos e Fotos é um e-book muito informativo. Com muitas diretrizes de como você entrar no mercado de trabalho e ainda traz muitos extras. São mais de 60 links que te levarão para sites de cursos, artigos técnicos e muito mais. Esse e-book não promete dinheiro fácil, você precisará trabalhar para poder ganhar dinheiro com desenho, mas se você gosta de desenhar, esse e-book vai mostrar o trabalho ideal para você. Além de poder trabalhar em qualquer horário ou lugar, você também poderá desenhar o que quiser. Isso permitirá que a sua imaginação criativa assuma o total controle, e dessa forma se tornará um trabalho muito gratificante. Clique aqui e confira mais detalhes. http://carlosdamascenodesenhos.com.br/como-ganhar- dinheiro-com-desenho/ Conheça também os Cursos de Desenho Online
  • 131.
    Index Acrylic paint, 8-10 layering,11,26,34,65,1og mixing,11,18,23 90% lefto~l's,g,I5 thinning, g, 11,66 Animals,gz butterfly,104-106 cat, II*III dogwithlongfur,9 6 9 8 iish,10=103 furpatternontigercub, 99101 hawk, 107-109 hone. 9395 Atmosphericperspective,7273 Backgrounds,~3,40,72.84.g7 Blending,23-z~,g7 Brushes,8,1z-13 liner,2526 filbert 24 flat,q , z 6 round, 12,~s Bmshstrokes, 50.7617. I* circuh, 97 toaeate texture,26,27 directionof,35,49,50,61,67 fill-in,q,49 Canvas,8,q Cast shadow,28,39,42 Colorschemes,2-21 Colorwheel, 16,17 Colon.SeealsoComplementarycolors basicpalette, g,18-19 darkening,20 mixing,18-1g theory,16,17 unifuingpaintingwith,5a Complementarycolon, 17,20, 31, 55-57137.83 Composition,55.59.64.74.86 Contrast,17,2o,33,82,88 Dabbing,23,26,77,91,111 Depth,33.64.70 Drawing,36,37,40.43,11a Drybrushing,26,42,n,g1,111 Flowers,78 analysisoftechniques,91 onbackdropofcolor,8445 definingsubject,8-7 monochromaticflowerstudy,79-80 petalsin color,8143 in ame, 88-90 Foreshortening,70 Grid method ofdrawing,36,37 Highlights,32.33.34 Hue,17 Landscapes atmosphericperspectivein,72-73 doudscape,6445 horizonlineplacement, 59 withperspective.7-71 seascape,monochromatic,5941 seascapein color,62-63 stormclouds, 6 M 9 tropicalsky,6667 Light source,28,48,53 Materials,8,15 Monochromaticpainting,z1,35 flowerstudy,7940 porhaif 116118 seascapedemonstration,5961 ofa sphm,28-30 stilllifedemonstration,46-48 Paints. SeeAaylicpaint Palettes, 8,g, 15,18 People,IIZ,r16118.1rg-122, I Z ~ dothing,~3-1a4, facialfeatures,115 hair, ~q skintones, 113 Perspective,70,72 Photo references,36,86,124 Portraits. SeePeople Realism,28,57,80,go,g5 Reflections, 3a,38,54,57 Shadesofcolor,17.18 Shading,elementsof,28.42 Shadows,ao, 31~33.34 Sponging,2675 Still lifes analysisoftexture,27 complementarystudy,55-57 cutglass,43-45 glassandmetal,4-41 monochromaticscene,46-48 paintingglassandshineexerase,39 peachesandteapot,4951 pewtermug,42 Supplies. 8,15 Surfaces,8,g,rq Techniques,za. SeealsoSponging;Dry- brushing; Dabbing blending,23-25.97 aeateformwithbrushshkes. 35,49,50 creatingtexture,26.27 foreshortenjng,70 letbgdarkraatethelights,40,79,81,91 lightoverdark,darkoverlight,65.87, 91.94 shading,28-30,34.3$ using avkwlinder,86 Texture,26.27 Tools,8,I$. SeealsoBrushes Triadiccolorscheme,21 Value,17,29
  • 132.
    Get inspired topaintand draw with these other fine North Light Books! ? A ImHammond'sBigBook DrawingRdistic Pets of Dmwing FromW p h s byLee Hammond by Lee Hammond ISBN-13:97&1-58180-473-j' ISBN-13:978-1-58180-3 ISBN-lo:I-58180-473-3 ISBN-lo:15818e64eX Paperb=k 240 Pages, #32741 Paperback, 128pages,#33226 WithkHammond's easyrneth- TimY ~ u ~ P ~ ~ W F V ~ Sof^ ads, anyonea ndraw beautifid belovedpetsintolifdikedrawmgs! LeeHammmd's foo1prwfdrawmg inp d andcoloredpencil.&thesimple&toaeat- methdsmakeiteasy fixanyonetodrawcats, dogs,birds,bun- ingrealistic drawingwiththisprojea-packdbook niesandmanymorepets. PaintingWith BrendaHarris, vol. 3: LovelyLandscap byBrenda Harris ISBN-13:97&1-58180-739-4 ISBN-lo:1-58180-739-2 Paperbaclq112 pages, #33416 Youa na t eabeautifulland- scapepaintinginjust afewhours IwithTVpainterBmda Harris.The tenstepby-stepprojectsinthisbmkcorrespondtohe p a h h pin Brenda's PBStelevisionseries. Projectpat- terns makeiteasy,menifyodreabqghmr. ~ D R A W I ~1 The DrawingBible byGaig Nelson ISBN-13:978-1-58180620-5 ISBN-10:15818~62~5 .. . Hardcwerwith wire+ binding,304 I The UltimateGuideto Painting FromPhoWgmphs Iedited JamesMsrkleand LsyneVanover pages, #33191 InthisdehPtivedrawing resource, Craig Nelsonshows youhowtodrawwith all ofthe mostpopularmediums,indudmg p d ,M,pastels,c o l d pencilsandmore.packedwithdrawingdeknstrationsand inspirationforar&i&! ISBN-13:978-1-58180717.2 ISBN-10:1-58180717-1 T . ... ... . ... Paperback208 pages,#33389 hintingfrrwn AUyouneedtocreateagreat-looking paintingisafavoritephoto,a flewbasic materialsandthis book.Includes40 step-bywpmjects onavarietyofpaintingsubjeet4inwater- colw,oil,aaylicandpastel h e books andother+ North Light titlesareavailableat your MJilaeartretailerorbookstore orpornonlinesuppliers.