Tired of Tight and boring paintings? Paintings that do not express how you feel about the subject? Frustrated with doing the same thing over and over?
What is the secret to loose and impressionist style of painting?
You will learn all of this and more. But loose does not mean sloppy. If you want to learn the real secrets of painting? Read on...
The essentials of painting are required to fully take advantage of the loose painting style.
I have created this course to help artists that want to get an overall understanding of the link between painting fundamentals and the loose style. Although this is an advanced course you will still be able to enjoy the course with only the basic painting knowledge.
This course shows full painting demonstrations of specific subjects. Each demonstration has a number of objectives. Your challenge is then to try out what you have learned before moving onto the next lesson. This way you will learn progressively and build your skills over time.
These are my paintings in the studio or outdoors. It is how I paint and how I produce the paintings for my art business. You are joining me in my daily painting practice.
In this course you will learn:
By the end of this course you will be able to fully appreciate the steps needed to paint loose and free from bad habits.
Yes I will add more demonstrations that support the lessons learned. Also new subjects that will be of interest to you.
Ready to begin!
Landscapes filled with light are highly sought after by collectors. Artists love to paint these landscapes for good reason. Why does the loose style make this objective easier to achieve? Here are some thoughts on this and a preview of what you will learn.
Please note resource to download with more brushwork tips.
What does loose brushwork look like? There is not one way to use your brush. But loose brushwork does not look the same as flat layers of transparent pigment either. So let us begin by observing brushwork and figuring out what makes it loose. There is some degree of speed, vigor and placement of of the brush. Also ensuring that the stroke is not smoothed out.
I have chosen a favorite scene of mine called The Corner at East London, South Africa. There are a few important points about this scene:
Strong light/dark contrast
Balance between organic shapes and man-made shapes
I want to paint this scene in a loose fashion. I will also adapt the scene a bit where necessary. Add a few rocks here and there, move the figures and so on. You can do this in a landscape where your vision must be given full sway. Leave out what is not required and add what will help your vision for the painting.
I painted this scene quickly which really does help with the loose approach. It took about forty minutes. I looked it over the next day and made a few minor tweaks here or there, mainly to add a touch more color to the figures.
When painting loose
Focus on the shapes. Abstract shapes of light and dark
Abstract shapes of color
Abstract shapes of brushstrokes, edges and lines
Avoid smoothing out your brushstrokes.
Balance warm and cool color
Avoid getting bogged down in any one area. For example sweating over the water details. Move on quickly to another part of the painting. Keep things fresh and spontaneous rather than labouring any one part.
In Part 2 I try to bring the painting together by:
- re-establishing dark shapes.
- Checking edges are soft where necessary
- Adding highlights where necessary
- Adding a few fine brush marks for suggestion
Finally a completed painting. Overall I am happy with the result.
Now it is your turn to have a go. There is the reference to download or you can use your own.
Add your comments and final result in the discussion section.
Remember the movie Shrek? The part where Shrek explains to Donkey that ogres have layers. Like an onion!
Well impressionist paintings have layers too. That is what makes them rich and interesting to look at. In these lessons we look at using layers confidently.
A painting demonstration where I build up layers of paint. Also note the complimetary colour relationships between yellows and blue/violets. The warm and cool colour temperatures shifts also play a major part in this painting.
Now we carry on and Develop the Shapes
Final layers to bring the painting together. The reference photo is attached if you would like to try out the painting. Alternatively use your own reference and experiment with layers. Try three layers in bright sunny areas and one or two thin layers in shaded, cool areas.
In this demo I use the "box method" to draw the shape of the boats. Often the curving lines of a boat can be tricky to get right. This drawing method can be used for any subject.
Then I do into the blocking in stage with an eye on the following:
Get the darks and shadows in first;
Then the lightest light
Then get the first rough layout of paint covering the entire canvas.
In this stage you want to define your shapes, establish your concept and prepare for the finish. But if you have a change of mind about something - then take a moment to work out the problem and fix it now.
Adding the last touches does add a little magic. Judge for yourself if this painting turned out okay despite my changes mid-way.
Your drawing challenge and article download: 4 Essential Tips for Loose Painting
No more fear of painting water. You are going to learn an approach that you can confidently use painting any water surface.
This is a summary of a painting to give you an overview of how this painting was achieved. You will note the process is similar to the other paintings. We will then go into more detail in the next lessons about how this effect is achieved.
Now let us analyse the painting in steps to give you a structure to follow with your painting.
What goes into getting that impressionist look to water? We take a look at Monet's approach in some of his famous paintings.
An bonus video lesson similar to the others, but with a few more variations and information that may be of interest to you.
Inspired by a beautiful morning at the beach. Waves and sea action around rock pools are always a great subject. Especially when the light is right and colors are at their best. In this demonstration I am looking for movement in the water, a combination of warm and cool color and a sense of depth in the water.
In Part 2 I have to make a few changes to improve the composition. It is important to catch these things early so that you avoid having second thoughts when the painting is finished. Stand back, assess the painting. Let the painting rest overnight and re-asses the next day. Often changes are evident after a bit of time. Then make them quickly to get back on track.
The final stage is all about the top layers on the water. Getting the illusion of movement and making sure that the painting reads well overall.
What about portraits or figures even? Here is an approach you can use for loose and expressive portraits. Try it out and don't worry if it looks strange to begin with. With some practice you can achieve exciting results.
Portraits can be intimidating when you are worried about getting the likeness correct. But it could be so much better with a loose expressive approach. Try this approach with your next portrait.
I am a professional artist with twenty years experience in painting mainly in oil, acrylic and watercolor mediums. I have studied art for most of my life and continue to develop my style of painting. I enjoy teaching art, which has led to me developing courses to help artists seeking to improve their work.
I am also concerned with helping people find their calling to create. This includes using art to release creative blocks, achieve mindfulness and more calm in our lives. Art has great potential to ease the burdens of modern living.
I follow a representational approach to subjects using a painterly or impressionistic style. Plein air painting is a favorite part of my approach to painting. I currently produce paintings for sale to collectors worldwide.