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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 PAINTSTitanium WhiteIvory BlackBurnt ...
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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 ...
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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 PAINTSTitanium WhiteIvory BlackBurnt UmberUltramarine BlueCadmium Yellow - Cadmium RedAlizarin CrimsonODOURLESS ...
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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 ...
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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 ...
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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 ...
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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 ...
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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 ...
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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 ...
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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 ...
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