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I'm Will Kemp, I'm an award-winning professional artist and teacher.

I've studied in Italy, run my own art gallery, taught in museums & schools and I'm going to share my professional art secrets with you.

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Checking the drawing - Once the greens were painte

Checking the drawing - Once the greens were painted in, I take a step back from the easel and look at the whole piece. Even small tweaks in the drawing at this stage can make a big difference to the overall feel of the painting. When I switch back to my ‘drawing brain’ I’m looking for shapes and shadows more than shifts in colour. You can watch the whole process (and download a reference image from the blog) in a free 1hr video lesson on my YouTube channel, enjoy!

Painting the green - Once I have the brickwork, wo

Painting the green - Once I have the brickwork, wooden crate and terracotta pot established, I start to paint in the greens. Green can easily overpower a painting and become garish very quickly so for the first very muted green; I’m using Raw Umber and Cadmium Yellow Light. This creates a nice muted base that the shadow shapes of the leaves can be painted in with. I can then add more Ultramarine Blue to the mix as the green cools. I’m using a golden flat synthetic from @rosemarybrushes

Painting the brickwork - Using Violet Iron Oxide,

Painting the brickwork - Using Violet Iron Oxide, I paint in the brickwork behind the plant. The coloured ground is left unpainted and creates the illusion of the mortar joint in-between the bricks. A Venetian Red by @oldhollandcolours (you could also use a Red Iron Oxide) can then be used for the main pot. I lighten the value with a little Cadmium Yellow Light and Titanium White as the form changes value as it turns towards the light. The Violet Iron Oxide, Titanium White and a little Ultramarine Blue can then be used for the colours in the wooden crate in the foreground.

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