Morning Class!
In the spirit of Thanksgiving, I’d like to thank all the comments, questions and positivity that have come through the Art School blog this year.
The most rewarding thing is seeing students embrace the challenge of portraits with great enthusiasm and achieve some really fantastic results!
We’ve also broken through the 8,500,000 views on YouTube, Woohoo! so thanks for watching and more videos will be coming soon.
Have a great week,
Cheers,
Will
Morning class! This week we’re going to learn how to capture the brilliant qualities of reflections in copper, using acrylic paint.
I absolutely love how vibrant this copper pan is surrounded by the dark range. Notice how, even though the background is a dark subject, there is still a lighter tone on either side of the pan to bring it forward.
Copper makes a great subject, allowing us to work with a complementary colour palette of orange and inky blue, deep blacks and vibrant colour glazes.
So let’s get started…
Cherries overflowing perfectly in a bowl, a sense of life captured in a single moment, creating the perfect still life composition appears to come naturally to some artists.
Reassuringly, there are a few simple adjustments you can make to your own set-ups, that prevent you making the most common beginner mistakes.
By making small changes to the placement of your objects, you can breathe life and energy into your compositions and by observing how your viewing position impacts the shapes and shadows, will help develop accuracy in your drawings…
Green.
Love it or hate it, almost all landscape artists want to paint trees, woods and grass realistically.
But mixing greens can be one of the major issues that can start to throw your landscape painting off-course.
Greens can be an Achilles heel for beginners, and the urge to grab a vivid, bright green from the paintbox can be hard to resist.
In the past, I’ve demonstrated how you can achieve some surprisingly subtle greens by using some seemingly ‘non-green’ colours such and black and brown.
And I advise beginners to throw out their pre-mixed green (usually this is Emerald Green included in starter sets) when they’re first starting, in order to practice colour mixing with acrylics and develop their own mixing skills and gain colour confidence.
Why?..
This second Instagram collection comes from my studio and painting practice, you can read more about the story behind each photo on Instagram @willkempartschool
Cheers,
Will
After following along with painting tutorials, learning new skills and getting excited to develop your own painting practice, it can feel like a step into the unknown when trying to choose what subjects to paint next.
Should you paint landscapes, still lifes or work towards portraits? With so many choices, it can quickly lead to indecision and procrastination.
I’d like to share with you some of the photos I use as my own visual diary that inspire my sketches, paintings and palette choices. It could be from museum trips or travels to new cities, new paint experimentation in my studio or simply a fall of light through a window that has a great quality to it.
Just as a painter’s palette can give you a glimpse into the painter’s approach, your camera roll can reveal what really interests you. The compositions you naturally create, the repeated colours that keep on cropping up and the patterns of the negative spaces you’ve observed all contribute to your own personal style.
Below are a selection of photos with a brief description of what inspired me at the time, and this first collection comes from my trips around National Trust properties, focusing on historical kitchens. Hopefully, they’ll inspire you to start your own visual diary. Then you’ll have a camera roll full of painting ideas!
Also, I’ll be regularly posting the photo collections to my new Instagram account, really hope you enjoy them.
Cheers,
Will
When I was trying to find my way in portraiture, I’d spend hours studying Old Master paintings thinking “Wow, how did they do that?”
I was flummoxed.
Not only did the skin look realistic, but they’d managed to capture those bluish grey tones that lie just beneath the skin’s surface. In my naivety, I just couldn’t work out how you could paint one colour next to another colour yet create such a smoky transition.
I’d repetitively ask Vanessa, “When will I be able to paint the melt of the cheek you see on the Mona Lisa?”
Unhelpfully she used to say “Isn’t it just old?”
Inwardly I’d sigh.
And then I discovered oil glazing…
When Vanessa suggested a spot of Winter sun, if I’m honest, I dragged my feet.
Locations where being proposed and I politely nodded.
When she casually mentioned a possible trip to Seville, my interest was piqued.
Why?
Seville was the birthplace and hometown of Spanish artist Diego Velázquez, and one of my favourite paintings is the ‘Waterseller of Seville’ by Velázquez, but I had never seen it in the flesh, was it even in Seville?
Caught up in the fever of ‘my’ trip, I got researching and discovered the painting was actually hanging much closer to home, in Apsley House, London.
Apsley House? Where’s that?
Well as it turns out, it’s known as Number One London and sits at Hyde Park Corner.
How had I missed it on all my gallery trips and what else was there?
