Cedar Crossing - A Step-by-step Oil Painting Demonstration By Aaron Holland

If you're new here, you may want to subscribe to my RSS feed. Thanks for visiting!

About Aaron:

My formal training has been in the “Boston School” tradition, at the Studio of Peter Bougie and Brian Lewis (an Atelier), in the lineage of Richard Lack. While there, I was trained in portraiture, figurative, and still life painting methods, as well as a thorough study of academic drawing approaches. I studied with Mr Bougie and Mr. Lewis every day for five days a week, approximently 7-8 hours a day, for three and a half years. Ironically, it was while I was there that I came to love the landscape.

Both of my teachers are ardent “Plein Air” ( outside, on location) landscape painters, and would often bring in their paintings for our appreciation. After much time spent in the studio their paintings were like a breath of fresh air, and the saturated colors of outdoor light seemed beyond comprehension. I was further impressed by the notion that the paintings were done without the aid of photographic references! It was their belief that, although sometimes necessary, it can often be counter-productive to the aims of a true artist.

I have been painting “on my own” since 1998, and have tried to maintain the same integrity and faithfulness towards landscape painting that I saw demonstrated there. Although there are some differences in how I see and paint the landscape, I think that is an important aspect to growing and developing as an artist. I have made an effort to dedicate several days each week to paint direct from nature. During these painting sessions I have been seeking to capture both the essence of a scene, and how it speaks to me on a personal level. Currently I am concentrating on smaller en plein air compositional studies with a focus on light and color, painted “en premiere coup” (or, in one sitting).

There is still so much to learn, and I am often overwhelmed by the challenges of landscape painting. Sometimes it seems that the more I learn, the more I realize I have a lot more to learn…but, that keeps it interesting!

Click here to visit Aaron’s Website and See More of His Beautiful Work!

Cedar Crossing - Step By Step Painting Demonstration

STEP#1. The Drawing

Winter has come and is gone for another year.

This winter I decided to tackle a painting I have thought about for a number of years. I am just finishing up on it, and I thought I would share it with you.

I was inspired by a scene I saw once upon a time. ..The town I live in has many buildings that date back over a hundred years, on a quaint main street with vintage lamp posts. The lights hanging in the trees and the freshly fallen snow gave the town a timeless christmas feel. When I saw the horse and carriage trotting slowly down the street knew I had to paint it someday!

The next few steps show the progression from start (drawing, above) to a finished painting.

STEP #2. The Transfer

I traced the finished drawing (shown step 1) onto a piece of Acetate with a fine-point Sharpie, and now I am shown transfering it onto a linen canvas (toned golden).

This is a little time consuming, but I can save all the work I did in the drawing and concentrate more on the painting…

STEP #3- Imprimatura

I start by painting in the darks with a wash of Brown paint thinned with mineral spirits. I do this rather quickly to give me an idea of where the darks and lights will be (the values) throughout the picture.

The toned canvas helps me see the values more accurately (a white canvas is too bright and throws the values off when comparing them next to it), and I find the gold is a nice color because it shows through and adds warmth.

#4. The Underpainting

At this point you can start to see the picture develop! I find it
helpful to get a feel for how the finished picture will look, and to
begin to see the overall placement of objects as well as the values.

#5. Building up the Lights

I now begin building up the lights with white paint. Of course there are several methods of painting. I could have continued developing the transparent washes and that way brough it to a finish, but rather this is just the imprimatura (or initial start before the actual painting begins)

#6. Venetian Method

I am creating an “underpainting” that is monochromatic (one color). This is called a Grisaille (pronounced Griz-eye’ ).

When you create an underpainting and then glaze color over it, that approach is called an “indirect method”. Instead of black and white, however, (which is the traditional colors for a Venetian Approach underpainting) I am using brownish umber and white.

