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Real rt Lesson!
Learn the secrets of producing classical,realistic oil paintings with these step by step
instructions.
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Real rt Lesson
By Delmus PhelpsTable of Contents:
Introduction page 2
Chapter 1 Getting Started page 5
Chapter 2 Canvas Preparation page 10
Chapter 3 The Drawing Transferred page 23
Chapter 4 Ipriatura page 33
Chapter 5 !urnt "#er "nder $a%er page 3&
Chapter ' (i)ing The Gre% Sca*e page 5'
Chapter + The Dead $a%er page ''
Chapter & The Co*or $a%er page &0
Chapter , The -inishing $a%er page 105
Chapter 10 Soe fina* thoughts
and #onus ateria* page 115
.arning/ The entire contents of this e#oo are copyright protected
You may not resell, reprint, or give away all or any of itscontents.
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A Real Art Lesson
ntroduction
!% De*us G Phe*ps
Cop%right 200&
!"ow do you do that#$
This is the nu#er one uestion I get at shows and ga**eries This
#oo wi** tr% to e)p*ain the process in p*ain ng*ish with a #oat *oad of
pictures to he*p the novice or e)perienced artist see soe of %
trics6 of the trade in creating a #eautifu* sti***ife painting
I7** tr% % #est not to *et an% phi*osophica* e)pos8s #ecoe added9
#ut #eware9 soe of it usua**% wears off and I apo*ogi:e ahead of
tie !eing a C*assica* ;ea*ist9 I have weathered different art
oveents in this countr% that were far awa% fro c*assica* art I7ve
heard it said that odern art taes no tie or ta*ent I cannot agree
with this stateent tota**%9 #ecause I have seen soe wor that
sip*% aa:ed e9 with #oth the techniue in its creation and theresu*ts of the finished wor (% hat is off to those that are
successfu**% creating wor in this arena and aing a *iving at it
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(ost art schoo*s9 co**eges and universities toda% teach severa* st%*es
of painting (ost however9 *ean toward the odern art genre .hat I
show in this #oo is not t%pica**% taught in art schoo*s toda% I wi**
show %ou a st%*e that fo**ows a strict series of ru*es or steps Go
outside the set of ru*es9 %ou a% find good resu*ts9 %ou a% not
.hat %ou ust ree#er is %our painting a% *oo great to %ou now9
throughout %our *ifetie Step outside the ru*es9 this a% not #e
guaranteed (odern artists as recent as the 1,20s and 30s have
seen their wor crac9 pee*9 fade and pop off the canvas #ecause of
unsafe practices used in the creation of their wor Soe of these
wors were *ess than 50 %ears of age -o**owing the c*assica* rea*ist
wa%9 wi** eep %our painting *ooing its #est not on*% throughout %our
*ifetie9 #ut a*so for generations in the future
I *ie to view % wor as a craft Crafts sii*ar to a carpenter9 a
p*u#er9 or even an e*ectrician .ith the proper si**s9
Ta*ent he*ps in that %our confidence *eve* to do this ind of wor is
a*read% high Ta*ent is sip*% things %ou have uic*% *earned
e*sewhere that can #e a*so used in the art rea* It usua**% eans
good e%e to hand coordination9
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(% guarantee is sip*% this9 if %ou are not satisfied that this
inforation cannot *ead %ou to a #eautifu* sti** *ife painting9 I7** refund
%our one% This offer is through this we#site on*% Purchase
tracing deterines where purchase was ade Therefore pro#*es
with a down*oad or refunds cannot #e honored un*ess purchased
fro % we#site
Sip*% put9 this e#oo wi** teach %ou how to paint a c*assica* sti***ife
painting fro start to finish/
;ee#er?
The coon worer wors with his@her hands
The coon craftsan wors with his hands and his ind
.hat do %ou ca** the person that wors with his hands9 his ind and
his heart>
An A;TIST/
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Chapter %ne
&etting 'tarted
Cop%right 200&9 De*us G Phe*ps
"ow to use this boo(: (% recoendation wou*d #e to read it
once through in its entiret% to get the who*e view Then9 read each
chapter #efore %ou proceed with the particu*ar step discussed It7s a
*ong #oo with *ots of pictures to guide %ou Tae %our tie and
enBo% the process/
.hen setting up %our sti** *ife9 choose o*d things9 prefera#*% things
fro an antiue store Things with age ew things with odern
*ines9 co*ors and ateria*s
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*oo wi** have the darer #acground Four choice as it wi** not affect
the *ongevit% of the wor
$ongevit% of the wor69 I wi** ention this throughout the *essons9
though % now*edge is not e)tensive9 the #asics are e)p*ained9 and
the shortfa**s or conseuences as I understand the wi** #e given
During the renaissance9 artists understood the properties of oi* paint
Toda%7s artist a% not I7 not a cheica* engineer9 so the things I
te** %ou here are fro now*edge I7ve o#tained through % own stud%
There are a great an% #oos avai*a#*e that ta* a#out the properties
of oi* paint and how to ae %our paintings *ast forever I7** ta*
ain*% on the #asics Stic to the steps9 %our painting wi** *ast Go
outside the steps9 and %ou ris a painting that wi** crac ear*% in its
*ife9 fade9 or worse9 pop off the canvas Direct sun*ight9 heat
variations and huidit% changes are the eneies of the oi* painting
.ith proper app*ication of paint9 fat over *ean69 and in the steps I give
%ou9 %our painting has a #etter chance to survive There are *oads of
we#sites that give detai*ed inforation on products and *ongevit% of
oi* painting f a** the too*s avai*a#*e for us to use toda%9 oi* painting
sti** reains ing #ecause of its *asting a#i*it%
ow for a *itt*e ta* a#out *ighting orthern facing windows give a
nice even *ight It is coo*er in co*or than direct sun*ight In the sti***ife
it can #e used9 #ut I prefer to wor with *ight that I contro* I usua**%
use a sip*e c*ip on spot *ight with a 100 watt G #rand ;evea*6
#u*# I then wrap foi* around the ref*ector to funne* the *ight to e)act*%
where I need it Direction of *ight is usua**% fro the *eft with cast
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shadows on the right of the su#Bect (% theor% on wh% this is so is
fro a practica* point of view I have found that feathering out a cast
shadow to the *eft is e)tree*% difficu*t for a right handed painter
.hen pu**ing the paint to the right for a right side cast shadow9 things
see to Bust wor out easier And a visit to %our *oca* useu wi**
show ost c*assica* wors are *it fro the *eft
In the paintings of o*der (asters9 there is a*so a secondar% *ighting
found in ost sti***ife It usua**% represents an interior cand*e *ight or
*ight fro the firep*ace This usua**% coes fro the right and puts a
war g*ow into the deeper9 darer cast shadows
I a*so use a #o) to p*ace the sti***ife in as this prevents outside
*ighting other than these two sources fro affecting the wor This is
not a*wa%s necessar%H it Bust depends on where %ou setup %our sti**
*ife
;eference photo
Direction of
spot *ight source
Direction of secondar% firep*ace *ight
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Eere is another reference photo that is used in soe of the
e)ap*es?
