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.
The photo below can be ‘right clicked’ and ‘Save image as’, so you can use it as a reference image, print it out and follow along with the video above.
Considering it was mid-April in England, we were treated to some truly amazing weather.
We’d travelled down the coast to an area of South East Cornwall called ‘The Forgotten Corner’. Often overlooked due to its remote location but we found some cracking little-secluded coves and practically empty sandy beaches.
Artist’s have always been drawn to Cornwall due to the quality of light and mild climate, but the trip for me was all about getting to the sea.
The ever changing tide, the allure of cliff edges, the great expanse of sky and the unpredictable power of the waves.
We wanted to get to the edge, be battered by the elements and this was the closest we could find.
View from our cottage window – Rame Peninsula, Cornwall
An Artist in His Studio, John Singer Sargent, 1904
Last month saw the opening of a new exhibition at the National Portrait Gallery in London.
The show highlights the work of one of my favourite portrait painters, John Singer Sargent (1856 – 1925)
I’ve been a fan of Singer Sargent’s paintings ever since visiting the Tate in London as 15 year old student, blown away by Carnation, Lily, Lily, Rose, the most compelling scene with its magical sense of glowing light.
Carnation, Lily, Lily, Rose, John Singer Sargent, Oil on canvas, 1885
I’d always thought it was quite a small painting having only seen it in books, but in reality it’s nearly 2 meters tall by 1.5 meters wide, the sheer scale of it being life-size really draws you into the piece. The golden hour light is fading and the glow from the lanterns illuminates the girls faces so beautifully.
And that’s often the most fantastic thing about visiting an exhibition, the experience of sitting in front of the painting and seeing it through the artist’s eyes…
On Painting, Procrastination and What Might Have Been
“For of all sad word of tongue or pen, the saddest are these. “It might have been.” John Greenleaf Whittier
I always feel so sad when I read this quote, “It might have been…”
What a waste.
So many aspiring artists come to me with a real passion for learning how to paint and ask me where they should start?
Not knowing where to begin or muddling along on your own can be really slow progress and eventually the paints can spend more time in your box than on your canvas.
Your dreams of becoming a painter get lost.
But you were so close!
If you came to my studio with the question ‘I have a week to learn how to paint, what do I need to know?’
I’d strip the learning process down to basics, the fewest brushes, a few key colours and an essential introduction to the wide properties of acrylics.
Materials and set up, colour mixing and pigment choice, brush handling and palette knife techniques and gels and mediums.
Then we’d get painting using methods that achieve great results even if you’ve got no artistic training.
Why Acrylics?
Acrylics can be used in thin transparent washes like water colours or in a thicker more opaque form like oil paint.
They dry quickly and can be diluted and cleaned with water making them simple to use, odourless and accessible for the beginner.
So when are you coming round, right?
If you’ve never even picked up a pencil I’d always usually recommend learning how to draw. Which I know sounds a little deflating … you want to learn how to paint!
However, learning to draw sets you so far ahead, so quickly, it really is the most ‘bang for your buck’ for a set of principles that don’t change.
But what if the allure of colour is too much to resist and you want to get straight into painting?
Well, I’ve been working on a new course just for you…
Painting portraits with acrylics can be frustrating.
It can seem that you’re facing an uphill struggle.
After the pleasure of not getting headaches from toxic turpentine and being able to paint with thick impasto marks there seems to be double payback for daring to tackle a portrait with acrylics.
Not only do the colours appear unsophisticated and garish but the paint dries too quickly to blend together successfully, especially when you’re trying to mix subtle skin tones.
You can be left feeling disappointed with your results, admit defeat and crack out the thinners for another go with the Oils.
I’ve been working on a new portrait course, that can help develop your portrait skills and dramatically shorten your learning curve to achieving classical looking portraits with acrylics…
After a long drive we arrived at Laundry cottage in the pitch black, the only sound was running water from the nearby waterfall.
There had been a few minor worries en-route, slight overheating, suspicious drips from under the car and the Sat-Nav had given up the ghost but we were here…and the pack of shortbread left as a welcome gift was quickly consumed!
It was only the next morning we truly appreciated the setting we were in.
Surrounded by lochs, mountains in the distance and a spectacular view of Dunvegan Castle out of the cottage window…
I’ve just finished creating a new drawing course that follows on from the Absolute Beginners Drawing Course.
In ‘How to Draw Light & Shadow for Beginners’ we look at new materials, techniques and work on some figurative drawings. A lot of students come to me who already have basic understanding of drawing and confidence with pencils but feel there is a gap in their knowledge when using different drawing mediums.
This course has been designed to help bridge the gap between graphite pencil drawings to charcoal, chalk and pens and subtlety introduce colour.
Are you stuck in a ‘pencil loop’ ?
Wanting to experiment with new mediums such as charcoal & chalk but unsure of where to start?
Moving onto a new medium with drawing can be a challenge, especially if you’re using the wrong materials.
I was trying to draw with charcoal for years and kept on ‘missing’ the vital ingredient. I thought it was my technique, my paper choice.
Sketch by Will Kemp, View from The Uffizi Gallery Window in Florence, Italy
New Updated step-by-step Online Drawing Course
I’ve been super busy updating and ‘polishing up’ my Absolute Beginners Drawing Class to help aspiring artists to fulfill their creative potential and I’m delighted with the results.
The Artists Eye
Having studied film and cinematography, I’ve tried to create a video course that will give you the best results, as if I’m in the studio with you.
For this new version of the Drawing Course, I’ve updated a few technical things to give you the highest quality possible.
High-Quality Full HD Video Recording
This new version includes all the best demos from the first course but now includes 4 new step by step demos to create a really well-rounded experience…
This week, we’re returning to the studio to create the illusion of form with acrylic paint. I wanted to develop our sketch into a finished painting, using the same principles of light logic but having a more contemporary feel through the choice of colours, composition and context.
For Part 3, I’ve created a free video tutorial so you can watch every step and follow along at home…
Cezanne, Oil on Canvas, still life with seven apples, 1878
Ever felt frustrated having worked so hard on a drawing – only to find it still looks ‘flat’?
Is it the proportions? The perspective? Perhaps the composition?
Whilst these all play an integral part, the most effective method of making your drawings appear three dimensional, is understanding how light logic works.
If line drawing creates the proportions, handling of tone creates the form.
The theory seems simple and the changes in technique small, but applying the principles of how tone, light and shade work, will improve the illusion of form in every drawing you do – regardless of the subject.
And the exciting part about it is, once you ‘get’ lighting, the principles never change.
In Part 1 of this 3 Part series (Part 2 – Drawing shading demonstration) we look at the theory, the drawing and then paint a simple form focusing on shadow, light and edges.
You might find it isn’t your drawing technique that’s wrong, but your lighting…
Not only can it bring up the vibrancy and richness in your realist paintings, but it offers protection for the painted surface from atmospheric effects to make the surface easier to clean in the future.
No one technique for varnishing suits every situation — the texture of the paint surface, whether you want a matte or gloss finish, speed of completion etc.. all affect which varnish you choose.
There are different considerations to think about when you’re working with Oils in comparison to Acrylics, so here are some common questions to check before getting out the varnish brush…
