Fun Colour Study of a Houseplant – Continuing the Leaves

This series will show you how to create fun studies of plants in acrylics using a simple bold palette.

In this lesson we will be following on from the previous session by continuing to add detail to individual leaves.

You can download the reference image here: http://drawandpaint4free.artcoursework.com/wp-content/uploads/2019/09/P1090720-scaled.jpg

Materials: –

  • Acrylic paints: White, Bright Yellow, Bright Blue and Earth Red
  • Water cups and water
  • Palette – Paper towel
  • Medium sized flat acrylic brush
  • Small pointed brush
  • Keep following the same process as the previous lesson.
  • Refine the edges where necessary by sharpening them up or softening them.
  • Neaten the general tones within the leaves if they’re patchy.
  • Then create blendings between the darker tones and highlights.
  • This can be achieved by working quickly so that the paint is still blendable.
  • Or you can use gradual washes of shifting tones.
  • Keep going until all the leaves that fill the focal point of the image are complete.

Fun Colour Study of a Houseplant – Adding Detail Leaf by Leaf

This series will show you how to create fun studies of plants in acrylics using a simple bold palette.

In this lesson we will be adding much more detail to individual leaves in the central focal point of the painting. I will be working slowly to show how you can gradually build up complex transitions when working in acrylics.

You can download the reference image here: http://drawandpaint4free.artcoursework.com/wp-content/uploads/2019/09/P1090720-scaled.jpg

Materials: –

  • Acrylic paints: White, Bright Yellow, Bright Blue and Earth Red
  • Water cups and water
  • Palette – Paper towel
  • Medium sized flat acrylic brush
  • Small pointed brush
  • Using a small, round brush – begin by neatening the edges of the first leaf.
  • It may be easier to do this with more diluted paint, as that will fill the tooth or texture of the surface better.

Then start laying in gradual washes of light colours that get gradually darker. You will need to mix a lot of the transitional tones as the paint will dry quickly as you work (this differs greatly from working in oils).

Look for specific details like the illuminated edges of leaves and light glowing through the surfaces.

It may take some time to build up very bright highlights as the paint will tend to be quite transparent as it dries.

Fun Colour Study of a Houseplant – Neatening Edges and Shapes

This series will show you how to create fun studies of plants in acrylics using a simple bold palette.

In this lesson I will show you how to neaten up your initial lay-in of colour, ready for more detailed passes.

You can download the reference image here: http://drawandpaint4free.artcoursework.com/wp-content/uploads/2019/09/P1090720-scaled.jpg

Materials: –

  • Acrylic paints: White, Bright Yellow, Bright Blue and Earth Red
  • Water cups and water
  • Palette – Paper towel
  • Medium sized flat acrylic brush
  • Small pointed brush
  • Begin by mixing up your darkest colour (likely a blend of your earth red and blue).
  • Mix this with a bit of water to create a slightly runny consistency – then gradually work your way around the piece, filling in any ragged white edges.
  • You can also use this as an opportunity to alter any mistakes in the shapes of the leaves etc.
  • Once you’ve completed the darkest tones, you can mix lighter greens to do the same thing within the leaves.
  • You can also neaten up and slightly embellish the plant pot.
  • Finally, add some highlights back into the leaves using pure white.
  • Acrylics tend to be quite transparent so we will keep doing more of these highlight passes of the next few sessions.

Fun Colour Study of a Houseplant – Laying in Simple and Bold Colours

This series will show you how to create fun studies of plants in acrylics using a simple bold palette.

This lesson will cover the second stage – laying in the major colours in the painting as flat shapes.

