8.2 – First Pass, Part 1
The first pass is where we want to start "turning the form" in earnest by organizing paint mixtures into seamless progressions of color between light …
Archives: Lessons
1.2 – Still Life Painting Materials
Open to access this content
8.1 – First Pass Introduction
The first pass is where we capitalize on all the preparation we've done to this point, and aim for completion – or near completion.
7.4 – Underpainting, Part 3
Considering the mechanics of the light – it's direction and reflection – can help us understand why things appear the way they do. Being a white o…
7.3 – Underpainting, Part 2
The underpainting is preparation for what comes later, not just for the painting, but also for us. Sure, we've done a couple of studies, but they're s…
7.2 – Underpainting, Part 1
Underpainting is a bit of an art form all on it's own. We seek to paint thinly, but without adding too much oil, or "fat" to the paint. Instead, we re…
7.1 – Underpainting Introduction
We've already prepared ourselves for painting by doing a drawing, a value study and a color study. The underpainting is all about preparing the "groun…
6.4 – Color Study, Part 2
As you develop your color study further, remember that the purpose of the exercise is to learn what we need to do on the palette. The colors you see o…
6.3 – Color Study, Part 1
As you begin your color study, you'll probably feel unsure about what colors to mix and how. That's normal. Remember, this is your venue to experiment…
6.2 – Palette & Safety
Assessing the local colors of each of the objects in the arrangement, and looking for similar colors in your paint collection can give you a starting …
6.1 – Color Study Introduction
Mixing color on the palette can be a complicated business. The color study is our opportunity to experiment, see what works and what doesn't, and dete…
5.4 – Value Study, Part 2
One of the many things that makes painting tricky is that the same color can look different in different contexts. That's why you should always judge …
5.3 – Value Study, Part 1
Since value is the most important dimension of color to get right in our paintings, at least with respect to illusionistic realism, spending time on a…
5.2 – Shellacking
Painting on paper is a convenient way to do studies, but it requires a bit of preparation. This lesson shows you how to use shellac to "size" paper fo…
5.1 – Value Study Introduction
Executing painting studies can feel like a diversion, but in truth they're an essential part of painting successfully. A study can save you lots of ti…
4.5 – The Transfer
Drawing with pencil and paper is great and everything, but we're making a painting in this course. To make use of our drawing, then, we'll need to "tr…
4.4 – The Line-In
A block-in is a simplified statement of our subject. A successful transfer to the panel, however, requires something a little more specific. The "Line…
4.3 – The Block-In
Before we start the demonstration, there are some basic concepts to set down first, including defining a "block-in", a simplified approach to curvatur…
4.2 – Compositional Framework
Given the time and effort you're about to put into this painting, it makes sense to consider your composition in advance. This lesson features a simpl…
4.1 – Introduction to Drawing for Painting
Drawing is a big topic, which is why we have several courses at Vitruvian dedicated to drawing alone. But drawing for painting is a unique application…