Direction of *ight
source
dge of #o) that
he*ps with eeping
shadows on the
*eft dar
Tip? secondar% *ight fro firep*ace
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so that a corner ends the coposition on the #otto and the fo*ds
point towards the pears I a*so *a% the grapes c*ose enough to give a
#eautifu* cast shadow that a*so pics up soe co*or of the grape
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Chapter Two
Canvas )reparation
Cop%right 200&9 De*us G Phe*ps
In priing the canvas %ou wi** need (ode*ing Paste and Gesso Fou
wi** need to i)?
50J ode*ing paste
50J gesso
(i) these into a prefera#*% g*ass Bar that has a tight *id for sea*ing up
the e)cess
.h% %ou prie the canvas again rather than using an a*read% pried
canvas straight awa% is this These canvases are too rough9 even
though the% are pried once or twice a*read% This additiona* priing
gives %ou the sooth te)ture9
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The ode*ing paste gives the gesso #od% It is an acr%*ic product
The Purist wi** use ra##it sin g*ue as a paint ground This reuires
soe specia* i)ing now*edge #e%ond what is necessar% and not
discussed further within this e#oo Acr%*ic products have proven
these*ves to #e *ong *asting and not detrienta* to the oi* paint fi*
The% shou*d on*% #e used in the priing and su#seuent ipriatur
coat that goes on ne)t ever put acr%*ic over oi*s !e*ow %ou see
e having a*read% added appro)iate*% 2 of % dipping cups of
ode*ing paste9 here %ou see e adding the gesso then i)ing the
two
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.ith the gesso having additiona* #od%9 it is easier to spread and
sooth out It a*so is easier to reove iperfections "sing straight
gesso9
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Another c*ose up of the rounded corner ra:or #*ade
The ne)t too* is a confectionar% nife that has had its #*ade rounded
off with a grinding whee* This shows the curvature of the nife It
a*so shows % dipping cup and i)ing Bar G*assware sees to Bust
ho*d up #etter and the *eftover i)ture wi** eep for severa* wees
!e*ow? Confectionar% nife that has #een rounded off a*ong its edge
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The te)ture of a pried store #ought canvas This usua**% has one to
two coats of acr%*ic gesso a*read% app*ied As %ou can see9 the
te)ture is sti** ver% #up% with the weave of the canvas ver% visi#*e
This photo #e*ow shows a canvas with at *east 2 coats app*ied and an
iperfection that wi** #e reoved
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The iperfection is at #otto idd*e of photo This is shaved off and
feathered out with the ra:or and soe sanding The fina* coat of
gesso is then app*ied It usua**% taes 2 to 3 coats
If %ou use fine *inen rather than canvas9 %ou wi** have *ess steps I
have never needed ore than 2 coats to get a perfect*% sooth
surface Soeties %ou can find *inen priced the sae as the
canvas/ And *inen is the #etter product9 so %ou can charge ore for
%our painting
This is a cop*ete prepared canvas that is read% for the ne)t step/
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'tep by 'tepon how to ae this happen and how to app*% and
shave@sand in
#etween *a%ers
App*%ing the gesso
i)ture is prett%
straight forward9 %ou
can pour it fro the
Bar9 or da##*e a few
g*o#s with the stirring
stic I prefer the *ater so I have a *itt*e ore contro* of the aount
Spreading the i)ture can have its pro#*es I usua**% get the 1st
coat on uic*% of the entire surface and then #egin woring out to
each edge The stroes ust #e sooth and confident Pu** the nife
cop*ete*% across in one oveent if possi#*e This wi** *eave on*%
one edge to c*ear
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Eere %ou can see I have wored one side
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.hi*e the first coat is dr%ing9
c*ean the nife for the ne)t
coat The i)ture dries uic*%9
and I use sandpaper to c*ean
off the e)cess
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Fou shou*d have ver% fine
pee*ings of gesso@ode*ing
paste coing off as %ou
perfor this It is created
fro the high spots #eing
scraped off the surface
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-inishing up with soe
sandpaper to get the soothest
finish a*wa%s he*ps shorten the
process
I use a#out a 120 grit paper
This picture shows a second coat
going onto the canvas Fou can
see the first coat with an o*der
stud% painting underneath This is
done to show %ou the thinness of
the coats and he*p with
photograph% of this stage
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Down on the one side
Then down the other side
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A fina* #*ow dr%9
then scraping and
sanding .e are
fina**% done/
A fina* chec for
iperfections after
fina* scraping with the
ra:or #*ade and
sanding with 120 grit
paper
P*ace the canvas
vertica* and c*ose to
a *ight source Fou are *ooing for an% raised edges These need to
#e feathered out with the ra:or or the sand paper
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Chapter Three
The *rawing Transfer
Cop%right 200&9 De*us G Phe*ps
Purists wi** argue that %ou ust draw the sti** *ife free hand or it
doesn7t count/ .hat ru##ish Fes9 %ou need to *earn how to draw
#ecause %our painting represents drawing with a #rush This ust
coe soewhat natura**% If %ou find it difficu*t9 practice/ $ie an%
si**9 e%e to hand coordination coes with ore practice There
again are *oads of #oos that ta* a#out drawing techniues ne of
the #est9 that rea**% awaened and he*ped e understand % own
a#i*ities is entit*ed9 Drawing fro the right side of the #rain6 .ithin it
is an e)tree*% great e)ercise where %ou tae a photo or o#Bect9 and
draw it upside down/ .hat %ou see is foreign to %our #rain9
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These tips are to he*p %ou speed up %our process
I use a digita* caera/ Shoced> Don7t #e ven $eonardo DiKinci
used a device he invented ca**ed the caera o#scura
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The iage
produced #% the
cop%@trace
achine
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A#ove9 the penci* drawing #egins
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!e*ow9 another sti** *ife setup with it7s drawing cop*eted (ost of the
aBor shading is inc*uded in the drawing
ow %ou are read% for the ne)t step The penci* drawing ust now
#e traced with a waterproof in The reason9 our first *a%er of paint
wi** erase a** penci* stroes Eaving the drawing done now in in wi**
preserve it in case the paint *a%er is essed up/ .h% not start with
the in *a%er> Fou can/ !ut when tracing9 and the *ights out on avertica* surface9 I haven7t %et figured out a wa% to do it without in
running down % ar9 and nocing over the in #ott*e .hat a
ess/