You can download the reference image here: http://drawandpaint4free.artcoursework.com/wp-content/uploads/2019/09/P1090720-scaled.jpg

Materials:

  • Your drawing from the first lesson
  • Acrylic paints: White, Bright Yellow, Bright Blue and Earth Red
  • Water cups and water
  • Palette
  • Paper towel
  • Medium sized flat acrylic brush
  • Begin by mixing up a dark, neutral tone.
  • The easiest way to do this is by adding your blue to the earth red, and keep mixing until it looks like a colour in between blue and red. This is as close to neutral as you will get.
  • It will also be the darkest colour you can mix with this limited palette and serve as your black.
  • Lay this dark tone into all the darkest parts of the image (referring to the reference)
  • You may need to add a little bit of water to help the paint flow, but try to avoid making it too washy.
  • Once you’ve laid in the darkest tonal masses, you can start adding patches of green for the leaves.
  • To mix a cool green, add some yellow and white to the dark base colour.
  • If this feels too warm, adjust the green with some extra blue.
  • Then you can add the brightest highlights on the leaves, this colour can be mixed by adding a lot of white to your green.
  • You want it to be a very pale, light green.
  • Finally, mix a warmer, redder tone for the plant pot (use more earth red and yellow rather than blue).
  • Then use pure white add the highlights on the pot as well.
  • That’s it for now! The next lesson will be focused on neatening up this rough block-in.

Fun Colour Study of a Houseplant – Starting With a Pencil Sketch

This series will show you how to create fun studies of plants in acrylics using a simple bold palette.

This lesson will cover the first stage – making a loose line drawing using pencil.

You can download the reference image here: http://drawandpaint4free.artcoursework.com/wp-content/uploads/2019/09/P1090720-scaled.jpg

Materials:

  • Paper, canvas or panel suitable for acrylic paint
  • Pencil
  • Easel
  • As this is going to be a sketchy approach – you don’t need to use an eraser, but I recommend starting light with the pencil at first and only getting darker when you’re more confident about the general proportions.
  • Start with a few big, gestural shapes to approximately place the forms of the pot and leaves.
  • Then place a few leaves at the limits of the group.
  • The furthest left, furthest right, top etc.
  • Then once you’ve got these more extreme placements, it’s easy to just fill in the leaves that fill the space between.
  • Pay attention to the particular character of each individual leaf. Some are more round, some are oblong etc.
  • Finally, make the darker edge of the leaf forms darker (with a heavier line) – the darker edge will tend to be facing away from the light.
  • Once you’ve done that, you can pop a few coats of fixative over the pencil sketch.
  • When it’s dry you can start painting.

Tips For Correcting Proportions in Your Drawings and Paintings

This short lesson will show you some techniques for making better corrections in your artworks. Proportions can be really tricky, so it’s handy to have a few tricks up your sleeve when trying to figure out what’s going wrong. These principles apply to both drawing and painting – whenever you’re working realistically.

  • Start by plotting a few basic points on the paper.
  • You can use a vertical guideline (like the one above) to help get started.
  • Pay attention to where the subject crosses this line, as well as how far to the right or left of the line it is.
  • Use simple lines to approximately block in the main proportions of the form that you’re copying.
  • Don’t worry if it’s not accurate – you will just be using this as a starting point.
  • The image on the left is my first at the foot and the one on the right is my corrected version.
  • I primarily relied on ‘horizontal and vertical alignments’ to make the necessary adjustments.
  • To do this I chose a point and imagined a horizontal or vertical line travelling out from it. Then I used that line to tell whether other points matched it’s placement (were they too high or too low etc.).
  • This little trick will help you to problem solve when something is wrong with the proportions in your drawing or painting.

Realistic Charcoal Sketching – Tips for Finishing a Drawing Quickly

In this series we will be working from a sculpture in the Met Museum collection in New York. This is a great exercise for learning traditional drawing techniques in charcoal. The MET is a great free resource for artists who want to copy from high quality images and references.

In the final sessions of this three part series, I will show you how to use accents, texture and quick blending techniques to get a finished look fast.