There are various styles of “Indirect Painting” the two most notable styles are the “Venetian” and the “Flemish”, and every conceivable variation between the two. As I understand them, the main difference between them (keeping it simplified) is that the “Flemish” approach keeps transparent darks throughout, and the Venetians created opaque underpaintings and then glaze colors in the darks for depth and luminosity. There are other notable differences, but that will suffice for now.

Technically, the most important consideration for Indirect Painting is not the specific approach or even the finished result, but rather the oil content and the application. It is very important that the “Fat-over-Lean” rule be applied correctly; or, more oil over less oil.

One way to do that is to start with a “Lean” paint in the Imprimatura (thinned with Odorless Mineral Spirits), and as you begin to paint opaquelly to switch from a thinned paint to a mixture of oil that has gradually more oil and less thinner in it- the oil increasing in proprtion in each successive layer).

STEP #8. Working The Whole

I start to add some details such as lights, and definition to the horse and carriage, yet it is more important at this stage to maintain unity. I am looking to make sure that the “big picture” reads well. Notice how I am adjusting the values. I am trying to keep the lightest lights and darkest darks in the foreground to help create a sense of depth.

The paintings success will be determined by how well I paint the underpainting.

One very important aspect to indirect painting, is creating a solid foundation. I have taken this as far as I intend to, without over-working it. Now it is time to let the paint dry. In order for it to be a solid foundation to recieve layers of glaze it is necessary that this part of the painting dry thoroughly.

STEP #9. Starting to add glazes

Although this is not a very “colorful” picture, I will be adding some “glazes (transparent washes of color) that will add depth and luminosity. Notice the lights and some of the awnings, for example.

It is important in the Venetian approach to avoid texture in the brush strokes until the end of the painting, and they should then be applied at the same time as the glazes and NOT glazed over. A safe approach would be to glaze the color as you want it to be, then to add thick paint right on top of the glaze- this is a safe method that is in keeping with the Fat-over-Lean approach.

The ridges in textured paint will make the glazes look uneven and the color will settle in the ridges. In most cases this is to be avoided.

Step #10. The Finished Painting

Popularity: 11% [?]

Share This

Artist Spotlite - Randall Jordan

Artist: Randall Jordan

Title: “A Moment In Time”

Dimensions: 34×34

Medium: Acrylic on Canvas

Website: www.1fineartist-randalljordan.com

Randall’s Comments: I saw this seen at Va. Bch., my hometown, snapped a pic, and went directly to my studio and sketched it out. After re-sketching several times, I finally got all the proportions just right, and layered in the whole scene in this format: top to bottom and back to front. I am really pleased with my result. I am also the website creator and maintainer for the Chesapeake Bay Art Association, a club of around 60 artist members in Norfolk, Va. That art site can be viewed at: http://www.chesapeakebayartassociation.com

Popularity: 6% [?]

Share This

Artist Spotlite - Susan Prislopski Dickens

Artist: Susan Prislopski Dickens

Title: “West River”

Dimensions: 26×38

Medium: Watercolor on Paper

Website: www.spyglassstudio.com

Susan’s Comments: The West River feeds Canandaigua Lake, one of the Finger Lakes in upstate New York. I painted this after a canoe ride up the river and loved how the light reflected on the water and the trees. I have been painting since childhood and have recently returned to my studio after founding and being an executive director of an art center since 1995.

Popularity: 6% [?]

Share This

Artist Spotlite - Donald Neff

Artist: Donald Neff

Title: “Winter Break”

Dimensions: 30×40

Medium: Oil on Canvas

Website: http://www.donaldneff.com

Donald’s Comments : “I did a plein air at this same spot last winter looking in the opposite direction on the river. I saved this scene for a large studio work.”

Please leave any comments, critiques or words of encouragement in the comments box below. Thank You!

Popularity: 6% [?]

Share This

Artist Spotlite: Tammy Morgan

Artist: Tammy Morgan

Title: Serenity

Dimensions: 16 x 18

Medium: Acrylic on Canvas

Tammy’s Comment on Her Painting: “It would be my favorite place to be.”

Please leave any comments, critiques or words of encouragement in the comments box below. Thank You!

