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Pintura acrílica com lee hammond

This document provides biographical information about Lee Hammond, an illustrator and art instructor. It discusses where she is from, her career in illustration and teaching, and some of her accomplishments. Lee Hammond lives in Overland Park, Kansas and operates a private art studio called Take It To Art, where she teaches realistic drawing and painting. She has authored several art instruction books and also illustrates children's books.

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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 - . ,. .-. . 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.
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
Get inspired topaint and 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.
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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.