You can download the original image I’m working from here: https://www.metmuseum.org/art/collect…

These are the minimum materials you will need:

  • Drawing paper
  • Compressed charcoal pencil
  • Hard willow charcoal
  • Kneadable eraser
  • Sharpen all your charcoal to start with (and try to keep it sharp throughout the final session).
  • Then use the compressed charcoal to add some punch to the darker accents across the drawing.
  • Adding selective detail and contrast this way is an efficient method to make the drawing look more finished without too much effort.
  • You can also pass over larger areas of tone with your hard willow charcoal to smooth things out a bit (I recommend watching the video to see what I mean).
  • Finally, see if you can find any little notches of texture that stand out and pop them in.
  • A good example of this is the light chip on the cheek in shadow – I added this in by simple erasing a light shape and then putting a darker note above that.

Realistic Charcoal Sketching – Developing the Forms

In this series we will be working from a sculpture in the Met Museum collection in New York. This is a great exercise for learning traditional drawing techniques in charcoal. The MET is a great free resource for artists who want to copy from high quality images and references.

In this session I will show you how to develop the forms in the shadows and halftones by loosely shading in tone.

You can download the original image I’m working from here: https://www.metmuseum.org/art/collect…

These are the minimum materials you will need:

  • Drawing paper
  • Soft willow charcoal
  • Kneadable eraser
  • Use the same soft charcoal as stage 1, but this time you will need to sharpen it a bit as that will give you more control as you add smaller details.
  • Start by darkening the shadows if needed. Then you can add the darkest parts of the shadows – this will start to give the impression of rounded forms within the darker areas of the drawing.
  • Once the shadows are a bit more developed, turn your attention to the halftones.
  • Working in large blocks of loosely shaded tone, start to add the darker halftones next to the shadow edge.
  • Keep adding tone (or removing it where necessary) in the same fashion across the drawing.
  • This will gradually result in a better sense of 3D form.
  • That’s it for now! In the next (and final) session I will show you how to finish off the study.

Realistic Charcoal Sketching – Getting Started

In this series we will be working from a sculpture in the Met Museum collection in New York. This is a great exercise for learning traditional drawing techniques in charcoal. The MET is a great free resource for artists who want to copy from high quality images and references.

In this first session I will show you how to get started with a light and loose block-in of the main shapes and shadows.

You can download the original image I’m working from here: https://www.metmuseum.org/art/collect…

These are the minimum materials you will need:

  • Drawing paper
  • Soft willow charcoal
  • Kneadable eraser
  • Begin by (very lightly) sketching in the basic outside proportions of your subject.
  • Try to hold the charcoal as far back as possible – because this will help you to keep your lines super light.
  • Once the outside proportions are in place, you can start to make some light notes for the placement of major features and forms (eyes, nose, mouth, chin, ears etc.).
  • This is a good time to make corrections – because there isn’t too much to change yet.
  • Keep re-working these lines and shapes until they lock into place well. This will save you a lot of hassle later in the drawing.
  • Once those shapes are in place you can begin to lightly shade in the ‘shadow’ shapes.
  • Shadows are any part of the subject that doesn’t receive direct light from the light source.
  • In this drawing – most of the right side of the sculpture is in shadow because the light is streaming from the left.
  • Finally, spend some time correcting the shapes of these shadows until they seem to capture the right likeness and expression of your subject.

Learning from the Masters – John William Waterhouse Copy in Oils – Part 9

In this series we will be working on a master copy in oils. I am using a 19th Century painting of the mythological figure ‘Lamia’ by John William Waterhouse as my reference.

You can use the same reference by clicking the link below, or you can find your own masterpiece to work from.

http://drawandpaint4free.artcoursework.com/wp-content/uploads/2021/03/Lamia-Waterhouse-1-scaled.jpg

In this session – I will be rendering the hair, using a mixture of glazing and direct painting techniques.

