HOW TO Portraiture – Charcoal Dry & Wet!

Adding a variety of interesting edges and textures helps unify our work, regardless of the medium we are working in. For instance, in this charcoal piece the charcoal powder on the form itself is repeated in the background and creates … Read More

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HOW TO Finishing Touches to an Oil Painting

Regardless of the technique that we’ve used in our oil painting whether it’s palette knife work, brush work, or a combination of these with the many ways we can dab, stroke and stipple the paint, there are some final marks … Read More

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HOW TO Oils – Finishes That Rely on Imprimatura Underpainting

The unifying benefits from toning the support that you’re working are shown here in “Magnolia Window” Very little painting was needed on the perimeter edges of this piece. This allowed for a “vignetting” affect that allowed the image to gradate … Read More

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HOW TO Oils – Palette Knife, Wipe-out and Color Blocking Pochades

The term “Pochade” – a French verb meaning “to sketch” comes from a form of painting popularized in the 19th century. They are generally small pieces of art work created in under an hour using mediums of either oil, conte, watercolour or … Read More

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HOW TO Watercolor Finishes With Small Darks

Edge quality can be vitally important when finalizing a painting of any sort, especially in watercolor. Keeping the entire work as a “wet in wet” would be soft and lovely having many joined shapes, pleasant but lacking a strong focal … Read More

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HOW TO Watercolor Underpainting a Floral

It is so creative to not be locked in to the local colors that we might observe in a study. The sky’s the limit as far as what color theme you might employ – whether it’s complementary (opposite colors on … Read More

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HOW TO Portraiture – Children’s Proportions

This study is sketched in lightly with vine charcoal and followed by conte crayon and compressed charcoal. It can be left this way and become a dry medium study in itself, however since these are water-soluble mediums there are more … Read More

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HOW TO Oils – Painting on the White of the Canvas

Working on an untoned canvas or support can offer some good opportunities to “save the whites” – much like watercolor painting. The challenge is that if we begin painting darks against the bright white, we may have a more difficult … Read More

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Taylor Moon Portrait & The Importance of Imprimatura

        “Island Girl Taylor Moon” by Peggy Burkosky Our Tuesday night drawing and painting sessions of the costumed figure at Sheena McCorquodales’s “The Studio in Qualicum Bay”  have been thoroughly rewarding. Every talented artist attending is grateful for the opportunity. … Read More

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HOW TO Watercolor Underpainting & Designing a Focal Point

Every painting needs a focal point or center of interest, the final place where your eye rests and enjoys the artistic statement you are making, the “why” of the communication you are making in a visual way. We can make … Read More

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HOW TO Portraiture Blocking in With Charcoal Sock

We establish form in all subjects by observing the light, medium and dark values. Keep the shapes simple and general and begin blocking in these passages with a useful tool – a “sock” filled with powdered charcoal. Once these shadow planes … Read More

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HOW TO Oil Painting: Working With Your Tools

Oil painting techniques can be created with many traditional methods and experimentation with special effects. Standard brushes, palette knives and sponges can produce exciting variations of textures, highlights, blends and glazes. You can stamp, slash, smear and scratch, stipple, scrape, … Read More

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