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    10 Bite-Sized Oil Painting Projects: Book 2: Practice Glazing, Pointillism and More via Fruit, Landscapes, Water Scenes and Glass
    10 Bite-Sized Oil Painting Projects: Book 2: Practice Glazing, Pointillism and More via Fruit, Landscapes, Water Scenes and Glass
    10 Bite-Sized Oil Painting Projects: Book 2: Practice Glazing, Pointillism and More via Fruit, Landscapes, Water Scenes and Glass
    Ebook136 pages1 hour

    10 Bite-Sized Oil Painting Projects: Book 2: Practice Glazing, Pointillism and More via Fruit, Landscapes, Water Scenes and Glass

    By Rachel Shirley

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    About this ebook

    This second book in the series provides ten further step-by-step demonstrations designed to fulfil any newly-acquired set of oil painting materials. Opportunities can be found in the form of bluebells, snow, glass, grapes, a lemon, a Monet classic, a canyon, a dramatic sunset, a hillside and a Cornish inlet.

    Systems include blending, impasto, pointillism, glazing, alla prima and more. By the end of this book, the artist will have a full understanding of each technique and how to practice them.

    Every demonstration lists the art materials required and a project overview, comprising an introduction to each project, project features and challenges. Step-by-step images and in depth instructions ensue, guiding the artist through each project from start to finish.

    Projects vary in complexity, but most have been completed in one or two sessions, amounting to no more than three hours in total. Diagrams along the way help simplify each challenge.

    Guidance on the art materials and the preparatory processes are supplied within the back of this book, along with a further guide on how to prepare your own oil painting surfaces. With glossary and abundant colour images.

    Note: The demonstrations within this book are now available within a 3 book in 1 compilation entitled: 30 Bite-Sized Oil Painting Projects on 6 Colour Themes.

    LanguageEnglish
    PublisherRachel Shirley
    Release dateMar 10, 2017
    ISBN9781370196371
    10 Bite-Sized Oil Painting Projects: Book 2: Practice Glazing, Pointillism and More via Fruit, Landscapes, Water Scenes and Glass
    Author

    Rachel Shirley

    I have practiced oil painting from the age of six and have since been involved in countless projects and commissions. A graduate from Kingston University, Surrey and with a PCET teaching qualification from Warwick University, I have won competitions, taught life drawing and have written several books and many articles on oil painting and teaching art.

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      Book preview

      10 Bite-Sized Oil Painting Projects - Rachel Shirley

      Introduction

      This second book in the series provides ten further step by step demonstrations designed to fulfil any newly-acquired set of oil painting materials. The artist wishing to experiment with this versatile medium need not pore over countless photos looking for inspiration. Opportunities can be found here, in the form of a variety of subject matter selected for the assortment of techniques that can be applied.

      Systems include soft blending, impasto, pointillism, glazing, alla prima and more. Don’t worry if some of these terms sound unfamiliar or have never been tried before. By the end of this book, the artist will have a full understanding of what they mean and how to practice them.

      Sample step by step images within this book.

      Each demonstration lists the art materials required and a project overview, comprising an introduction to each project, project features and challenges. Step by step images and in depth instructions ensue, guiding the artist through each project from start to finish.

      The compositions vary in complexity, some of which are more involved than others. But most projects have been completed in one session of no more than two hours; others require two glazes amounting to no more than three hours in total.

      The final project has been supplied for the artist wishing to try something more demanding via three glazes to achieve a high finish. Diagrams along the way help simplify each challenge.

      Guidance on the art materials and the preparatory processes are supplied within the back of this book, demonstrating that a multitude of techniques and subject matter can be undertaken without cost or complexity. A further guide is provided on how to prepare your own surfaces in order to gain more artistic control.

      Exercise1: Shadow Pointillism

      Bluebell Wood 10x10in

      Project Overview

      Art Materials: primed board and pencil; acrylic paints: brown, blue and purple; oil paints: titanium white, cerulean blue, lemon yellow, permanent rose, burnt umber and viridian green. Wide and medium bristles; fine, medium and wide sables.

      Time needed to complete: 1st session: 0.5 hours, 2nd session: around 2 hours.

      Techniques: Pointillism via stippling and dabbing; soft blending.

      Left: A simplified view of patterns in nature. Notice how the shadow formations converge towards the horizon and the tree trunks appear narrow and closer together as they recede.

      Right: Leaf sections glint luminescent yellow in sunlight; those in half-shade have a bluish cast to imply reflections from a clear sky.

      This opening demonstration explores pointillism, a technique by applying dabs of colour side-by-side to create visual effects when viewed from afar. Impressionist artists, Seurat and Signac extensively used this system in their landscape paintings. Here, we can see how select colours can imply sunlight and shadow in the carpet of bluebells. The sunlit foliage occupying the upper section of the painting provides contrast. The trees’ shadows also have an abstract webbed quality, providing opportunities to explore ways of darkening greens.

      Project Features:

      Practicing pointillism, a technique by placing dabs of colour side by side to create visual effects when viewed from afar.

      Decoding patterns in nature by reducing shapes into abstract formations.

      Expressing how objects and their shadows shift as they recede into the distance.

      Challenges

      Pointillism applied hastily could result in blotches that will appear childlike and fail to imply recession or variations in texture.

      Contamination between conflicting colours risks muddied areas forming unless care is taken.

      Overuse of blue pigment could create a garish impression of bluebells.

      Illustrating the shadows as a confusion of dark lines will fail to echo that of nature.

      1 In pencil, I drew a horizontal line approximately a quarter of the way from the top of the art surface to represent the point at which the bluebells recedes into the woods. I then drew a light sketch of the trees trunks and their shadows upon the grass. Notice how the trees appear generally sparse in the foreground, becoming more crowded and slender with distance. I then overlaid the tree trunks with dark brown acrylic paint via a fine sable.

      2 With a slightly runny mix of brown and blue acrylic paint, I sketched in the shadow shapes of the trees. Notice how they fan out from the bases of the tree trunks. I was careful not to apply the paint too heavily, or control could be lost. I added more water to the mix to differentiate the tree trunks from the shadows on the grass.

      3 I used progressively more blue acrylic paint for the trees’ shadows that converge into the woods in order to suggest depth and proximity. Notice how these shadows appear to flatten out with distance. The paint was applied progressively more sketchily via horizontal strokes. Once dry, I applied a thin wash of purple acrylic paint for the area reserved for the bluebells.

      4 I allowed the acrylic paint to dry, keeping my brush in water, so that the bristles remain soft. Drying should only take a few minutes, as the paint is thin. I then applied a still thinner wash of blue acrylic paint over the trees in the background so that the trunks stand out. After cleaning the brush, I applied a

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