  • I begin by laying a glaze of burnt umber and black over the darkest parts of the hair.
  • Glazing deepens the tone and also increases the warmth.
  • If things get too warm when glazing you may need to make you colour cooler (you can do this by adding white, which greys things down.
  • I then patch in some more subdued colours over the lighter parts of the hair as my original colours were a bit too reddish.
  • Try to brush in the direction of the hair when painting – as this helps enhance the impression that the hair is flowing in a particular direction.
  • Finally, you can add any props or smaller embellishments throughout the hair (the pearl clasps in the case of this painting.
Materials:
  • OIL PAINTS
  • Titanium White
  • Ivory Black
  • Burnt Umber
  • Ultramarine Blue
  • Cadmium Yellow – Cadmium Red
  • Alizarin Crimson
  • ODOURLESS MINERAL SPIRITS (OMS)
  • LINSEED OIL
  • RANGE OF LARGE AND SMALL OIL BRUSHES
  • PALETTE
  • PALETTE
  • CUPS
  • CANVAS

Learning from the Masters – John William Waterhouse Copy in Oils – Part 8

In this series we will be working on a master copy in oils. I am using a 19th Century painting of the mythological figure ‘Lamia’ by John William Waterhouse as my reference.

You can use the same reference by clicking the link below, or you can find your own masterpiece to work from.

http://drawandpaint4free.artcoursework.com/wp-content/uploads/2021/03/Lamia-Waterhouse-1-scaled.jpg

In this session – I will be continuing to render the figure – focusing on the chest and right arm/hand.

  • I’ll be following the same process as the previous two sessions.
  • As time goes on, the rendering process will become easier as you will develop a better understanding of the particular colour mixtures that work well for any particular painting.
  • In this painting, I have to pay close attention to the relationship between cool (blues, greens) and warmer (yellow, red) tones.
  • My approach is to lay them in side by side and then gradually blend them together.
  • This creates a broken colour effect.
  • The final thing I do each session (before allowing the piece to dry) is lay in some lighter tones in the brightest areas.
  • This ensures that I don’t lose luminosity in the painting.
  • You will likely need to add a small amount of a strong colour to your lightest tones – to avoid them becoming too greyed out.
Materials:
  • OIL PAINTS
  • Titanium White
  • Ivory Black
  • Burnt Umber
  • Ultramarine Blue
  • Cadmium Yellow – Cadmium Red
  • Alizarin Crimson
  • ODOURLESS MINERAL SPIRITS (OMS)
  • LINSEED OIL
  • RANGE OF LARGE AND SMALL OIL BRUSHES
  • PALETTE
  • PALETTE
  • CUPS
  • CANVAS

Learning from the Masters – John William Waterhouse Copy in Oils – Part 7

In this series we will be working on a master copy in oils. I am using a 19th Century painting of the mythological figure ‘Lamia’ by John William Waterhouse as my reference.

You can use the same reference by clicking the link below, or you can find your own masterpiece to work from.

http://drawandpaint4free.artcoursework.com/wp-content/uploads/2021/03/Lamia-Waterhouse-1-scaled.jpg

In this session – I will be continuing to render the figure – focusing on the left arm.

  • In a similar fashion to how I approached the face in the previous session – I begin by making some slight adjustments to the temperature in the halftones and lights.
  • Primarily adding in some cooler (almost greenish) darker halftones as per the reference.
  • I also cooled down and brightened up the lightest tones slightly as well, because they were slightly too yellow and dark
  • Once the colours and tones were sufficiently adjusted, I use a range of dry and wet brushes to adjust and develop the more subtle blending and forms in the arm.
  • After the blendings are complete you can lay in your brightest colours again so that they retain their clarity relative to the halftones.
Materials:
  • OIL PAINTS
  • Titanium White
  • Ivory Black
  • Burnt Umber
  • Ultramarine Blue
  • Cadmium Yellow – Cadmium Red
  • Alizarin Crimson
  • ODOURLESS MINERAL SPIRITS (OMS)
  • LINSEED OIL
  • RANGE OF LARGE AND SMALL OIL BRUSHES
  • PALETTE
  • PALETTE
  • CUPS
  • CANVAS

Learning from the Masters – John William Waterhouse Copy in Oils – Part 6

In this series we will be working on a master copy in oils. I am using a 19th Century painting of the mythological figure ‘Lamia’ by John William Waterhouse as my reference.