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I a*so *ie to *a% the wor down when perforing this part as it he*ps
with in f*ow onto the canvas I use a ca**igraph% pen that ust #e
dipped into the in we** ever% so often Eaving a good penci* drawing
he*ps e with the hash ars that are used to create the shadow
areas Fou a*so have tie to chec that %ou have captured as an%
detai*s as possi#*e A istae now in penci* is eas% to correct In in9
it is uch harder
ow on to the in drawing I *ie to eep a reference photo near #% to
chec with whi*e I do this drawing
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The tracing #egins
-inished with this
one
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As %ou can see9 I start severa* paintings at once I ca** it the pipe
*ine "sua**% 4 to ' are going at an% given tie ach at the sae or
different stage of cop*etion
I have found this he*ps in severa* different wa%s It discourages the
onoton% of woring the sae piece da% in and da% out This is
done #% #reaing up the da% uite we** fro piece to piece
It a*so a**ows % su#conscious to wor out soe of the pro#*es %ou
run into with a particu*ar piece Sa% for instance9 %ou7re not sure how
to hand*e a particu*ar te)ture9 what ethod %ou wou*d use to depict
it> r a%#e a copositiona* part Bust doesn7t see right I then
thin on it for a #it9 then ove on "sua**% the ne)t da%9 I have a
Lwa**a7 oent9 and the answer is there Soeties it taes *onger
!ut usua**% things wor these*ves out with the piece Four #rain is
a ver% powerfu* instruent9 and it does so*ve pro#*es whi*e %ou rest
.here do %ou thin the o*d sa%ing9 S*eep on it tonight6 coes fro
"s artist7s/
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As %ou can see9 the
ain e)ap*e is done
The ru*er is for %our
#enefit to give an idea
on si:es I a woring
with otice the detai*
of water drop*ets on
the grapes Ker%
iportant
At this point I7 doing soe
checing of diensions In the
sti** *ife with the ta#*e top9 it is
ver% iportant to chec this one
thing That %our ta#*e is straight/
If this part is off9 even a 1@1'69 %our
custoer wi** #e frustrated The
picture wi** appear straight on the wa**9
%et the frae wi** appear crooed
.hen the% correct to the frae the
picture wi** *oo crooed even though
the% a% not see wh% eep this one
diension correct9 and %ou wi** have happ% custoers
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As %ou can see with the photo to
the *eft9 I was Bust a #it off
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Chapter +our
mprimatura
Cop%right 200&9 De*us G Phe*ps
There are *ots of uestions as to the wh% we ust even do this first
*a%er of paint Soe #e*ieve it he*ps the artist get over *ooing at a
white partia**% #*an canvas Soe #e*ieve it is to sea* the gesso
*a%er There are an% reasons9 #ut we won7t get into the a** at this
point Must suffice to now it is an iportant part of the step #% step
process of the c*assica* sti** *ife painting Ipriatura is the first oi*
*a%er in the -*eish painting techniue Ipriatura ust have a
neutra* o*ive hue The degree of darness or *ightness of ipriatura
shou*d #e chosen in re*ation to the *argest *ight area of the future
painting !ut it is #etter to err on the side of #eing too *ight9 as %ou
wi** #e a#*e to daren %our painting to the degree %ou need in the
u#er under *a%ers
The preferred ethod of doing this is with oi* paints "sing !urnt
"#er
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After i)ing9 %ou wi** app*% the paint across the entire canvas Then
tae a *arge soft #rist*e or e)p*oded #rist*e dr% #rush to #*end the
stroes awa% Eere are a coup*e of e)ap*es of using oi*s to
cop*ete the ipriatura coat
As %ou can see in #oth e)ap*es9 it is a ver% even coat of trans*ucent
paint *a%er with no visi#*e #rush stroes
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!ecause this coat of paint can tae up to a wee to dr%9 another
ethod %ou can use are acr%*ics/ The% dr% uic*% and wi** a**ow %ou
to get to the ne)t *a%er uch faster
"sing %e**ow9 red9 #*ac
and white9 I i) to get the
tone I need The *arge
coffee can aes i)ingand app*%ing eas%
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App*%ing the paint9 and #*ending to
hide %our #rush stroes
Spra%ing water over the
painting a**ows for #etter
#*ending
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This e)ap*e dried #efore I cou*d #*end out a** the #rush stroes9 #ut
it wi** suffice for the ipriatura coat
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Chapter +ive
urnt -mber -nder Layer
Cop%right 200&9 De*us G Phe*ps
In this step9 %ou wi** paint the u#er under *a%er It is the 2ndoi* paint
*a%er Its purpose is to esta#*ish %our overa** contrast and shadowing
for the picture Fou wi** a*so hand*e a** detai*s of the painting e)cept
te)ture Tae %our tie with this *a%er as it wi** he*p %ou iense*% in
%our ne)t *a%ers I cannot overephasi:e this9 each *a%er is created
to faci*itate the wor %ou wi** perfor in the ne)t9 it is not used to
correct errors %ou have ade in the previous *a%er
ach *a%er actua**% #ui*ds upon the strengths of the one #efore it
ven in %our fina* *a%er9 %ou wi** #e a#*e to see in soe p*aces9 the
ver% *a%er that %ou are #eginning So tae %ou tie nBo% the
process Fou wi** depend on this *a%er to correct*% app*% i)tures of
%our ne)t *a%er It is used as a guide
!efore #eginning9 %ou wi** need to *u#ricate the painting It7s purpose
is to aid in the adhesion of paint9 and a**ow for dr% #rush #*ending of
the paint This is ca**ed oi*ing out6
App*% *inseed oi* to the piece9
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and using %our hand9 spread the oi* over the entire surface
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Fou can #rush it on a*so9 #ut it is iportant to ru# it in with the hand
as this wi** s*ight*% heat the oi*9 and cause a #etter adhesion to the
paint surface Fou wi** then wipe the e)cess oi* off and po*ish or #uff
out the painting with a soft c*ean c*oth or use what I use
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I(P;TAT9 do not use #oi*ed *inseed oi* It has additives that wi**
%e**ow fair*% uic*% in the painting7s *ifetie9 and it wi** dr% on %ou
#efore %ou have cop*eted %our ne)t coat of u#er under*a%er or
dead *a%er
.hat I discuss ne)t is soething %ou wi** use with ever% app*ication
of paint through out this course It is soething that is not wide*%
discussed9 #ut it is what wi** give %our oi* paintings that certain
soething that wi** set it apart fro *esser wors It is the use of 3
#rushes in the process of painting 1stis the app*%ing #rush9 then the
use of the correcting #rush9 fo**owed up #% the #*ending #rush which
usua**% is *arger and f*uffier
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Paint app*ication is sip*% putting the paint to the canvas App*%ing
co*ors #*ocing in the area9 sa** and *arge Starting *arge in ear*%
stages