Popularity: 6% [?]

Share This

Step By Step Oil Painting Tutorial By Dan Schultz

About Dan

Dan Schultz was born in New Mexico in 1975 and soon began to take an interest in art. He enjoyed art classes through his primary and high school years, and studied commercial art at Pensacola Christian College in Florida. He received his degree with a focus on illustration and graphic design, but he never felt driven to pursue either as a career. After college, he continued to sharpen his drawing and painting skills by attending Cottonwood Artists’ School in Colorado Springs, Colorado, and it was there that he realized for the first time his desire for a career in fine art.

He chooses to work in a classical style because he deeply connects with traditional works which aptly express reality. “Art should bring about a respect for life and God’s creation around us,” he says. “I want to do my best to faithfully render what is beautiful to me and hopefully others will find that beauty reflected in my work.”

Please do take a moment to visit Dan’s Website by following the link below. Much of the artwork on his website (beside what is in his current galleries) is available for purchase directly from his studio. I know Dan worked real hard on this oil painting tutorial. I am sure he would appreciate your visit. If you have time, why not drop him a line as well.

Follow this link to visit Dan’s Website.

West Wind - An Oil Painting Demonstration by Dan Schultz

For this studio painting I used Claessens double oil primed linen canvas, #15 (my usual painting surface). This painting, as with most of my larger paintings, was completed using a photograph as my reference. (My wife, Sarah, is the lovely lady in the photo. Somehow I doubt she would have been very excited to pose in the middle of a field long enough for me to do the painting from life.)

Step 1:

When doing a painting of this size (or larger), I am most comfortable starting with a fairly detailed drawing of my composition. In this case, I use vine charcoal directly on the canvas. I make sure to take as much time as necessary on this step since it will provide me with the direction I will follow for the rest of the painting. As I draw, I take careful measurements using my reference photo to make sure everything ends up the right size and in the right place. (On a side note, I carefully measure when painting smaller sizes too. I just don’t necessarily do a charcoal drawing first.) I always double-check my drawing by looking at it in a mirror. Somehow seeing the image in reverse makes it easier to see my mistakes.

Step 2:

Now that I am ready to paint, I take a few moments to think about how I will proceed. When doing smaller paintings, I will often work on the whole painting at once. But, because this painting is a little larger, I decide to start in one area and work outwards. This way I have the freedom to stop if I need to, and when I return it won’t matter if the paint has started to dry because I (hopefully) won’t have to work on areas that I’ve already painted. (I always prefer to work wet-into-wet so I can easily handle my edges without having to repaint over dry paint.) Of course, this requires some planning as I begin, but it’s also a fun way to work because I can see the painting begin to take shape fairly quickly. So now all I have to do is decide where to start! I’ve found that the easiest way for me to establish my value range for a painting is to start in an area with strong, dark values and some good contrast. For this painting, some of my darkest values are in the focal point (Sarah), so it makes sense for me to start there.

Step 3:

I do a lot of squinting at my photo and at my painting to compare the value relationships between shapes. If I get the relationships right, I will be able to continue through the painting without having to go back to change any of the values.

Step 4:

As I continue, I also pay attention the edges between shapes so that they won’t all end up looking the same. In order to lead the viewer’s eye to the focal point, I make sure to keep my sharpest edges there, while softening other surrounding edges in comparison. One of the keys to good edges is variety.

Step 5:

As I work on Sarah’s white coat in the picture, I keep in mind that photographs have a tendency to incorrectly portray color information, especially in extremely light and dark areas. As a result, I must think about the sunlight from the day I took the photo and remember the effect its color temperature had on the entire scene. (This is where all of that continued practice painting from life pays off too, because I have information in my mind from experiences painting in these very conditions.) Since I remember that the color temperature of direct sunlight is warm, I make sure to add warm colors to all the areas of the coat that are in the direct light. As a result, the shadows are relatively cooler when compared to the light areas.

