We all want to improve our painting. But often, I think we try to do that by just…painting more.
I don’t think that’s the best way to do it. There is a better way. Here’s how.
Inspiration and practical advice for aspiring realist artists
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On November 3rd, 1933 the Nazi party, recently come to power, demanded that all professors begin their lectures with the Nazi salute. Wolfgang Köhler, a professor and director of the Psychological Institute at the University of Berlin, refused. Then he went one step further, and wrote an article openly criticising the Nazi party. It was
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In the blue corner we have Rembrandt van Rijn. The very archetype of the Old Master, storyteller extraordinaire, magician of expression, character and light. In the red corner we have Turner, progenitor of the impressionists, giant of British art and painter of the unpaintable whose primary subject matter was light. Two painters, two very different approaches
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You’ll often hear accomplished painters talking about the importance of values. The reason is simple: value is one of the foundations of realistic drawing and painting. In fact, if you were to pressure me, I’d say it’s the foundation. Why do artists talk about values so much? Well, I think I know why from my
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Now the starters are out of the way, it’s time for the main course. The original plan with these cubes and spheres was to paint each one in four different lighting conditions. Form light, the first, is three quarters in light, rim light is the opposite, three quarters in shadow. The other two are backlight,
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Having been blessed with a series of overcast days last week (which means no direct sunlight coming through the window in the afternoon) I’ve had the opportunity to move on somewhat with the tone studies. For this batch I’ve been adding the odd real object to supplement the cubes and spheres. It’s been illuminating. One
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