You can use the same reference by clicking the link below, or you can find your own masterpiece to work from.

http://drawandpaint4free.artcoursework.com/wp-content/uploads/2021/03/Lamia-Waterhouse-1-scaled.jpg

In this session – I am working the first of several detail passes over the face of Lamia. I am using the following materials:

  • OIL PAINTS
  • Titanium White
  • Ivory Black
  • Burnt Umber
  • Ultramarine Blue
  • Cadmium Yellow – Cadmium Red
  • Alizarin Crimson
  • ODOURLESS MINERAL SPIRITS (OMS)
  • LINSEED OIL
  • RANGE OF LARGE AND SMALL OIL BRUSHES
  • PALETTE
  • PALETTE
  • CUPS
  • CANVAS

Process

  • I start by using my medium (1:1 linseed oil to OMS) to oil in the darker tones and create a ‘couch’ that will make it easier to blend the details into one another.
  • The I block in some colour and temperature (warm/cool) shifts over the dry layer below.
  • I keep adjusting these colours and tones while adding smaller transitions to define the smaller forms and details.
  • Once happy with these colours and tones, I begin to soften the transitions between colours and make the painting appear less blocky.
  • I will leave this until touch dry before working over this area again.

Sketch Your Home or Studio – Finishing off the Drawing!

This new series is the perfect project for when you’re stuck indoors. I will be showing you how I make a study in pencil of my own studio. You can either use the reference provided (see below). Or better yet, make a study of the inside of your own home or studio. You can work from a photo or life – whichever you prefer 🙂

In this session we will be finishing off the background and making some final adjustments to the entire drawing.

  • The final thing left to finish off is the background – though you don’t need to be as detailed in this area as the foreground.
  • Having more detail in the foreground will help it to feel closer to the viewer and increase the sense of depth.
  • Focus on smoothing out the tones in the background and make sure that all the elements roughly fit into the perspective of the scene and make sense structurally.
  • The final thing you can do is lay some final unifying passes of tones over the darker areas and use the eraser to make the lightest sections as bright as possible so that they really glow!

The materials you will need for this course are:

  • Paper (or a sketchbook)
  • Range of pencils (H, HB, B, 2B) – ideally a few mechanical pencils as well as regular ones.
  • Kneadable eraser
  • Sharpener or sanding block
  • Tape
  • Drawing board (if you aren’t using a sketchbook)

You can download the source image for the series here:

http://drawandpaint4free.artcoursework.com/wp-content/uploads/2021/01/P1090476-scaled.jpg

Sketch Your Home or Studio – Finishing off the Foreground

This series is the perfect project for when you’re stuck indoors. I will be showing you how I make a study in pencil of my own studio. You can either use the reference provided (see below). Or better yet, make a study of the inside of your own home or studio. You can work from a photo or life – whichever you prefer 🙂

In this session we will be carrying on from the previous video – finishing the details in the foreground in preparation for the final lesson where we will complete the background and pull everything together.

  • When working with complex layered elements, it’s often best to work from the back forwards.
  • Details in the darker, shadowy regions can be softer than the parts illuminated by the light sources.
  • In my piece you can see that the chair is in front of the table, so I worked on the table first, getting it to a finish before layering the chair details over.
  • Pay attention to the shadows that these details cast and add them in (the spindles on the back of the chair are casting small shadows onto the seat for instance).
  • You can also see that I spent time looking for highlights on reflective surfaces (like the chair and metal tubes on the table). These were picked out with the kneadable eraser.
  • Also make sure that any details match the approximate perspective in the scene (like the floorboards in my drawing for instance).

