**All sessions are live and will be recorded, students do not have to be present. All recordings will be available to students for 3 months after the final session, after 3 months the recording will be deleted.
Please check your email spam/junk folder for your Zoom invite. Our business hours are 10:00 AM through 5:00 PM. All course information and email correspondence will be sent during business hours. If students purchase a course, workshop, demo or recording outside business hours or during the weekend the course information or recording will be sent the following business day.
DEMO: https://youtu.be/VtbvwUer1ow
Exploring tone in alla prima still-life painting to create painterly, atmospheric still-life work. We will be examining the importance of tone, colour relationships, simplification and negative space in still life painting. We will start with more straightforward fruit studies, moving from grey-scale studies into colour, finally onto complex floral arrangements.
Week 1 -
Looking at how artists use tone to great effect in Still Life painting. Using Not an studies to inform your work. Mixing up a grey-scale palette. Painting a grey-scale still life.
Week 2 -
Moving from grey-scale into colour. Using colour in a tonal way. Painting a more complicated fruit study.
Week 3 -
Starting flowers, from tonal underpainting to finished piece.
Week 4 -
Reviewing and pushing what we have learnt, painting a more complex floral painting.
Gamsol (or equivalent solvent), Linseed Oil
Oil Paints: French Ultramarine, Cobalt blue, Cerulean Blue, Burnt Sienna, Burnt Umber, Titanium White, Cadmium Yellow, Cadmium Lemon yellow, Naples Yellow Light, Cadmium red, alizarin crimson
Boards, canvases or paper suitable for oils (such as Arches Huile), gessoed and toned with a neutral ground such as burnt umber diluted with Gamsol in the format of your choosing. I tend to paint on square formats.
Brushes; Flat brushes sizes: 3/4 inch, 1/2 inch and 3/8 inch, small filbert brush, size 2.
Palette
Palette knife
Painting rags/kitchen paper
**All sessions are live and will be recorded, students do not have to be present. All recordings will be available to students for 3 months after the final session, after 3 months the recording will be deleted.
Please check your email spam/junk folder for your Zoom invite. Our business hours are 10:00 AM through 5:00 PM. All course information and email correspondence will be sent during business hours. If students purchase a course, workshop, demo or recording outside business hours or during the weekend the course information or recording will be sent the following business day.
DEMO: https://youtu.be/VtbvwUer1ow
Exploring tone in alla prima still-life painting to create painterly, atmospheric still-life work. We will be examining the importance of tone, colour relationships, simplification and negative space in still life painting. We will start with more straightforward fruit studies, moving from grey-scale studies into colour, finally onto complex floral arrangements.
Week 1 -
Looking at how artists use tone to great effect in Still Life painting. Using Not an studies to inform your work. Mixing up a grey-scale palette. Painting a grey-scale still life.
Week 2 -
Moving from grey-scale into colour. Using colour in a tonal way. Painting a more complicated fruit study.
Week 3 -
Starting flowers, from tonal underpainting to finished piece.
Week 4 -
Reviewing and pushing what we have learnt, painting a more complex floral painting.
Gamsol (or equivalent solvent), Linseed Oil
Oil Paints: French Ultramarine, Cobalt blue, Cerulean Blue, Burnt Sienna, Burnt Umber, Titanium White, Cadmium Yellow, Cadmium Lemon yellow, Naples Yellow Light, Cadmium red, alizarin crimson
Boards, canvases or paper suitable for oils (such as Arches Huile), gessoed and toned with a neutral ground such as burnt umber diluted with Gamsol in the format of your choosing. I tend to paint on square formats.
Brushes; Flat brushes sizes: 3/4 inch, 1/2 inch and 3/8 inch, small filbert brush, size 2.
Palette
Palette knife
Painting rags/kitchen paper