Holy Moly! There’s a study for Pope Innocent X by Velázquez, there’s a Goya, in fact, there’s another portrait by Velázquez and some cracking portraits by Sir Thomas Lawrence.
I shouted through to Vanessa ‘Do you fancy a trip to Knightsbridge?‘
Who knew train tickets could be booked so quickly?…
Snow.
It can seem a tricky subject to capture.
Is it white? Is it blue? How do you paint it to look soft, or darken it without it looking dull?
Having a ‘less is more’ approach to your palette can reflect the colours of Winter absolutely perfectly – without getting complicated.
And the first clue to a convincing Winter snowscape, is the sky…
There was a small sign that hung below an empty black space, it read ‘In Prestito‘.
On loan.
Last Summer I was back in Florence, Italy, to visit one of my favourite paintings that had enticed me to the city over 10 years ago.
The only problem was, when I got to the gallery, the painting wasn’t there.
It was at the Kunsthistorisches Museum in Vienna and I had missed it.
The painting?
Caravaggio’s sleeping Cupid.
This new Urban Sketching for Beginners Course, reveals how observing everyday life can give an eye-opening appreciation for the towns and cities that we live in.
You don’t need to drive out to the country to draw from life, from an artistic point of view, urban settings have just as much appeal!
The lessons follow a logical progression, from sketching static buildings and monuments to capturing the movement of individual figures and bustling crowds, enabling you to practice your drawing skills and create fast, bold urban sketches with pencils, pens, or watercolors—whatever tools you have on hand.
This online drawing course shows you how to draw from life, learn how to draw buildings, street scenes, cafés, and people and you can read more here.
Hi, my name is Will and I am an art material addict.
When the new season art catalogue arrives, I prepare a large cafetiere of coffee, find a comfy chair and indulge in a little bit of window shopping.
If I spot a new ‘innovative ink system’, it’s hard to imagine how my drawings can exist without it.
And if a magazine states ‘Free Pen (RRP £30) when you spend £50 or more on drawing products’ I’d be a fool to miss out!
But the reality is, when I take my sketches out of the studio into the city or countryside, there is a recurring theme.
Most of the new materials I buy are left behind in my growing number of art supply boxes and I find myself grabbing the same few trusted pens that work well together – again and again.
In fact, to create a huge variety of styles, it’s probably less than 10 materials and that includes different ink colours.
So this week I want to introduce you to my Top #4 Minimalist City Slicker combination sets that I actually use when I’m out sketching on location…
This week we’re going to bring our pen sketching skills into the urban environment.
Sketching your surroundings can be such a fantastic way to create a visual diary of your daily experiences and I’m always a sucker for a sketch of a bike.
This video tutorial looks at how you can use different thicknesses of pens to create variety in your sketches, and how thinking about the surrounding shapes outside your main subject can add context to your drawings.
How do you start a sketch?…
Earlier in the Summer, I took an impromptu trip to see ‘Late Rembrandt‘.
It was the first time that an exhibition had been solely dedicated to Rembrandt’s late works. Many of the most famous paintings that he produced in the last 15 years of his life had been brought together from museums and private collections across the globe.
This period is often the most celebrated due to Rembrandt’s development of a more gestural, impressionistic style and this was some 200 years before the popularity of the Impressionists.
He was out there!
I’d missed the exhibition when it was on show in London at the National Gallery but for the final leg of the tour it was going home to the Rijksmuseum in Amsterdam.
Heavy dark shadows, hidden brooding eyes, thick scratchy textured marks, lots of Brown umbers and a dirty yellow varnish glow are all the things that excite me about Rembrandt’s self-portrait style.
With the allure of Nutella Waffles, the opportunity to visit Rembrandt’s Studio and the once in a lifetime chance of seeing so many Rembrandt’s up close together, how could I resist…
I’ve just finished creating a new sketching course taking some of my drawing techniques out of the studio into the countryside.
In ‘The Essential Guide to Sketching the Landscape’ we look at new materials, techniques but most importantly what ‘works’ in a landscape sketch, from composition and simple perspective to changing your viewpoint to achieve maximum results.
Developing the habit of thumbnail sketches can build your confidence when gathering reference information out on location and you’ll become used to using your sketchbook to its full advantage, without feeling pressured to make every piece a finished work of art.
If you want to learn more about discovering the simple pleasure of sketching outdoors, soaking up the sounds and atmosphere click here to watch an intro video to the course
Cheers,
Will