Step 6:

Sarah is now mostly finished (along with the most critical part of the painting.) The farther along I get in the painting, the more comparisons are taking place. Every shape I paint has to be correct in drawing accuracy, value, color, and edges when compared to what I have already painted. This is why it is so important for me to be accurate as I begin. If I get to this point and notice that one of those main components is incorrect, I will either have a lot of repainting to do, or it will be time to decide to just start over. (And yes, unfortunately this has happened.)

Step 7:

Fortunately, I don’t see any glaring errors at this point, so I am free to start working on the background. The challenge of a background filled with trees is to keep from adding too much detail and distracting from the focal point. Yet another benefit of starting with the focal point is that now I can compare the rest of my painting with it and make sure that it still predominates. So I try to discern the major shapes in the trees and only put in what is necessary to give the impression of many trees and branches.

Step 8:

As I block in more of the background trees and foreground grasses, I keep the paint fairly thin. This allows me to apply thicker paint on top when I get into more detail, and I can also let some of this initial wash show through in the finished painting. Again, this gives me some variety of texture which is pleasing in the same way as variety in my edgework (which I mentioned in Step 4).

Step 9:

Now that I have the background all blocked in, the time has come to start working on the foreground trees. As I mentioned when I was ready to begin painting back in Step 2, I took a few moments to think about how to proceed. One of the things I took note of was that my darkest values in the scene were actually in these foreground trees. Therefore, I had to hold back a bit on how dark I made the shadows in Sarah’s skirt so that when the time came to paint the foreground trees, they would be the darkest elements. This helps increase the illusion of depth in the painting since it “pushes” Sarah farther into the background because the darkest values on her aren’t quite as dark as the foreground trees which should appear closest to the viewer. I also had to remember that my camera saw the shadows on Sarah’s skirt and the value of the foreground trees to be about the same, which gave me another reason to be careful about how dark I made the shadows on Sarah’s skirt.

Step 10:

I start adding details to the trees and grasses, taking care that they don’t become too interesting in comparison with Sarah. After all, she’s most important!

Step 11:

It looks like the whole right side of the painting is pretty much finished now. Painting the values correctly in the grasses at the bottom is somewhat tricky. I have to squint and make more comparisons between the grasses and other values in the painting so that the shadows and lights on the grasses will be correct. Just like painting the trees and branches, I try to look at the big shapes in the grasses so I don’t get them too detailed.

Step 12:

Almost finished now! All that’s left is to finish the trees on the left in both the foreground and background. So all I have to do is treat them the same way I’ve treated the other trees in the painting.

West Wind • Oil on Linen • 16″ x 28″

Step 13:

I always look at the painting in the mirror one last time to make sure nothing is incorrect or distracting from my focal point. Often an edge that is too sharp or a distracting brush stroke needs to be softened. Once those are corrected to my satisfaction, the painting is finished!

Popularity: 14% [?]

Share This

20 Beginner Tips For Taking Digital Photography

Digital cameras are one of the greatest inventions of modern times. We are so fortunate to have this modern convenience called Digital Photography. To be able to capture a precious moment or beautiful scene at the click of a button, is something we should not take for granted.

Many beginners find digital photography rather challenging and rightly so. Today, more and more digital cameras are being created and it seems like the more digital cameras they make, the more difficult they become to use.

I own a Canon Powershot S3 IS. I purchased this digital camera about a year ago and I still haven’t utilized all of the awesome little features this camera has to offer. Now you may not want or even need a camera with tons of features. It really depends on the type of pictures you plan on taking.

Regardless of the camera you own or are planning to own, you should have a well rounded knowledge of digital photography. I hope the following 20 tips for taking digital photography will prove to be useful in your quest for taking better photographs.

1. Know your camera. One of the biggest mistakes you can make is not taking time to learn about the features of your camera. Don’t be lazy. Read your instruction manual.

2 - When shooting sunny outdoor shots, try adjusting your white balance setting from auto to cloudy. The auto setting will make your shots appear too cold. When you change it to cloudy, it will increase the warmth of your pictures.

