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Artist Chat Videos

We regularly have video interview chats with established artists. You’ll learn:

  • how they got started;
  • how they got where they are;
  • they’ll share tips on how to succeed
  • as well as showing you examples of their portfolio of work!

Illustrators, painters, animators, sculpters, fashion designers – there’s something for everyone!

WATCH THEM HERE!

 

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Latest Video Tutorials, Guides & Lessons…

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Sketch Your Home or Studio โ€“ 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 ๐Ÿ™‚ 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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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 ๐Ÿ™‚ The materials you will need for this course are: Paper (or a sketchbook)Range of pencils (H, HB, B, 2B) โ€“ ideally a few mechanical pencils as well as regular ones.Kneadable eraserSharpener or sanding blockTapeDrawing 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 ...
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Fruit Still Life in Oils Part 5 โ€“ Adding the Final Touches

In this final lesson we will be adjusting edges to make the subject more prominent and refining the textures we added in the previous session. We will begin this final session by taking a look at any overlapping forms and adjusting the relative hardness of the edges.A straightforward example of this is the line in the background that runs behind the lemon - because the lemon is well forward of this line we can make the line behind softer so that the lemon feels sharper and closer to us (as it is in focus).I did this by mixing up matching dark and light greys that I laid over the background, then used a dry brush to blend these tones together - resulting in a blurry edge.I then repeated the same process for the little jutting ends of lemon that sit slightly behind the main body of the lemon. I also added another darker glaze over some parts of the lemon in shadow to make it roll a bit more softly into the dark shadow below. Finally, I added some bits of textured shadow up into the halftone texture above the shadow edge, and then blended this shadow colour with a ...
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Fruit Still Life in Oils Part 4 โ€“ Adding Texture

In this lesson we will be adding some nice texture to the lemon using smaller brushes. Begin by applying small highlights in pure white using a small pointed brush.This will give you a reference point for the lightest tones - making it easier to judge the values of the darker halftone textures. Once you've added the white highlights, gradually mix darker yellows while applying a lot of small brush-strokes.The textures should get gradually darker as they go towards the shadow edge (just like the last part). Finally, add some lighter texture into the shadow and add some shadow tone into the dark halftones above the shadow edge.This will make the shadow edge the most contrasty and textured part.Leave to dry before we make a final pass over the piece to pull everything together. Course Materials: Small Canvas (stretched or board)EaselPalettePalette CupsOil PaintsTitanium WhiteCadmium Yellow (or equivalent bright yellow)Burnt UmberRaw UmberPrussian BlueIvory BlackVarious brushes (ideally a range of smaller and larger brushes, but whatever you have lying around will be fine)Odourless mineral spiritsLinseed oilTapePaper towel or rag for cleaning up ...
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Fruit Still Life in Oils Part 3 – Making the Painting Pop Off the Canvas

Making the Painting Pop Off the Canvas: In this lesson we will be working over the basic lay-in that we established in the second part. Using the same colour mixtures we will start to make the painting more 3D. You will need to spread a very thin layer of your medium all over the painting to resaturate and darken all the colours (this is important whenever you start working on a dry oil painting).Then begin by working on the background around the fruit, making any adjustments to the value if necessary (I darkened mine) and make the contour around the fruit more detailed. Once you've finished the background, move onto the shadow of the fruit.You can use the same colour mixtures as the previous session so it should be easier to get the colours right.It is best to use a reasonable amount of medium in the darker tones so that they stay quite thin.As well as adding detail inside the shadow, you should also add detail to the edge of the shadow - which will begin to suggest the form and texture of the fruit in light. Finally make any necessary changes to the lighter parts of the fruit (you ...
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