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.
Waterfalls are dramatic and dazzling. But they can be elusive and difficult to capture, and easy to overdo. Let me give you some techniques to capture a moment in the life of an eye-catching waterfall, with it's splashes and energy. Hint: Don't first ...
A stone thrown into a still pond creates the perfect image to demonstrate the various layers found in water. By approaching painting water as it's having multiple layers assists the pastelist in understanding how to paint realistic water. This ...
It's one of those moments that stops you in your tracks when you come across it. The rising moon has a magic all its own. It doubles when its reflection is captured in water. Let me show you how to capture the effect of this fleeting moment in time.
When you begin a water painting you will be evaluating your reference, whether on location or from a photo, to determine what is the first layer. This first layer is the ground the rest of your painting relies on. Start watching my water series with ...
When you begin a water painting you will be evaluating your reference, whether on location or from a photo, to determine what is the first layer. This first layer is the ground the rest of your painting relies on. Start watching my water series with ...
Building on your understanding of what lies underneath now we move to how reflections sit on top of water. This full demo offers tips and techniques in how to create accurate and realistic reflections on a quiet mirror-like surface.
Building on your understanding of what lies underneath now we move to how reflections sit on top of water. This full demo offers tips and techniques in how to create accurate and realistic reflections on a quiet mirror-like surface.
Building on your understanding of what lies underneath now we move to how reflections sit on top of water. This full demo offers tips and techniques in how to create accurate and realistic reflections on a quiet mirror-like surface.
Water rarely sits still. Whether it is a gust of wind ruffling the surface, a pebble or fish breaking the surface, or currents running deep underneath, the surface of water is constantly moving. Building on the first two layers this video shows how ...
Water rarely sits still. Whether it is a gust of wind ruffling the surface, a pebble or fish breaking the surface, or currents running deep underneath, the surface of water is constantly moving. Building on the first two layers this video shows how ...
The final layer of water is what sits on the top surface. This could be water itself in the form of a splash, or it could be a leaf or waterlily quite literally floating on top. I'll demonstrate developing the painting in preparation for the final ...
The final layer of water is what sits on the top surface. This could be water itself in the form of a splash, or it could be a leaf or waterlily quite literally floating on top. I'll demonstrate developing the painting in preparation for the final ...
This discussion goes over several common surface conditions the artist will encounter when painting moving water. I introduce the important concept of using of dark, medium and light lights for mapping.
The subject of this live demo is a swiftly flowing creek full of active, energized water tumbling over a shallow rocky streambed. Let me show you how I approach this complicated type of moving water and chip away at its intricacies, layer by layer.
Focus on specific techniques for painting realistic water. These include working over an underpainting, dragging, using a sponge, your fingers and brushes.
I get asked this all the time. It's a conondrum because sand is a chameleon. It changes it's color based upon the source and color of the light hitting it. So how do you paint it? Let me show you.
I get asked this all the time. It's a conondrum because sand is a chameleon. It changes it's color based upon the source and color of the light hitting it. So how do you paint it? Let me show you.
This video describes and illustrates principles of aerial perspective that apply to painting water. Representational painters are magicians - we take a 2D surface and convince people it has three dimensions. These principles are essential tools in ...
This full demo incorporates many of the aerial perspective principles laid out in my introductory video. The focus is on how the execution of reflections can indicate three-dimensional distance and depth.
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 ...
Representational artist are magicians. We take a two-dimensional surface and with our toolbox of techniques we convince viewers our painting is three dimensional. One of the powerful tools we have to achieve this is aerial perspective. In this ...
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.
This full demo incorporates many of the aerial perspective principles laid out in my introductory video. The focus is on how the execution of reflections can indicate three-dimensional distance and depth.
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..
Learn how to drape shadows down a wall and across a walkway by following the direction of the building surfaces. Painting shadows requires subtlety in the range of values you use, and the way they can change value and hue within the shadow itself.
Learn how to drape shadows down a wall and across a walkway by following the direction of the building surfaces. Painting shadows requires subtlety in the range of values you use, and the way they can change value and hue within the shadow itself.
Learn how to drape shadows down a wall and across a walkway by following the direction of the building surfaces. Painting shadows requires subtlety in the range of values you use, and the way they can change value and hue within the shadow itself.
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 ...
Working on paper requires a light hand. Watch how to build up layers to get correct values. Also, working on black allows you to work with stronger, brighter pigments. Perfect for a brilliant and dramatic sunset!
Working on paper requires a light hand. Watch how to build up layers to get correct values. Also, working on black allows you to work with stronger, brighter pigments. Perfect for a brilliant and dramatic sunset!
Learn how getting the right value is more important than choosing the right color. Using four values of one color is a good place to start if you’ve never done an underpainting before.
Learn how getting the right value is more important than choosing the right color. Using four values of one color is a good place to start if you’ve never done an underpainting before.
Learn how getting the right value is more important than choosing the right color. Using four values of one color is a good place to start if you’ve never done an underpainting before.
This is important! This is the bedrock principle of how to paint with pastels. How to layer pastels of the same value but different hue to create vibrant paintings. Pastelists colormix to get the colors we want.
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.