Correcting is a co#ination of #*ending and reoving e)cess paint
.oring with #rushes the sae si:e or sa**er than the app*%ing
#rush
-ina* #*ending purpose is to reove the #rush stroes and soften a**
edges (ediu si:ed #rushes that are *arger than the app*%ing #rush
In the finishing *a%er9 %ou wi** use this #rush *ess often as %our
high*ights want to reain sharp and not #*ended Fou a*so want to
preserve the thic*% app*ied paint #rush ars in the fina* finishing
*a%er !ut for now9 #ac to our !urnt "#er "nder*a%er
TIP Start #*ending within 20 to 30 inutes of correcting Four
darer co*ors wi** #egin to #ecoe stic% and cause the #*end #rush
to drag ore into the paint rather than f*oat across the top of the
*a%er The wi** cause it to pic up and reove ore paint than %ou
want If this #egins to happen it is o to #*end with %our fingers
Soeties this #*ending pics up unwanted paint in an area that %ou
want the g*ow of the u#er under*a%er to show through don7t *iit
%ourse*f to the #rush to get the effect %ou want
.hen painting the u#er under*a%er9 it is ore *ie painting with
waterco*or or ver% di*uted acr%*ics !ut #ecause the oi* paint is uch
s*ower in dr%ing9 it can #e anipu*ated uch *onger The washes
can #e ver% uic*% app*ied9 and then corrected and #*ended If %ou
have an area that needs to #e *ightened9 %ou sip*% wipe awa% the
paint with either the #rush9 the rag or the finger
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The ediu that I use is 50J odor*ess turps9 25J daar varnish9
25J *inseed oi*
Artist *inseed oi*
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The a%o Bar contains a wire esh cage and turps that do we** in
he*ping c*ean % #rushes
.e are now read% to start the u#er under *a%er/
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Paint app*ied9 *ie a
waterco*or9 rea**% thin
!*ending and correcting this
app*ication of paint
Continuing to app*% and correct
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ow we are
read% for the dr%
#*ending otice
the nice round
suirre* #rush
This is a *ight9 feather%
oveent of the
#rush $ots of wrist
oveent here
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As %ou see in this photo9 on*% the end of the #rush is touching the
canvas9 not the sides of the #rush
In the photo
#e*ow? n the
far *eft9 #*ending
is cop*ete n
the right9 we sti**
see the #rush
stroes of area
%et to #e
#*ended
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This is a super e)ap*e of the techniue This process wi** #e used
throughout each *a%er App*ication of paint9 correcting9 then #*ending
This #*ending is what he*ps give the sooth transition of shadows on
a** %our round surfaces I7ve not found a #etter ethod And it rea**%
shows its true potentia* in the fina* *a%ers
(ost of the #acground cop*eted in #*ending
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ow to start with a great shadow of the pitcher
App*ication of paint
!*ending and correcting
Softening of the #ac
edge of the shadow
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Soft #*ending to reove #rush
stroes
Soft #*ending
continued
C*eaning the #*end #rush often wi**
eep the process oving a*ong
without reapp*%ing this #*ending
#rush paint fro the #*end #rush
#ac to the canvas Fou are
softening and *ifting Bust a *itt*e #it of
paint during this process
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Toilet Paper (TP)
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App*%ing paint on the
pitcher
After soft #*ending of the decoration on the pitcher See how nice the
tin% grapes ne)t to the vine%ard worer have deve*oped The soft
#*ending does this for %ou/ And even though other *a%ers of paint wi**
go on top of this9 it wi** sti** #e retained within the fina* finishing *a%er
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Eere is an e)ap*e of a
correcting #rush #eing used to
*ift paint off of the canvas The
#rush had #een dipped in
turps and dried s*ight*% It
then soas up the paint I
wanted reoved Soething
a water co*orist wou*d do
Su#seuent soft
#*ending
.h% tae a** this trou#*e with this *a%er> ach *a%er9 fro the pen
and in drawing9 the ipriatura9 the u#er under*a%er9 and so on
shou*d *oo and fee* *ie a finished painting It wi** and shou*d p*ease
an% one that visits %our studio and reviews the wor ach *a%er
#ui*ds upon the ne)t aing it #etter and #etter
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The cop*eted u#er under*a%er I cou*d se** this as an o*d t%pe
photograph/
Four resu*ts in this *a%er wi** #e visi#*e even in the finishing *a%er as
each #ui*ds upon the other In soe areas9 this ver% coat wi** #e
visi#*e9 %et9 when viewed with the other *a%ers of the painting9 it wi**
not #e noticed as the first *a%er
Setting on the she*f for
a dr%ing period and a
rest
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Iportant note/ Soeties it is necessar% to app*% a second layer
of the #urnt u#er *a%er to achieve a tota* darness in the shaded
areas that %ou need This doesn7t ean %ou repaint the entire piece
again9 #ut once it is dried9 %ou oi* out the painting again9 po*ish it9 then
app*% the #urnt u#er to the areas that need ore darening
"sua**% this is to the outsides so that the viewer7s interest is pu**ed
into the center of the painting and %our ain characters of the sti** *ife
If when %ou #egin this second u#er *a%er9 %ou see the oi* standing
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A tric is to soften the protective *a%er Bust a *itt*e without reoving it
To do this %ou use an onion/
The ether oi*s within the onion wi** s*ight*% soften the surface to a**ow
fresh oi* to #e app*ied and not #ead up Must cut the onion and ru# it
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This wipe down is again ca**ed oi*ing out9 and po*ishing This *eaves
a ver% fine *a%er of oi* onto which %our ne)t coat of paint wi** adhere
#etter9 and wi** definite*% he*p in the #*ending portion of %our wor
Do e)perient with this Fou wi** find if %ou do not oi* out9 %our
#*ending and softening is virtua**% ipossi#*e to achieve In soe of
the reference ateria* I have read concerning this9 artists of the past
wou*d *u#ricate their paintings with a nu#er of edius I fee* with
% *iited now*edge of these other ateria*s9 *inseed oi* and the
onion are safe #ets
ther tips wi** #e ta*ed a#out concerning oi*ing out in *ater
discussions of the co*or *a%ers
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Rubbing o t!e onion "ui#e onto t!e $rie$ #an%as& 'n t!is
eaple* ' use$ anot!er painting t!at t!e $ea$ la+er ,as
#oplete an$ '- preparing or t!e #olor la+ers& .+ stu$iosells o onion* linsee$ oil* an$ la%en$er oil (,!i#! in#reases
brain un#tions)&
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Chapter 'i
/iing the &rey 'cale
Cop%right 200&9 De*us G Phe*ps
Co*ors that are needed for the gre% sca*e are?
