Luisa Holden Artist Acrylics & mixed media Dramatic Yorkshire landscape Moorland, woodland and coast the Northumberland and Cornish Coastlines 'Edgy' still life.
照片练习2022.11.14
quick value study trying to maintain a fluidity in the brushwork. oil on panel 6" x 8"
Awesome way to study: interpret the references your own way, to gain and apply valuable knowledge on shapes, values, color and blending through brushwork!
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LHF Brushwork is a calligraphic-style font that is easy to read and hand-crafted by Dave Correll.
Veronica Lobareva, Elderberries | Semi abstract | Pinterest | Gardens, Life and Flower
Explore Lynda English's board "Blooming Brushwork" on Pinterest.
Study with Rose and you’ll discover: Types of brushwork that evoke emotion from your viewers Methods for telling meaningful stories through your paintings How Rose overcame the challenges of painting alla prima — and how you can too! When it’s a good thing to scrape down your entire painting … it’s true! Create effects
The Ken Auster Workshop online workshop offers a unique self-study course in painting, designed for artists of all levels. Emphasizing Ken's signature loose, bold brushwork, the course provides insights into creating impactful compositions with color and light. The program includes high-definition instructional videos, hands-on assignments, and a selection of Ken's own images for practice.
Brushwork FONT Download - Brushwork is a free-flowing brush font that combines a modern aesthetic with a very unique style
Canadian abstract artist Deniz Altug creates colorful & uplifting original artworks on canvas. Based on Ontario, Canada, her works can be purchased online and through galleries. She hopes that her paintings offer a sense of aliveness and uplifting inspiration, and add joy to your home or space.
I've continued working towards having everything ready for my first wargames tournament in over 6 years, and I'm almost there! A pic-heavy update coming up! I'm quite a stickler for being WYSIWYG - partly because I like to know what's on the table (I'm not a massive fan of proxies), but also to remember what…
The Pogo comic strip by Walt Kelly (1913-1973), whose life was cut short at age 60 by diabetes, was beloved by many. I read it some when...
This Impressionist painting features bright colors, gestural brushstrokes, loose lines, minimal details, and a soft, blended texture, resulting in an attractive and vibrant abstract composition.
When you are creating landscape paintings, part of what draws you to a scene is the emotion you feel when you are in the moment. This is not always easy to
Randy Sexton shares his brushwork techniques including a brushwork exercise you can do from home. Plus, how to get the paint, and process, to flow better.
by Lisa Larrabee This painting was done as a relatively quick study as a teaching demonstration. The focus was on shape and shadow relationships. You can see that this study began with a horizontal composition. My painting surface is a sheet of paper canvas which is convenient for quick studies. The surface was toned with a mix of Gamblin's Transparent Earth Red and and Phthalo Blue thinned with Gamsol (OMS). The purpose of the blue was to neutralize the orange tones in the Earth Red. I chose Phthalo simply because it is transparent as well. The goal during this block-in session was to place the pears on the canvas with accuracy. I use straight lines which allow me to get more accurate angles for measurement. Simplification is important. (It can help to squint!) My focus was on shape relationships (both positive and negative shapes). The shadows were simplified to indicate the terminator. This helps show the form by identifying the contour along the surface where the light changes to shadow. Subtleties like reflected light were ignored. Before adding color, it was important to step back and evaluate the accuracy of the drawing and make changes as needed. Color was blocked in wet into wet without additional mediums. My goal was to mix and apply color with relative accuracy, but in a slightly restricted range of values. The lightest highlights, in particular, are left until the next stage. I had originally chosen the horizontal composition because I liked the strong diagonal shape created by the cast shadow. However, I decided that the painting would be more interesting cropped. The square composition accentuates the yin yang "s" motion of the two pears and their stems. When making a significant change, it is important to visually indicate it. This allows you to continue your painting with the current composition in front of you so that the painting builds as a whole. I applied the second layer of color after the first layer was dry/tacky. For the background and shadow areas, I mixed in small amounts of Liquin Impasto. I enjoy this medium because it allows you to develop rich layers of translucent color suspended in an impasto medium that can hold brushwork. I did not use any medium for the lightest areas because of their opacity. I found that the most interesting part of this study was the shifting colors/temperatures across the pear. Take pleasure in the ordinary! ~ Lisa
