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    10 Bite-Sized Oil Painting Projects: Book 3 Practice Mark-Making & Alla Prima via Still Life, Animals, Woodlands & Skies
    10 Bite-Sized Oil Painting Projects: Book 3 Practice Mark-Making & Alla Prima via Still Life, Animals, Woodlands & Skies
    10 Bite-Sized Oil Painting Projects: Book 3 Practice Mark-Making & Alla Prima via Still Life, Animals, Woodlands & Skies
    Ebook125 pages35 minutes

    10 Bite-Sized Oil Painting Projects: Book 3 Practice Mark-Making & Alla Prima via Still Life, Animals, Woodlands & Skies

    By Rachel Shirley

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    About this ebook

    This third book in the series provides ten further step by step demonstrations for the artist wishing to experiment with the versatile medium of oil colours without having to look for inspiration.

    Subject matter has been selected for the variety of visual textures and colour schemes on display. Projects have then been completed in one session within a couple of hours without retouching. The effect sought after is a rustic vitality without the fuss of high detail or polish via diverse mark-making and simple colour mixing.

    Projects include a dog’s profile, a flamingo, woodlands, topiary gardens, a daffodil, an onion, a sunset, a Cezanne classic, a riverside retreat and a footbridge.

    A project overview precedes each demonstration which comprises an outline, project features and challenges. Step by step images and in depth instructions ensue, guiding the artist from start to finish.

    Guidance on the art materials, preparatory processes and a glossary are supplied within the back of this book. As can be seen, a blank art surface need not impede one’s first journey into oil painting.

    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 dateSep 14, 2017
    ISBN9781370693542
    10 Bite-Sized Oil Painting Projects: Book 3 Practice Mark-Making & Alla Prima via Still Life, Animals, Woodlands & Skies
    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.

    Read more from Rachel Shirley

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      Book preview

      10 Bite-Sized Oil Painting Projects - Rachel Shirley

      Introduction

      This third book in the series provides ten further step by step demonstrations for the artist wishing to experiment with the versatile medium of oil colours.

      Here, the focus is on alla prima, an Italian term meaning a painting produced in one glaze without retouching. Projects within have therefore been completed in one session and within a couple of hours via various mark-making techniques and simple colour mixing. The effect sought after is a rustic vitality without the fuss of high detail or polish.

      A variety of subject matter has been selected for the assortment of textures and colour schemes on display. As can be seen, stippling, blocking in, soft blending and shading via the use of several pigments can portray all the scenes within. Poring over countless photos for inspiration is unnecessary as the artist can get on with the task of oil painting without delay.

      Sample step by step images within this book.

      A project overview precedes each demonstration which comprises an outline, project features and challenges. Step by step images and in depth instructions ensue, guiding the artist from start to finish.

      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 art surfaces in order to gain more artistic control. Find also a glossary.

      As can be seen, a blank art surface need not interfere with laying down that first brush mark.

      Exercise1: Drawing Curved Lines

      Red Onion 10x12in

      Project Overview

      Art Materials: primed board, HB pencil, brown and blue acrylic paint; oil colours: titanium white, burnt sienna, burnt umber, cadmium yellow, permanent rose and phthalo blue. Wide bristles; fine, medium and wide sables.

      Time needed to complete: around 2 hours.

      Techniques: blending, dragging paint, drawing fine lines of varying widths and soft shading within confined areas.

      Left: The heart of the onion bear odd swirly patterns, as can be seen from these 4 enhanced images. The two on the left show reduced colour depth; the two on the right show heightened tone.

      Right: The apparently confusing inner rings of the red onion comprise merely four to five swirls.

      This opening demonstration explores the interesting patterns that can be found within the heart of a red onion. A close up view of the swirly patterns brings an abstract quality to what can be seen. Notice how the red dye bleeds into the inner segments, creating violets and creams. The sensitive portrayal of various pales forms one of the cornerstones to colour mixing.

      Project Features

      Expressing the swirling lines within the onion heart, requiring a steady hand.

      The application of pale colour mixes that exhibit small shifts in tone and hue.

      Working flat pale colour mixes into confined spaces whilst controlling how much of the darker pigment is picked up.

      Expressing how oblique lighting picks out subtle contour shifts within a flat plane, evident within the onion halves.

      Applying broad, flat areas of background whilst retaining a fresh feel.

      Challenges

      The swirly lines within the onion’s heart are in places close together. Care is needed not to pick up unwanted pigment when expressing the pale onion flesh between.

      The notion that the inner onion is simply pale could interfere with colour judgment, resulting in using too much white with a pallid result.

      The ellipses of the onion halves display small deviations. A sensitive eye is needed in the under-drawing or the onion could appear synthetic.

      The tendency to fill in confined areas of the onion with flat, definite hues could create a painting-by-numbers feel.

      1 With a soft pencil, I lightly drew the onion halves without going into too much detail. Notice the imperfections evident within the swirls. I drew over the lines with brown acrylic paint via a fine sable. This helps make the onion drawing stand out beneath the ensuing blue wash.

      2 I continued to overlay the entire drawing before blocking in the onion’s shadows. Once the paint was dry, I mixed few drops of water into a little blue acrylic paint before spreading the blue wash over the entire drawing via a wide bristle. The wash was then allowed to dry before the oil paint was applied.

      3 With a fine sable, I painted in the pale maroon pigmentations of

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