Titaniu .hite
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Fe**ow ochre9 #urnt u#er and Prussian #*ue in sa** aounts
depending on the su#Bect atter The portrait wi** reuire a greener
dead *a%er
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This is a step #% step set of photos on how I #*end % i)tures
uic*% There are a :i**ion ethods9 I Bust find this wa% easier Photo
shows e using a wide #*ade nife and picing up a** three co*ors to
the nife Then9 pressing down on the pa*ette and pu**ing towards
e to sear the paints together "sua**% %ou wi** see the individua*
co*or streas on this first pu**
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eeping the nife on the
sae side again9 start
co**ecting the paint for
the ne)t pu** Scrape
the paint off the pa*ette
with severa* swift
oveents
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A fina* co**ection of paint
to the nife and then
p*acing on the pa*ette
This is %our #*ac i)ture
.e are now read% for the idd*e tone i)ture
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1 part ,!ite* 2 parts prepare$ bla#/* 1 part uber (be#ause t!is isa still lie* ,e ,ant a ,ar $ea$ iture o gre+s&
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The first pu** of i)ing this idd*e tone
Severa* pu**s and we sti** see
streaing of the i)ture
A nice unifor idd*e
tone after severa* ore
pu**s are done
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.h% tae a** this tie to show %ou the gre% i)ture f a** the *a%ers9
I #e*ieve this to #e the ost iportant Tie we** spent here wi** give
%our painting that soething e)tra that wi** aa:e %our viewers It is
in the dead *a%er that the ha*f tones9 shadows and ode*ing are
captured Get it right here9 and %our co*or *a%ers are dead eas%/
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Prepare$ !ite Prepare$ .i$$le
Tone Prepare$ la#/
T!ree a$$itional intere$iate tones bet,een t!ei$$le tone an$ t!e prepare$ ,!ite& ou #ansoeties in$ it !elpul to $o t,o a$$itional
intere$iate tones bet,een t!e prepare$ bla#/ an$
t!e i$$le iture& 'n our eaple paintings* '/ept it siple ,it! "ust si tones&
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ot to ention %our finishing *a%er wi** #e a #ree:e9
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!ut #efore we start9
*ets not forget to oi*
out the painting
App*%ing a uarter si:ed
do**op of oi* Eand
ru##ing the oi* into the
canvas
After oi*ing9 I do a *ight scrape with the
ra:or to reove #rush hairs9 dust and
e)cessive paint This eeps the canvas
sooth Custoers *ie to see paint
te)ture9 #ut this is added in *ater *a%ers
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After *ight*% scraping the canvas9 wipe the canvas down with a soft
c*oth or TP
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Chapter 'even
The *ead Layer
Cop%right 200&9 De*us G Phe*ps
In the dead *a%er9 %ou are capturing the ha*f tones9 shadows9 and
detai*s as #est possi#*e As I7ve said #efore9 this *a%er wi** ae or
#rea %our painting In the u#er *a%er9 %ou have decided on the
tona*it% and overa** contrast@ darness of the overa** painting Fou wi**
re*% on this u#er *a%er in the dead *a%er to guide %our choices in thetone or va*ue of the paint Fou can ae soe changes in darening
or *ighting up certain areas9 #ut not too drastica**% as wi** #e difficu*t to
cover proper*% The *ighter tones are app*ied with thicer paint9 and
the darer areas are put down with thinner washes9 ore transparent
than opaue in co*or I a*so #egin to rep*ace the daar varnish with
.insor ewton $iuin paint ediu This rea**% acce*erates the
dr%ing tie -urther co*or *a%ers and finishing *a%er have a ediu
with *ess turps and ore *inseed oi* in eeping with fat over *ean
ru*es
.e start #% app*%ing soe dar i)tures to the #acground otice
that I do not cop*ete*% cover the canvas The #*end@correcting
#rush wi** hand*e this A*so9 *eaving the u#er #etween stroes he*ps
%ou #e sure %ou have the right va*ue or darness@*ightness of paint
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Then woring around the *it area of the #acground with *ighter tones
The #acground paint has #een app*ied
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ow we get the #*ending@correcting #rush read%
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The dar area has #een #*ended soe and the *it area #*ended into
Bust a#ove the vase
The right side with soe initia* #*ending@correcting I now #egin soe
fina* #*ending of the #acground The fo**owing shows a #efore and
after picture
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Eaving used the fina* #*ending #rush here
P*ease note the softness that has occurred
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C*eaning the fina* #*ending
#rush
.e now get read% and start the vase Again app*%ing paint to atch
the under *%ing u#er under*a%er in tona*it%
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Eow it *oos after correcting and #*ending
As %ou can see9 soe edges are *eft to #e sharp9 soe are #*ended
ore vigorous*% The fina* #*ending pu**s it together !eing an
#oo9 %ou can rea**% agnif% these pictures to see the su#t*e changes
and additions fro *a%er to *a%er I7ve found these t%pes of #efore
and after photos ost he*pfu* in % own search to understand the
-*eish St%*e of painting
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!e*ow? the #otto of the vase is painted in
Paint app*ied
Paint
corrected9
then
#*ended
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Correcting with a sa**er than usua* #rush I didn7t want to *ose the
su#t*e changes on the grape sin Again9 soe areas are *eft with a
sharp edge9 others are #*ended ;ee#er9 grapes are *ie
snowf*aes9 no two are a*ie/ ach is a *itt*e Bewe* within itse*f/
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A#out finished with the dead *a%er at this point
Decided to pu** in another painting to give soe additiona* reference
shots of the paint *aid in and then #*ending !*ending usua**% taes
*onger than the initia* app*ication of paint/ Don7t #e discouraged #%
this Four paintings wi** stand out #ecause of the care and tie %ou
devote to the
Pears with dead
*a%er started
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Correcting #ut fina* #*ending not %et done
Grapes with initia* co*or *aid in and corrected #ut no fina* #*ending %et
ote the u#er showing through/
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In the picture e)ap*e #e*ow there is the g*ow fro the firep*ace on
