Using underpainting and building up layers of pastel, from dark to light, to achieve the translucency of water crashing on and moving across shoreline rock outcroppings.
Using underpainting and building up layers of pastel, from dark to light, to achieve the translucency of water crashing on and moving across shoreline rock outcroppings.
Using underpainting and building up layers of pastel, from dark to light, to achieve the translucency of water crashing on and moving across shoreline rock outcroppings.
Being thoughtful about your choice of paper COLOR can enhance your painting and bring it closer to your intent with less pastel and less time. Let me show you how this critical decision works.
Use these techniques to check the values on your plein air work. Especially helpful if you you are having difficulty capturing correct values outside or find your work looks too dark when you bring it inside.
A fun exercise in how to map quickly (and painlessly) the complex curves of a winding stream, or road. Test how well you see and render circuitous shapes.
You finish a good painting, but it isn't truly done until you have signed it. Tips on how to create a clean, legible signature. What to, and what not to, include on the front - and the back of your paintings.
Journey with me as I paint the patterns of light and shadow found along a forest pathway. Of special interest will be the color of light in the shadows, what is lost in a photo reference, making shadow patterns move with perspective, and working with ...
Improve your cloud paintings by understanding and managing edge control in your clouds. Edges are associated with focal areas and can affect your compositions. How to create different edges - sharp, layered, and lost and found.
Improve your cloud paintings by understanding and managing edge control in your clouds. Edges are associated with focal areas and can affect your compositions. How to create different edges - sharp, layered, and lost and found.
Why is it so hard to price your art? Even established artists shake their heads at the topic. This discussion is my personal take on pricing, based on years of making and selling art, but also from being interested in the topic. Included are factors ...
Spring colors, frosty dawn light, and higher mountain altitudes impart their own unique qualities. I’ll discuss the attributes of each and demonstrate how to combine them to paint this image of a young aspen grove overlooking a mountain meadow.
I don't come down hard on too many color situations but this one is a dealbreaker for me. Especially as a judge. Make sure you don't make this mistake.
If you've ever forgotten if you entered a show with a particular painting, forgotten to pick up after a show, or just can't find a painting ANYWHERE this discussion is for you. Full of tips and ideas that will make managing your art much easier.
The best way to really capture your travel experiences is not by taking photos. It is by slowing down to really see it, and draw it in a sketchbook. Sketchbooking is an easy, portable way to bring your art with you. In this demo I share with you my ...
Where do you want your Art to take you? If you have been painting for awhile this is an important question for reflection. I offer some tips on goalsetting, getting help in evaluating your art, and thoughts on guiding your art where you want.
Let me show you how to capture the subtle play of sunlight and shadow on water. This can be a complex subject which can require some finesse to accomplish.
The color and contrast of snow is difficult to accurately capture in a photo. Then again, it's tough to paint snow en plein air! Let me show you an easy way to capture the true color of snow by creating a snow log that is very helpful in your studio.
Have fun delving into playing with fall colors. Starting with a warm toned underpainting, I then turn the trees green and finally drift brilliant fall colors on top. This way fall colors look integrated into the foliage canopy and not garish.
Have fun delving into playing with fall colors. Starting with a warm toned underpainting, I then turn the trees green and finally drift brilliant fall colors on top. This way fall colors look integrated into the foliage canopy and not garish.
Pastels are known for their color and this season is designed for pastel’s brilliant colors. But how do you paint fall without the colors looking too garish? Join Liz as she demonstrates how to use underpainting as a tool to develop realistic fall color.
Raise your hand if you’ve ever gotten lost in painting clouds! Let me show you how to work with big shapes to develop a pleasing composition in a cloudy sky.
In this demo I go back to the sunlit Italian alleyway from my video on how cropmarks can be used to help create perspective. Here I use a solid sepia color underpainting to create the underlying color and texture of stucco. This demonstrates how ...
In this demo I go back to the sunlit Italian alleyway from my video on how cropmarks can be used to help create perspective. Here I use a solid sepia color underpainting to create the underlying color and texture of stucco. This demonstrates how ...
In this LIVE demo I will (attempt to) paint a complete 16x16 painting using just one box of 36 neutral toned pastels on top of a monochromatic sepia colored underpainting. I wish to show you how critical neutrals, including grayed-down colors, are to ...
The next step in this series, how to paint the canopy of a tree's leaves. Leaves group in volumes and rules of how light falls across a volume apply. Includes practical exercises in painting volumes.
The first step is to break down your reference image into easily understood shapes and values, giving you the opportunity to learn the “language” of your potential painting.
Learning how to edit is a lifetime skill. The more practice you do, the stronger your compositions get. So how do you choose the best composition from a photo reference?
Painting fog is fun! Using black paper as a base helps set the atmosphere for this demo on how to use neutrals to push and pull color and value through a foggy Maine coastline.
Painting fog is fun! Using black paper as a base helps set the atmosphere for this demo on how to use neutrals to push and pull color and value through a foggy Maine coastline.
Learn how to work with translucency and edge management to create wispy, ethereal clouds with light and movement, not heavy and dense like mashed potatoes..
Have you ever wondered why the sky is blue? Or why a blue sky is lighter at the horizon? Watch this video for why this important to know as a landscape artist, and how it makes for better paintings.
Liz’s first demonstration with Epiphany has her painting the coastline of New England in the USA where she lives. Liz is known for her skies and water, the subject of her 2013 book “Painting Brilliant Skies and Water in Pastel”. Join us as she ...
Pulling together all the Good Bones steps in the previous videos, Liz shows how they work together to provide a solid start to any representational painting.
