Figurative Oil Painting Demonstration By Lacey Lewis

About Lacey

Working mainly in oil, Lacey Lewis is an award winning contemporary realist figurative artist who paints in a classical style. Whether or not one is versed in the elusive language of visual design, Lacey’s paintings communicate to the viewer as she purposefully chooses recognizable aspects of reality to recreate on the canvas. It is vital to Lacey that her art at a minimum expresses the beauty that she observes in her subject. Often that expression of beauty is an end in and of itself. Other times, it is used as a lure to entice the viewer to look a little longer so that a deeper meaning or narrative may be revealed to them.

“I take it as an opportunity to learn about a person; their essence, where they’ve been, the image they project. I want to create a record of someone’s whole being, not just their physical likeness, through a beautiful and well composed work of art.”

Lacey offers Classes, Workshops & Private Lessons. Please click here to visit the instruction section of her website for more information.

Lacey’s artwork is available for purchase. You can buy her original paintings and drawings, or you can also purchase fine art Giclée prints of her work. Lacey also accepts commissions for figurative and portrait paintings.

Please click here to visit the purchase or commission section of her website for more information.

Figurative Oil Painting Demonstration By Lacey Lewis

“Amy Pinning Her Hair”

	After priming an 11 x 14 inch hardboard panel with acrylic gesso, I painted a mixture of raw sienna, ultramarine blue, titanium white and some medium across the surface and then wiped it with a rag. Next, I roughed in the figure and the shadows, indicating general plane changes especially on the back. Some pink flesh color was added and the dress was roughed in as well.
	During this session I focused on the near arm and face area, defining the forms more clearly. I added less diluted strokes of the burnt sienna/ultramarine blue/white mixture to the background to contrast with the warmth of the flesh.
	Here the face is developed to a greater likeness of the subject and some areas are restated. Slight changes complete the background. The dress is painted in with thicker paint and the purple is used in the downward facing planes of the shadowed areas both to indicate reflected color and also to add to the unity of the work.
	The forms get their final adjustments and definition. Some transitions are smoothed while others get a harder edge. The likeness is completed and the hairpins are added. As the dress color was added into the shadows on the flesh during the last session, skin tones are now added into dress to create a greater sense of form and unity. Finally, the signature is added.
Amy Pinning Her Hair Oil on Panel, 14″ x 11″ Giclée Print of this Painting Available

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

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 transferring 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 receive 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

About

My name is Ralph Serpe and I am webmaster and founder of the Creative Spotlite Art Instruction Blog. That’s me and my wife Pauline pictured on the left.

This site was originally created as a companion to our main site CreativeSpotlite.com, but has since taken on a life of its own. This sites main objective is to provide art instruction and other great resources for visual artists.

We are regularly adding fresh content to this site.  We offer free lessons on a variety of different mediums including oil painting, acrylic painting, watercolor, drawing and more.  We also regularly feature artists in our section entitled “Artist Spotlite” as well as one on one interviews with professional Artist’s.

If you have not done so already, I highly recommend that you subscribe to our Newsletter so that you can be informed whenever we add new content or make other upates.

If you have any comments, suggestions or questions about the website, please feel free to contact me.

Further Your Studies

There may come a time during your artistic journey that you will require more in depth instructional resources.

I know money is tight these days, especially for us artists, so I want to make certain you only invest in resources that are of the highest quality.

I highly recommend the following resources (click each banner to reach their main sites):

How To Become an Accomplished Artist

Many people want to become an artist, yet they feel they were not “born” with the talent to do so. I personally disagree with this belief.

To become an accomplished artist is just like anything else in life. It requires the correct mindset and the willingness to succeed.

DESIRE

First and foremost, you need to have the desire to learn and grow. Without the desire to learn and grow, your interest will fade over time. You will definitely make mistakes and progress may not happen as quickly as you originally anticipated. If you lack the desire to continue and learn from those mistakes, you will not see much in the way of progress. I can attest to this. When I first began oil painting I recall how terrible my first paintings were. I had no experience mixing or matching colors. I did not understand that mixing colors is a science all in itself. I would either mix too many colors, or mix the wrong colors, and my mixtures came out terrible. I did become quite frustrated, and eventually discouraged, until I finally stopped for a while. It wasn’t until I took a trip to The Museum of Modern Art in New York City, that I realized just how badly I wanted to paint. I became inspired and my desire to paint was ignited once again. So make certain that you always stay inspired to create. Surround yourself with creativity. Talk to other artists. Look at other artwork, etc.

LEARN & PRACTICE

Once you have found the desire to embark on your artistic journey, you will obviously need to learn and practice. You will need the right resources and teachers to guide you in the right direction. Everyone is different and your way of learning anything new can differ from another persons learning methods. Some people learn better by watching others. If this is the case, purchase some quality art instruction videos or DVD’s. Watch them once or twice first before you participate. This will make the experience much more enjoyable and easier to follow once you are ready to join in. There are a number of well made and resourceful art instruction videos and DVDs on the market today. Perhaps you prefer to learn in a group or classroom setting with an instructor. Do a search for beginner workshops in your area and join a few. The benefit of the classroom setting is the instant feedback you receive on your work. You also have other students and an instructor there to answer any questions that you may have. There are workshops available on virtually everything from painting to crafts, so you should be able to find something in your area or online. Maybe you prefer to read books and learn on your own, at your own pace. This is the way I started learning. I have a nice little library now of great art instruction books that I am constantly re-visiting.

There is definitely no shortage of reading material out there. I usually go online first and do research at the popular online booksellers. Many of the books are rated by other customers. This will give you a good idea of what’s popular and worth buying. You can either get the book online, or go to your local book store with a few titles that you researched, and skim through the books before you buy. If you are lucky enough to have a local public television station in your area, you should definitely check into it. Here in New York, there is a great public television station dedicated to the arts. It airs many educational arts and crafts shows, and I watch it every day. Find a method of learning that you are comfortable with or try them all! At the end of this article you will see a great resource with free art and craft lessons and other great resources for beginners. Make sure you check it out when you are finished reading this article.

BUYING YOUR SUPPLIES

Before you go out to your local store or shop online for your art supplies, make sure you do a little research first. Visit online forums and chat rooms to find out what materials & supplies other artists in your particular area of interest are using. You will be surprised by the number of responses you receive.

Many experienced artists are more than happy to give advice and answer questions. Make sure you make it known that you are a beginner and that you are looking for descent quality supplies for beginners. Once you learn more about the types of supplies you will need, don’t settle for one brand or manufacturer. My advice would be to purchase supplies from a number of different manufacturers. Everyone is different and you will find that over time you will develop a preference toward specific products. Do not purchase the most expensive or highest quality supplies at first. In the beginning you are learning and experimenting. It is best to do this with cheaper supplies. You can then upgrade to more expensive or higher quality products later on.

SHARE YOUR WORK WITH OTHERS

Once you create your first work of art go out and share it with family, friends and other artists. There are a number of art discussion forums online where you can submit your artwork for others to view and comment on. Don’t be afraid of the criticism and by all means, never let anything anyone says about your work discourage you. Everyone has been where you are now at one point in his or her artistic journey.

The majority of people you show your work to will be patient and helpful. This is a great way to learn and grow as an artist, so get out there and show yourself. I do hope these tips have helped and have given you some confidence and direction. Remember to never get discouraged. If you really want to become an accomplished artist, just keep at it. You will create your first work of art in no time.

For more great free art instruction, be sure to visit http://www.creativespotlite.com/. The Best Source For Free Art & Crafts Lessons Online!