the drape I wanted to preserve So reoving and #*ending with %
finger was a uic fi) to do this
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After this painting session is over9 I tae % gre% i)tures and p*ace
the in a foi* pouch to put into % free:er This eeps the i)ture
fro dr%ing and changing in an% wa%
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Chapter 0ight
The Color Layer
Cop%right 200&9 De*us G Phe*ps
In producing the co*or *a%er9 %ou wi** do sip*% that As %ou are
adding these co*ors9 %ou wi** find that the *ighter co*ors wi** need to go
on with thicer ore opaue paint The shadow areas wi** #ecoe
darer and ore co*orfu*9 #ut %ou wi** #e using thinner ore
trans*ucent paints This is sip*% the properties of the ateria*s The
white added to co*ors wi** ae the ore opaue9 and #ecause %ou
want good coverage9 the% are app*ied thicer
!efore starting9 ree#er9
to oi* out and c*ean the
canvas
i* #eing app*ied
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i* on the canvas
!eing ru##ed in
Fou can see the sheen of the oi* prior to reova* of e)cess oi*
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ow %ou see after it has #een #uffed out
The ra:or #eing used to reove dust9 e)cess paint #ui*d up9 and
#rush hairs
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Fou can see in this photo soe of the e)cess paint that was
reoved The dust and hairs are too sa** to see This *eaves the
canvas sooth !e carefu* doing this and use on*% the rounded
ra:or In fo**owing *a%ers9 %ou wi** use on*% the pa*ette nife to scrape
the canvas Dust and fine hairs are to #e reoved #ut %our co*or
*a%er is #eginning to #ui*d up Fou want this intact
ow on the pa*ette9 I #egin to i) a few co*ors "sing the gre%
i)ture and pure co*ors I #egin the drape on our 2nd e)ap*e
painting I wanted to show %ou here in the drape that the over a**
co*or contrast of the painting has a*read% #een esta#*ished9 and %ou
are iproving it fro here on out
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A *ighter shade of white
ne)t to a gre% i)ture
App*%ing paint to the #rush
App*%ing the paint to
the canvas
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The paint has ver% *itt*e co*or as this is white drape
!ut don7t #e is*ed #%
the photos There is
#urnt u#er
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Paint #eing app*ied
!*ending in the
transition fro *ight to
shadows
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Co*or #eing app*ied
within the
shadowed areas
(ore co*or #eing added
This co*or is ref*ections found in
the drape of the pears
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After correcting9 and fina* #*ending of the co*ors to the gre%s
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ow on to i)ing co*ors for
the pears ote that I on*%
use two Prussian !*ue and
Cadiu Fe**ow *ight
The ain green
A *itt*e red #eing added for the
#*ushing rose co*ors on the
pear
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This is the #otto of the pear
After soe #*ending9 note the u#er sti** showing through in the
edges on the shadow side
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A view fro further
#ac
Paint app*ied to the pear
After soe correcting and
#*ending
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Tie to tae a #rea9 I *et this painting dr% for a whi*e at this stage
.hen I return the ne)t da%9 areas of the co*or in the pear are sti** wet9
#ut I need to oi* out the grape area9 so I #rush in the oi*
I pour a *itt*e oi* into a cup
"sing an o*d #rush9 I
app*% oi* to Bust the
area I want to wor
toda%
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Then ver% carefu**% reove e)cess oi* and #uff out
I7ve even reoves a *itt*e co*or fro the pear9 which I wor #ac in as
I go a*ong
Co*or i)tures read% for
the ne)t set of grapes
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Co*or #eing app*ied
ote the sa** aount of gre% *a%er showing through
Initia* correcting and #*ending
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ote on the *eft9 the initia* co*ors are fina* #*ending9 and on the right
%ou sti** have #*end to do9 on*% initia* correction@#*ending has #een
done on the right P*ease note a*so the aount of gra%s showing
through the co*or
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-ina* #*ending throughout the grapes
A#ove9 co*or preparation for the other grape painting
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This is a ore purp*e grape
Co*or app*ied
Soe correction
-ina* #*ending
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Paint app*ied
Correction
-ina* #*ending ote9 I
a*so go ahead and
noc out the dew drops
at this point a*so
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Paint app*ied
Correction
-ina* #*ending
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Paint app*ied
Correcting
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Paint app*ied to #otto right
Corrected with the dew drops done I wi** e)p*ain ore on the dew
drops in the fina* notes The% rea**% are eas% to do
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Paint app*ied
Correcting
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-ina* #*ending of the grapes
A ver% thin wash of #urnt u#er over the gre% *a%er on the ta#*e top
cop*etes the initia* co*or *a%er Soeties it is necessar% to do a
second *a%er
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ow we start the oi*ing out for the fina* *a%er
.e tae the nife and *ight*% scrape across the oi*ed canvas to
reove dust9 #rush hairs and e)cess paint !e carefu* as to not
scratch the surface or gouge out an% areas This is a *ight scraping
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Ker% *itt*e
ateria* is on the
nife
Then a wipe down
and #uffing with the
c*oth or TP
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ow here7s a c*ose up of the grapes And here7s the #eaut% of the
seven *a%er techniue Fou now e)act*% when to uit9 and this
painting isn7t finished %et/ I now can add % secondar% *ight source
and high*ights nowing I can7t ess up this #eautifu* #unch of grapes/
!ecause attepting to put this go*den *ight co*or in with the purp*e in
as ear*ier stage wou*d have *eft e with ud9 I7 now a#*e to put it
on9 then wipe it off if I7 not happ%/ I cou*d have waited and added
the dew drops at this point a*so
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See the %e**ow high*ights fro the firep*ace in the *ower right of each
