Traditional Painting - Principles & Methods for Realism

In this lesson, we talk about the operation of a traditional Painting Studio or  Atelier, its standards and requirements. We talk about the goals of classical realistic painting, and how they influence the organization of a traditional studio. We talk about the differences for the painter on using photographs as references or living models, about painting outdoors, and about the lighting inside the studio.

In this lesson, we talk about the emergence of Drawing in History and its importance for traditional realistic painting.

In this lesson, we will talk about the Sight-Size method, its concepts and uses, which make it one of the main foundations for traditional academic and realistic painting.

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In this lesson, we will talk about graphite pencils, how to choose and sharpen your pencils, and also other varieties of pencils.

In this lesson, we will talk about drawing charcoals, about their varieties and uses, and how to choose and point your charcoal sticks.

In this lesson, we will talk about different papers for drawing, showing some varieties for different uses.
*Papers Canson; Roma; Fabriano; Arches.

In this practical lesson, it will be shown how to use the drawing materials presented. Also how to point, hold in hand, and about the differences in tones and values according to the numeration on the charcoals.

This lesson is dedicated to the study of Tones and Values. "Value" refers to the relationships between tones in a work, and in a practical way, it will be shown here how to establish a Value scale for a composition, and its usefulness, with a small demonstration.

Graphite, Charcoal and White Chalk/Pastel will be used.

In this practical lesson, it will be demonstrated with a drawing exercise,  the use of the knowledge accumulated so far for the construction of a drawing, such as the Sight-Size method and the use of a scale of values. We will talk about the steps for the construction of the drawing with the goal of a realistic representation, with concepts used in the drawing that prepare the artist for the making of realistic paintings. Graphite and Charcoal will be used.

Practical Drawing Exercise, with a Pear. In this practical lesson, it will be demonstrated the use of what has been said so far for the construction of a drawing, such as the Sight-Size method and the use of a scale of values, with a practical exercise on academic drawing, using a pear as an object to be drawn. It will be demonstrated and shown the steps for the construction of a drawing with the objective of a realistic representation, with concepts used in the drawing that prepare the artist for the realization of realistic paintings. Charcoal will be used.

In this lesson, we will talk about the essential mediums for oil painting. Different types of oils, solvents, varnishes and pigments. The traditional making of oil paints will be demonstrated, in which the pigment is mixed with the oil through a process of binding by means of physical pressure.

In this lesson, we will talk about brushes and palette knives. It will be shown a variety of brushes used by the artist and teacher, and the reasons for his choice of such brushes.

* Material most used by the artist: Bristle type brushes.

In this lesson, we will talk about different surfaces for painting, showing some varieties, between canvas and panels, for different uses.

*Cotton Canvas, Linen Canvas, Wood Panels, and others.

In this demonstration lesson, it will be shown how to prepare a linen canvas, from start to finish, in a traditional way, using raw linen fabric and wooden bars, ending in a canvas ready for painting. And also how to prepare a raw wood panel for painting.

In this lesson, we will talk about traditional wooden painting palettes, showing some variety of sizes and shapes, as well as how to prepare these palettes for use.

In this lesson, we will talk about essential colours for a painting palette, which allow the artist to paint a wide variety of subjects, without losing control with the colour mixtures. We will talk about the famous "Zorn Palette", about a traditional and academic limited colour palette, listing at the end all the essential colours and pigments for realist traditional painting.

In this lesson, you will be shown how to organize a colour palette, using the starting colours of a limited palette, and mixing colours on the palette which will serve as pre-mixes for any painting, of any subject.

An organized palette reflects an organized mind and an organized painting!

In this lesson, it will be shown how to clean a palette at the end of the working day. Also how to store your oil paints so that they remain viable for longer.

In this demonstrative lesson, we will talk about how to use brushes and solvents, or "mediums", and about the application of paint on the canvas.

In this lesson, the initial stages of a painting will be demonstrated. Using the drawing concepts already studied, we will do a painting exercise commonly used as a basis for any academic painting, the Underpainting. Using only one colour, in this case, the Raw Umber, a painting is done of the object to be portrayed, in a drawing style on the canvas, as a preparation for upcoming layers with colours that will be painted over. This underpainting can also be done in black and white.

Continuing the demonstration of the initial stages of a painting, a painting exercise commonly used as a basis for any academic painting, the Grisaille, or black and white painting, will be done. Using only Black, White and Raw Umber, a painting is made of the object to be portrayed on the canvas in order to study the tones and values, that could be later painted over with colours for a final work.

In this lesson, there will be an exercise to demonstrate the use of a limited palette in the search for colours not present on the palette. Using only the limited colour palette, a painting of a pear will be made, comparing at the end the results with the Grisaille painting.

In this lesson, we will review the main academic foundations for realistic painting, comparing the painting exercises we've made with a pear, and the limited and full-colour palettes.

This illustrative lesson exemplifies, with the use of images of different drawings and paintings, the stages of production of traditional paintings that use academic drawing as a basis. We will talk about the evolution of the academic drawing curriculum that aims to prepare the student to use the fundamentals of realism in painting having the academic drawing as a basis. This lesson is a kickstart for the painting demonstrations that will follow.

In this first demonstration class of a Still Life painting, we will talk about the initial stages for the production of this work. We start with the establishment of the composition, the beginning of the painting with a charcoal drawing, and the underpainting.

In this second demonstration lesson of a Still Life painting, we will talk about the steps following the initial ones for the production of this work, covering the entire canvas, and looking for correct values and colours. We will also talk about how to progress this work to the final stages, touching on subjects such as the incidence of light, and how to paint different materials.

In this third lesson on demonstrating the process to make a Still Life painting of Still Life, we will talk about the final stages of production of the work.

In this first lesson of demonstrating the painting of a Portrait, we will talk about the preparatory drawing for it. A study is done in charcoal, using the Sight-Size method, which will be transferred to the canvas.

In this second lesson of demonstrating a portrait painting, it is shown how to transfer a preparatory study to the canvas.

In this portrait painting demonstration class, we will talk about the underpainting for this portrait. From the transferred drawing, painting on the canvas starts with the use of Raw Umber. Then, colours are introduced, with an initial focus on values.

In this lesson, we will talk about the development of a portrait painting with the application of more variety of colours and values, of halftones, and also the organization of the painting in areas of light and shadow.

In this stage of this portrait painting, we will talk about the intermediate and final stages in the production of the image, and the main points to keep in mind in this phase of painting. It will also be talked about how to progress this work to the final stages, touching on subjects such as values, the incidence of light, local contrasts, edge quality and introduction of details.

In this final stage of a portrait painting, we will talk about the main points to keep in mind in the final stages of painting. The progression of this work until its completion is demonstrated, reflecting on the drawing and the pre-established steps to follow, and advancing the painting with the progression of details, touching on the cohesion of the painting as a whole and the hierarchies of values and contours.