3 - If you are looking for superior image quality, the ability to use a variety of lenses and print large high quality photos, then considering a Digital SLR Camera.

4 - Use your flash outdoors. Sometimes, even on a sunny day outdoors, there is still a need for a flash. If the sun is directly over head or behind your subject, this can cause dark shadows to appear on the face. The flash will help lighten the subjects face.

5- Sometimes simply turning your camera and taking vertical shots can make a world of difference. Experiment more with vertical picture taking.

6 - Do not put your subjects directly in the center of your shot. Move your subject off center to inject more life into your photos.

7 - Learn how to hold your digital camera. One of the most common problems beginners face is the shaking of the camera because they are not holding it properly. Of course, the best way to avoid shaking the camera is to use a tripod. If you don’t have a tripod, then you should be holding your camera with two hands. Put one hand on the right hand side of your camera where you actually snap the photo and the other hand will support the weight of your camera. Depending on the camera, your left hand will either be positioned on the bottom or around your lens.

8 - Learn about the “Rule of Thirds”. This is a well known principle of photographic composition that every beginner should become familiar with. Do a search online and you will find many tutorials on this subject.

9 - Look at other photographers work. Just spending time studying the work of other photographers can provide loads of inspiration.

10 - Join online photography communities. Get active and ask questions.

11 - Do not compare your photography to anyone else.

12 - Do not copy the work of other photographers. Try and develop your own unique style.

13 - Do not leave your batteries in your camera if you don’t plan on using your camera for long periods of time. Some batteries run the risk of leaking and this can damage your camera.

14 - Subscribe to a good photography magazine. Read books on photography.

15 - Find experienced photographers to go out on shoots with.

16 - Post your photographs in online forums. Learn to accept criticism.

17 - Try taking your pictures in RAW format. RAW is a powerful option available in today’s digital cameras where no in-camera processing takes place. This allows you to do all processing using your favorite image editing software.

18 - Don’t buy the most expensive photography equipment right away. Practice and learn about photography using cheaper equipment first. After you have been taking pictures for a while, you will then know what kind of equipment you will need.

19 - Invest in a tripod. Some of us have very shaky hands. If you can’t stop the shakes, then get a tripod. It will make a world of difference.

20 - If you are not able to carry your equipment with you everywhere, make sure you have a note pad handy. This way if you find a nice shot, you can write it down and visit that location at a later date.

Be sure to also visit our other sites on digital photography:

Click here for digital photography tips and tutorials from CreativeSpotlite.com.

Click here for digital photography tips and tutorials on our Squidoo Lens.

Popularity: 6% [?]

Share This

Speed Pencil Drawing of Lion

I found a really cool post today on Onlypencil.com.

If you have never visited this site before, then I highly recommend you do so today. This site has lots of awesome drawing tips and tutorials and lots of beautiful artwork.

Anyway, back to the post.

Its a speed drawing of a lion. The drawing is very small, only 2.5″ x 3.5″. Its quite amazing how the artist was able to fit so much detail into such a small space.

This is definitely worth checking out.

Click here to view the speed drawing.

Enjoy!

Popularity: 9% [?]

Share This

Artist Spotlite - Interview with Don Sahli

Everybody looks for a label. I would like to be known as a painter one who painted what he saw while wandering around on his journey.

Don Sahli made the decision to become a professional artist at a very early age. By the time he was 17 years old, galleries in Texas and New Mexico were selling his paintings. Sahli has earned his living as a professional artist all his adult life. Presently, his work is represented by galleries in Colorado, North Carolina, New Mexico, Wyoming and Texas.

When I look at a painting, I want it to bring me back to when I was on the scene. I want it to convey the drama and emotion that first captured my attention, the atmosphere, and the soul of the place.