grape This now puts the pu:aaaa::::/6 factor into the painting
Conteporar% artists toda% Bust don7t thin a#out this9 and when %ou
*oo at c*assica* renaissance paintings9 %ou see cand*e *ight9 or
fire*ight used as a secondar% *ight source that gives each o#Bect
within the sti** *ife a ver% specia* g*ow that soe fo*s see it9 #ut don7t
see it Sort of *ie not seeing the forest for the trees inda thingI a*so go #ac and add a touch of this %e**ow orange to the #eading of
the ta#*etop design on the right #otto side This ust not however9
over power %our sun*ight fro the *eft
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Soe additiona* c*ose ups of
our grapes
ote the difference in
high*ight co*ors of the
drops depending which
*ight source the drop is
facing
Soe of the dead
*a%er showing
through/
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ello, !ig!lig!t
!ite !ig!lig!t
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I was unhapp% with % #acground9 so I spiced it up with additiona*
high*ights around the shadows and added a window frae shadow
I now want to push the vase up a notch9 so I added soe high*ights
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C*oseups of paint
app*ied It is an open
white with a touch of
#urnt u#er and pa*e
%e**ow to atch
sun*ight
Eigh*ights
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Then ver% *ight touches with the fina* #*ending #rush to soften these
up Bust a #it
A** high*ights and
#acground areas fina*
#*ending and softening
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I a*so went #ac in and added Bust a touch of the %e**ow high*ight
paint to ost of the water drops facing to the *eft Then the signature
in the #otto The piece is now cop*ete/ ow we await for a fu**
dr%ing and then a varnish coat
This painting now hangs in a private co**ection as it so*d #efore % e
#oo went pu#*ic
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of chroe nough to catch %our e%e and pu** %ou into the painting
for a c*oser *oo Then %ou #egin to adire the e)tras9 the detai*s9
the te)ture9 the shadow p*a%
"nder c*ose e)aination of a water drop9 %ou wi** note a few
characteristics that the% a** ho*d9 #ut ree#er9 each drop is not a
irror of its cousin9 #ut c*ose enough for %ou to te** the% are fai*%
Eere I give severa* e)ap*es
This is how I #egin the process I i) a co*or that is c*ose to a near#%
shadow The drop has a dar area towards the direction of *ight9 then
a cast shadow These are now put in
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!a$o, #olor
a$$e$& T!is is a
%ie, o t!epearsgrape
painting& T!is is
t!e let pear in
t!e painting&
ront o $rop
a#/ o $rop
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A few c*ose ups of our drops
And how the% *oo further #ac
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Another start for a dew drop
The shadow co*ors added
The high*ights then added
A few ore e)ap*es of water drops #eing added These are usua**%
done in the finishing *a%er Soe are done in the 2ndco*or *a%er
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A c*ose up of where I
wi** put a few ore
drops
Dar co*ors start the
process again The
front and #ac of the
drop
The shadows are #*ended
and then the high*ights are
added
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Another c*ose up of the
drop near the top of the
pear
The cop*eted
pears
ther detai*s on the pear were p*aced during the second co*or *a%er
This is another e)ap*e of the #eaut% in this techniue Shou*d %ou
dis*ie soething at this stage A** is not *ost Fou wipe off %our
istae and do over The origina* painting underneath is preserved
Eere are soe additiona* c*oseups of dew drops on the grapes Tae
note of the high*ights9 cast shadow9 and drops interior #*ending
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ote that two are
never e)act*% a*ie
That soe have
ref*ections passing
through their cast
shadows
C*ose o#servation of %our sti** *ife wi** show an% e)citing attri#utes
Eow do the drops actua**% get to %our sti** *ife> Fou can spra% the
on the sti** *ife Put soe in %our hand and dri##*e the on r *ie
e9 I have a paint #rush that I dip in water and *ight*% touch the grape
where I want a drop Soeties it sta%s9 soeties it runs off !ut
%ou get the picture9 the% are not ade up9 #ut rather strategica**%
p*aced to capture the viewers e%e
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The cop*eted painting
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Soe additiona* tips for the ver% #eginning artists
Soe things were not ta*ed a#out in the ain #od% of the #oo as it
is assued ost a*read% now this !ut Bust in case9 I add this
section for the #eginning artist as an% and a** inforation can #e
#eneficia*
I wi** ta* a *itt*e a#out hard *ines9 soft *ines9 and how to #*end for
round surfaces
A#ove is a ver% c*ose up of a dais% peta* ote the% are sip*% #asic
shapes with ost*% hard *ines !ecause this is a *ight co*ored portion
of the wor9 it is app*ied thic*%
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Soe edges %ou want soft9 to for or ode* the curvature of the
surface !e*ow9 I tae a #*ending@correcting #rush and with Ba##ing
otions push the #rush into the paint and #*end a*ong the so*id *ine of
dar gra% and
*ight
Eere I continue to the right with the sae oveent of Ba##ing with
the #rush I wipe e)cess paint when it #ecoes *oaded I do not use
an% side to side otion
as this wou*d sear
the paint .hat I want
is to #*end the paint in
a sa** area
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Another view of the ne)t contour or fo*d of the peta* otice I *eave
the hard edge #e*ow where the #rush is *ocated as this depicts the
hard #eginning of the ne)t fo*d
Another c*ose
up view Fou can see the paint #ui*d up on the #rush This is wiped
off to eep the #rush dr% as possi#*e for what this is ca**ed dr% #rush
#*ending6
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A#ove %ou see the correcting #rush wor cop*eted
!e*ow %ou see after %ou have used the *arge9 soft fina* #*ending
#rush This soft #*ending soothes awa% a** rough edges9 and hides
the #rush stroes
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Eow e)act*% do I do this fina* soft #*ending> Eere are soe
e)ap*es
Starting at the top of the section %ou are woring (ove the #rush in
an up and down otion with the #rush tips on*% touching or feather
*ight stroes against the canvas