The materials you will need for this course are:

  • Paper (or a sketchbook)
  • Range of pencils (H, HB, B, 2B) – ideally a few mechanical pencils as well as regular ones.
  • Kneadable eraser
  • Sharpener or sanding block
  • Tape
  • Drawing board (if you aren’t using a sketchbook)

You can download the source image for the series here:

http://drawandpaint4free.artcoursework.com/wp-content/uploads/2021/01/P1090476-scaled.jpg

Sketch Your Home or Studio – Starting to Add Detail

This series is the perfect project for when you’re stuck indoors. I will be showing you how I make a study in pencil of my own studio. You can either use the reference provided (see below). Or better yet, make a study of the inside of your own home or studio. You can work from a photo or life – whichever you prefer 🙂

In this session we will begin to refine the drawing – working on each section gradually.

  • You will need a sharp pencil (or mechanical pencil like mine) in order to work on very small sections of detail.
  • Take your time as you work. I find it useful to limit myself to a specific area at a time – rather than wandering all over the drawing.
  • Pay particular attention to hard and soft edges.
  • Take the computer screen above for example – it has a very sharp edge compared to the softer shadow edges on the wall behind.
  • This helps push the wall behind the screen.
  • Finding very small forms within the drawing and paying particular attention to them will make it look more detailed very quickly.
  • Always take time to step back and look at the whole image regularly.
  • This way you won’t get too lost in individual sections of detail.
  • It’s important that you stick to the general statement of tonal relationships established in the previous stage.

The materials you will need for this course are:

  • Paper (or a sketchbook)
  • Range of pencils (H, HB, B, 2B) – ideally a few mechanical pencils as well as regular ones.
  • Kneadable eraser
  • Sharpener or sanding block
  • Tape
  • Drawing board (if you aren’t using a sketchbook)

You can download the source image for the series here:

http://drawandpaint4free.artcoursework.com/wp-content/uploads/2021/01/P1090476-scaled.jpg

Sketch Your Home or Studio – Creating Light Effects

This series is the perfect project for when you’re stuck indoors. I will be showing you how I make a study in pencil of my own studio. You can either use the reference provided (see below). Or better yet, make a study of the inside of your own home or studio. You can work from a photo or life – whichever you prefer 🙂

In this session we will be looking at how you can create light effects on the objects in your scene.

  • Begin by finding the light source that you will be rendering.
  • This will show you what direction the light is facing and therefore, what effect it will have on the objects, walls etc. in the scene.
  • In this case my table lamp is shining up at the wall, causing some parts to be illuminated and creating quite striking shadows.
  • Use the same smoothing techniques that we learnt last session to add more detail, and create gradients that get darker as the objects or walls move further from the light source.
  • You should also note where shadows are being cast and what object is casting them (see the face cast hanging on the wall above),
  • Keep going in this fashion until all the objects in the scene are illuminated correctly. They don’t have to be detailed yet – just make sure they are interacting with the light correctly.
  • You may need to do a few passes of tone over the shadows to unify them together.

The materials you will need for this course are:

  • Paper (or a sketchbook)
  • Range of pencils (H, HB, B, 2B) – ideally a few mechanical pencils as well as regular ones.
  • Kneadable eraser
  • Sharpener or sanding block
  • Tape
  • Drawing board (if you aren’t using a sketchbook)

You can download the source image for the series here:

http://drawandpaint4free.artcoursework.com/wp-content/uploads/2021/01/P1090476-scaled.jpg

Sketch Your Home or Studio – How to Smooth Things Out

This series is the perfect project for when you’re stuck indoors. I will be showing you how I make a study in pencil of my own studio. You can either use the reference provided (see below). Or better yet, make a study of the inside of your own home or studio. You can work from a photo or life – whichever you prefer 🙂

In this session I will be showing you how to smooth out and darken tones without flattening the paper…

  • You will be using a fine mechanical pencil (or a very sharp wooden pencil) to lightly work your way into the grain of the paper.
  • This is one way to make tone darker in graphite without crushing and damaging the paper.
  • Keep rolling the pencil as you work so that the tip statys sharp.
  • I also recommend working from different angles (below, left, right and above).
  • After multiple passes in this fashion the tone will be a lot darker and smoother without having crushed the paper.
  • Don’t worry of the edges are a bit soft as we will be sharpening things up later.

