Week 7 – Modeling the Hair Mass
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Archives: Lessons
Week 6 – Modeling the Forehead
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Week 5 – Modeling the Right Cheek & Muzzle
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Week 4 – Modeling the Nose & Left Cheek
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Week 3 – Establishing the Key
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Week 2 – Line-In & Feature Structure
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Week 1 – Block-In
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9.5 – Varnishing
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9.4 – Second Pass, Part 3
As we bring the painting to completion, consider revisiting the highlights on the pear on more time. This is where we can most use a little extra opac…
9.3 – Second Pass, Part 2
Everyone loves to paint the small details, but you must remain vigilant! It's really easy to get tunnel-vision while painting the little spots on the…
9.2 – Second Pass, Part 1
The second pass will likely be the final layer of paint on the panel. As such, we get to boost the fat content of our medium a little bit to make the …
9.1 – Second Pass Introduction
It's entirely possible that you're finished your painting already. But if you're anything like me, there are probably things you wish you did a little…
8.10 – First Pass, Part 9
In painting the small bumps and creases in the green fabric, we can actually borrow a concept I learned from my anatomical drawing teacher: The Law of…
8.9 – First Pass, Part 8
As we approach the end stage of a painting, it's easy to lose focus. But try to bring as much care to the green fabric as you did to the pear. There's…
8.8 – First Pass, Part 7
"White" objects can be particularly devilish to paint because they're often not pure white. Instead, they may simply be very light, very chromatically…
8.7 – First Pass, Part 6
It's easy to become seduced by the subtle glow of reflected light in shadow masses, and end up over-amplifying them in your painting. But there's a si…
8.6 – First Pass, Part 5
As illustrated in the previous lesson, we can anticipate color changing in certain predictable ways as a surface turns away from the light. That kind …
8.5 – First Pass, Part 4
What we call the "light mass" is the result of light from the primary source bouncing off the surface of an object. Light is reflected off surfaces in…
8.4 – First Pass, Part 3
Modeling form successfully requires more the mere observation. We also need to consider the mechanics of light and what we should expect to see as a …
8.3 – First Pass, Part 2
There are subtle gradations of color everywhere in the still life setup. One of the trickier ones to get right is along the edges of shadows, includin…