Starting high
nding *ow
;epeat
coing #ac
fro #otto
to top
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oti#e t!e brus! !as pulle$ soe
paint $o,n lea%ing sall tra#/s&
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Then repeat on*% going fro side to side now
This side to side otion e*iinated the #rush fi#er trac ars as
seen in the previous photos
This softened ost of a** the hard edges
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"pper photo shows the shadow I a atching in the water drop
$ower photo show the co*or a*read% added
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(ore dar shadow co*ors added to additiona* drops
The% a situated a** across the peta* "sua**% an odd nu#er of drops
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Correcting of a** the drops is ne)t in which the dar co*or is
#*ended@corrected for its soft edges and hard edges
ow the high*ights are to #e added across a** the drops on this peta*
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Eow it *oos further #ac
Soe correcting@#*ending has #egun on the drops on the right The
high*ight areas are now #eing soothed out
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The cop*eted piece prior to varnishing
The peta* and drops used in our e)ap*es are on the *ower right at
a#out 4 o7c*oc
Eopefu**% this additiona* ateria* was he*pfu* in e)p*aining in greaterdetai* e)act*% how #*ending for soft and hard edges is accop*ished
In c*assica* painting9 as opposed to photo rea*is9 the area of ost
interest wi** have the ost hard edges and portra% the ost focused
attri#utes Areas outside the area of focus wi** #e *eft with an% soft
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and ver% soft edges !*urr% or out of focus parts In soe of our
e)ap*es9 the front of the grape and a *eading side cou*d #e in sharp
focus with ephasis to hard edges and high contrast of co*or n the
other side of the grape9 the edge wou*d #e fu::%9 out of focus9 soft
and uted in co*or This rea**% he*ps to create the i**usion of rea*is
to %our e%e and ind
I use a ru*e of thu# that states -ro the idd*e of an average si:e
roo9 4 to ' feet9 the picture wi** *oo c*ose to a photo or rea* *ife As
%ou approach it however at a#out 2 to 3 feet9 %ou shou*d distinguish
soe #rush wor and rea*i:e this is a painting At c*oser than 2 feet
%ou shou*d notice uch of the #rush wor and even see soe
under*%ing paint *a%ers Fou wi** a*so notice the raised paint areas
within the high*ights These9 #ecause the% are raised wi** capture
even ore *ight than the rest of the *ighted areas within the painting
Then9 as %ou step #ac fro %our wor9 %ou again see the optica*
i**usion of these
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About the Artist
"sing traditiona* techniues of the *d (asters9 rich oi* co*ors9 strong
coposition9 and si**fu* #rushwor9 Delmus Phelpsproduces paintings of
universa* appea*
!eing inf*uenced #% his fai*%9 De*us has studied art since high schoo* Eis
teachers introduced hi to this ethod of painting an% %ears ago (rs
.i**ias and (rs Thopson were fir #e*ievers in the *a%ered techniues of oi*
painting and in having strong drawing si**s6 De*us continued his training
under the tute*age of the *ate Eoward Co*ean9 stud%ing at the studios of the
$%nch#urg Art C*u# on ;iveront Ave9 $%nch#urg9 Ka .hi*e serving in the
"nited States Air -orce9 he continued his art studies through the "niversit% of
(ar%*and Eowever9 his Air -orce career put his painting on ho*d unti* returning to
$%nch#urg Se*f stud% has inc*uded a particu*ar interest in sharpfocus rea*is of
en Davies A few %ears *ater9 a #etter understanding of the -*eish *a%ered
Techniue as taught #% A*e)ei Antonov has he*ped #ring De*us7s wor to a
who*e new *eve* of e)ce**ence Eis wor can now #e found with individua* andcorporate co**ections .oring fu** tie at his craft now9 De*us e)p*ains?
OArt has a*wa%s #een a focus within % *ife It has #een a great passion that has
never fadedO De*us e)p*ains further9 Oin the words of this countr%s greatest
scu*ptor9 -rederic Eart9 art has a ora* responsi#i*it%9 that it ust pursue
soething higher than itse*f Art ust #e a part of *ife It ust e)ist in the
doain of ever% person It ust #e an enriching9 ena#*ing and vita* partner in the
pu#*ic pursuit of civi*i:ation It shou*d #e a aBestic presence in ever%da% *ife Bust
as it was in the pastO
.ithin De*uss f*owers9 there is a softness9 warth and g*ow that e)ude a
peace and serenit% uch needed in our hectic *ifest%*es of toda% OThe Bo% of *ife
is one of the things I *ie to depict in % wor $ife is so ver% fragi*e9 *ie the
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f*ower #*osso9 it is short *ived and #eautifu*O Eis sti** *ifes are sip*% a re*a)ing
p*easure of #a*ance and #eaut% A e*od% of shades9 co*ors9 and design "pon
c*oser inspection there are p*ent% of detai*s9 shadow p*a% and draatic *ighting
effects to eep the viewers interest De*us uses a 1+th Centur% -*eish (aster
techniue as taught #% A*e)ei Antonov9 a C*assica* ;ussian (aster It is this
optica* i)ture of seven *a%ers that gives De*uss paintings a particu*ar
freshness
After 30 %ears in the industria* wor*d using his creative pro#*e so*ving si**s to
repair production euipent and *ater as a anager for the aintenance
departent9 De*us changed careers to pursue his drea of creating #eautifu*
pieces of art OMust *ie a now faous coercia*9 I rea**% wanted to chase adrea #efore I was to tired to do it Producing art is soething Ive done a** %
*ife Eaving entered the Air -orce right after Eigh Schoo*9 going to art schoo* was
set aside $ife too e down a road that was wonderfu*9 it provided for % fai*%
for a ver% *ong tie I new however9 that % path wou*d a*wa%s *ead e #ac to
using % ta*ent with the #rushO .ith the support of his wife and their seven
chi*dren9 he #egan the process of #ui*ding his art career soetie #ac OI too
a few wees off one suer and % #o%s he*ped e #ui*d a sa** studio The%
*earned soe e)ce**ent carpentr% si**s
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fi* is prett% tough9 especia**% with this ethod and he had #een afraid to as It
a** wored out though9 and the piece too 2ndin show6
Eopefu**% this e #oo wi** guide %ou towards a successfu* career or at *east a
pasttie that pa%s for itse*f I7ve rea**% enBo%ed #eing a#*e to put down in soe
p*ace soe of the things I7ve *earned in the process of oi* painting6
(a% God !*ess
De*us
142