  • Keep doing this with the rest of the image.
  • Work with the darkest tones first before gradually adding lighter tones – this way you will know what the limit of the darkest tone is before trying to fit lighter tones in.

The materials you will need for this course are:

  • Paper (or a sketchbook)
  • Range of pencils (H, HB, B, 2B) – ideally a few mechanical pencils as well as regular ones.
  • Kneadable eraser
  • Sharpener or sanding block
  • Tape
  • Drawing board (if you aren’t using a sketchbook)

You can download the source image for the series here:

http://drawandpaint4free.artcoursework.com/wp-content/uploads/2021/01/P1090476-scaled.jpg

Sketch Your Home or Studio – Adding Tone to Your Line Drawing

This new series is the perfect project for when you’re stuck indoors. I will be showing you how I make a study in pencil of my own studio. You can either use the reference provided (see below). Or better yet, make a study of the inside of your own home or studio. You can work from a photo or life – whichever you prefer 🙂

In this session we will be fleshing out our initial line sketch with some nice masses of tone…

  • Start by laying in a light, even tone over anything that isn’t going to be very bright (I left the window and two other sources of light the same tone as the paper.
  • You can use linear hatching (shading in a single direction) for this part.
  • Once the general tone is in place you can pick darker shapes and start to deepen their tone.
  • This will give the scene more depth and structure.
  • Resist the temptation to add lots of detail – just focus on getting the big tones right.
  • Keep working this way until most of the main masses of tone are shaded in.
  • Next week we will use this as a basis to start rendering and adding more details.

The materials you will need for this course are:

  • Paper (or a sketchbook)
  • Range of pencils (H, HB, B, 2B) – ideally a few mechanical pencils as well as regular ones.
  • Kneadable eraser
  • Sharpener or sanding block
  • Tape
  • Drawing board (if you aren’t using a sketchbook)

You can download the source image for the series here:

http://drawandpaint4free.artcoursework.com/wp-content/uploads/2021/01/P1090476-scaled.jpg

Sketch Your Home or Studio – A Perfect Project When You’re Stuck Inside!

This new series is the perfect project for when you’re stuck indoors. I will be showing you how I make a study in pencil of my own studio. You can either use the reference provided (see below). Or better yet, make a study of the inside of your own home or studio. You can work from a photo or life – whichever you prefer 🙂

The materials you will need for this course are:

  • Paper (or a sketchbook)
  • Range of pencils (H, HB, B, 2B) – ideally a few mechanical pencils as well as regular ones.
  • Kneadable eraser
  • Sharpener or sanding block
  • Tape
  • Drawing board (if you aren’t using a sketchbook)

You can download the source image for the series here:

http://drawandpaint4free.artcoursework.com/wp-content/uploads/2021/01/P1090476-scaled.jpg

  • Start by taping up your paper to your drawing board.
  • I suggest that you put a piece of backing paper so that the drawing surface is less scratchy.
  • Lightly sketch in a rectangle that will determine the size and shape of your drawing.
  • Try to work as light as possible during this session. It is easier to do this if you hold your pencil very far back (near the end) as this makes it nearly impossible to press down too hard and it encourages you to make more confident sweeping lines.
  • Begin by lightly laying in all the major edges of walls and floors etc.
  • You can also add in any big pieces of furniture or objects at this stage (keep your shapes simple though – think rectangles and straight lines for now).
  • Pay attention to perspective as well – you don’t need to be too precise but it will help if you’re aware of the effect of perspective on the scene.
  • Once the major walls and objects are in place you can start to lightly place smaller objects (boxes, chairs, screens etc.)
  • Keep to just simple lines though. We don’t want to get too detailed just yet.
  • Once you reach this level of detail you can take a break. We will be adding tones next session before starting to refine smaller areas and add more detail in later sessions.