Sahli’s work contains stylistic echoes of the Russian masters, particularly evident in his uninhibited use of color, his stern originality and unique vitality. As the last apprentice to the Russian colorist, Sergei Bongart, Sahli sustains an important artistic legacy, one passed from Ilya Repin, the fountainhead of all modern Russian painting, to Nicolai Fechin, to Peter Kotov, to Sergei Bongart to Don Sahli.

My teacher taught, his teacher taught, and I wanted to keep this tradition alive and give something back.

In 1995, carrying on the legacy of his teacher, Sahli opened Sahli School of Art in Evergreen, Colorado. He lives with his wife, Cindy and their two sons, in their mountain home near the school.

Q - What medium or mediums do you work with?

A - I am an oil painter - on canvas or board - depending on the size of the painting and where I am painting - studio or plein air.

Q - How long have you been an artist? How did you get started?

A - I have been an artist all my life. I sold my first painting at age 14 or 15. When I was 17, I took my work to a gallery in Taos, NM, the gallery director accepted it and sold my work for several years. I have continued to show in galleries around the country since that time.

Q - Do you have any formal training or are you self taught?

A - I attended one year at the University of Texas, where as a freshman I signed up for senior level art classes. But the real eye opener for me was when I met my teacher, Sergie Bongart and he invited me to be his apprentice. He taught me in the “old academic way” not how to paint by formula, but how to “see.” The years I spent with him gave me the foundation to be the painter I am today.

Do you have any favorite art supplies that you would like to recommend?

A - I use a #12 long filbert hog bristle brush.

I like Classic Artists Oil Colors for paint. I buy my panels/boards from SourceTek. I use copal painting medium.

Q - Do you work with any specific styles or subject matter?

A - I was trained in the Russian School of Painting and Art of Painting. This style of painting is about color and the relationships of color. Once you understand the philosophy of Art of Painting, you can paint anything.

Q - Can you recommend any books, videos or other resources that will help new artist?

A - The Art Spirit - by Robert Henri

Q - How do you get ideas to create a piece. What inspires you?

A - Through observation of the environment where I am living, the change of color and light and atmosphere.

Color inspires me… the actual act of painting - inspires me.
Looking at great paintings - what the masters studied inspires me
When a seed sprouts from the ground -this inspires me.

Q -Are there any artists that have influenced you and why?

A - Of course, Sergei Bongart as my teacher and mentor. He also introduced me to many other historical Russian painters, Fechin, Repin, Levitan, there are too many to name. From a more recent group of painters - Timkov and Fedor Zakharov.

Q - Do you have a website you would like to share?

A - www.sahlistudio.com
This website describes my journey as a painter and features my work.

www.sahliartofpainting.com
This website describes the philosophy behind Art of Painting and features Interactive Art Instruction DVD Collection.

Q - Finally do you have any last words of advice for beginner artists?

A - LEARN TO DRAW

Paint, Paint, Paint!

Be more interested in being the best painter you can be than selling a painting.

Do not compare yourself with others, only compare yourself with yourself.

Popularity: 9% [?]

Share This

Two Awesome Gifts From Artist Sam Halstead

A visitor and subscriber to Creative Spotlite, Sam Halstead, was kind enough to offer two wonderful gifts that I found very interesting and enjoyable and I believe you will as well.

The first gift is a video Sam created. He made this video a few years ago and it includes two artists collaborating on acrylic works in a gallery setting (the gallery is long gone). It was filmed over the course of three nights with an additional couple of days for interviewing.

The Video is below. Please allow some time for the video to load.

If the video does not load for some reason, click here.

The second gift is an ebook on Stained Glass by Sam called the “The Stained Glass Handbook”.

What’s Included:

- Glass-cutting and breaking techniques.

- Lead window construction.

- Copper foil lampshades, hangings and terrariums.

- Lists and descriptions of all tools and materials.

- Seven full projects with detailed instructions.

- Over 160 photographs and diagrams.

- How to restore damaged leaded windows.

- Designing for stained glass.

- On-line demonstration videos.

- 87 packed pages

Click here to download this ebook.

Popularity: 7% [?]

Share This