How to Paint with a Palette Knife

Table of contents :
Introduction
Foggy Forest Painting
Hannah's Cup Painting
Gondola in Venice
Daisy Painting
Marble Painting
Whelk Sea Shell Painting
Seagull Painting
Lily Pond Painting
Butterfly Rose Painting
Manhattan Bridge Painting
Windmill Painting
Ballerina Painting
Conclusion

Citation preview

~Introduction~ Welcome and let’s get started! I am excited to partner with you through several exercises to develop and refine a unique style of painting. If you would like to see more of my work, connect with me on social media!

HMVierow

@hmvoilpaint

~Layout of this book~ I sequenced the paintings in this book by my own feelings about the difficulty level of each painting. It is unnecessary to go from the first painting all the way through to the last painting exercise as you may find later paintings easier than earlier ones. So, feel free to jump around as you like. With each exercise there is a predictable layout and sequence that is followed. Before I paint anything I find it extremely useful to create a ‘value sketch’ on toned paper. This value sketch is where many composition related problems can be solved – and in turn can save us a lot of paint. Next we will discuss the color scheme as well as the colors that I used for the given painting. It is not necessary to use the same brands or the same exact colors. I use the paint brands and colors that I have grown familiar with and love. With every exercise I have linked a time lapse demonstration video that you can watch as a guide. I find that some people learn better through watching, and others through reading…so my attempt with this book was to meet the needs of various learning styles. You can either scan the provided QR codes, or use the links. You will then notice that there is a picture of my paint mixtures. When mixing the paints you will notice that there are percentages used. These approximations can be used as a guide, however, different paint brands and colors will behave differently so be aware of what your mix is doing and adjust/experiment accordingly until you have the mix that you want. Furthermore I never mix colors all the way until there is a single value…instead I make sure that there is a range of colors to use – this will allow you to easily contrast values in your painting. Lastly, you will see a series of steps that were taken to create the painting that you see. A description of the paint mix and palette knife used can serve as a

guide for you as you paint your painting. Specific techniques used with palette knives will vary, and the effects will vary based on the consistency of paint. With this in mind take mental notes on the techniques that work for you.

~Materials~ Commonly used Palette knives~ From left to right I reference these by the following names: T1, T10, Large Oval, and Pointed knife. Throughout the book you will see these references. As with the paint brands and colors, you may love your own collection of palette knives and are able to achieve the desired textures with your knives instead of these.

I am either using canvas panels or artist boards. Both can be found in a local craft store.

For the canvas panels, I am using an 8X8 inch canvas panel that was primed with gesso already. Later I prefer to tone it with burnt umber as shown below.

For the artist board, I put an acrylic gesso on the panel first, which provides a nice ‘tooth’ for the paint to adhere to…then I tone it with burnt umber. The process of applying gesso can be found at this link in case you are not familiar with this process. It is quite simple, and dries in about 1530 minutes. https://youtu.be/0itnA6xHG8Q

Oil painting mediums can be used if you prefer. Oil painting mediums will change the properties and workability of the paint, some cause it to dry slower or faster, some are useful for glazing, etc. All of the paintings in this book were completed in an all prima fashion, and I did not use much medium at all. When I did use medium I used Gamblin Galkyd, which will help to blend the paint a little (making it a little thinner), and, it will help the paint to dry faster. It is unnecessary to use the medium though, and if you do, make sure that you are in a well ventilated area.

Once your painting is thoroughly dry, you may want to apply a gloss or varnish to protect the surface of the paint. I made a video of this process and you can find it at this link. https://youtu.be/mab0Maba7Fc

~Final Notes~ I hope you are excited! Above all, be courageous to try! I promise you will make mistakes, as every artist does and will continue to do… Every mistake is a ‘win’ in my opinion if you let it teach you something. Be patient with yourself as you learn and don’t give up! Painting, and finding your own unique ‘voice’ as an artist, takes a great deal of time, and can be shaped by many challenges and influences. Along the way I am sure you will enjoy the process and gain several ideas! Never forget to celebrate all of the intermediate victories! Lastly, I would love to see you work – please share it with me on social media!

HMVierow

@hmvoilpaint

Foggy Forest Painting Value Sketch I have a fascination with overcast skies and fog. This painting will be a fun opportunity to play around with some interesting grays. The ambient light is coming from the right and this is noticed on the trees in the distance. Also there is a clearing in the foreground where there are some areas of lighter values. The darker values in this painting will be in the trees in the distance. This will be a fun exercise, let’s get started!

Color Palette

Naples Yellow Hue ~ Yellow Ochre ~ Prussian Blue ~ Phthalo Green ~ Rose Madder ~ Titanium White ~ Ivory Black

This painting loosely follows an analogous color scheme with yellow, blue and green.

Video Demonstration~ Use the link or scan the QR code https://youtu.be/A3uUWiIYMBw

Main Color Mixes

Mix #1

Mix #2

Mix #4

Roughly, here are the paint amounts

Roughly, here are the paint amounts

Roughly, here are the paint amounts

Yellow Ochre-50% Naples Yellow-50%

Phthalo Green-10% Prussian Blue-30% Alizarin Crimson-10%

Titanium White-50% Ivory Black-50%

…then tinted with varying amounts of mix #4

…then tinted with varying amounts of mix #4

…mixed with varying amounts of ivory black.

Mix #3 Roughly, here are the paint amounts Phthalo Green-20% Prussian Blue-20% Mix #2-10% Mix #4-50%

Using the T1 knife, mix #4 and some of mix #3, let’s begin painting the background. It is important to go a little lower than the tree line so the trees will blend into the sky a little.

Just above the bottom edge of the grayish blue sky let’s place some distant trees. Using the T1 palette knife and mix #3 carefully place some trees all along the border. If you find that the paint is blending into the gray a little that is no problem.

Just under this transition to the distant trees, let’s use the T1 palette knife and mix #2 to hint at some trees that are a little closer.

Next we can transition to the ground that has been cleared off. I did not want this border to be exactly straight but a little bit jagged. Experiment to see what you like for your painting. Let’s use the T1 and darker values of mix #1.

As we approach the bottom edge of the painting let’s transition to some scattered areas of mix #1 that are lighter in value. For the first pass, don’t worry if it is looking like a mess.

Now that the underpainting is complete let’s use the pointed knife to gently blend in the ground area. Using short strokes let’s pull up a bit, which will give the land the impression of some grass that has given way to winter temperatures.

Next, let’s move in to the forest and give the trees some life and form. I am gently pulling the paint that is already there (Mix #2) to the right with short strokes to give the trees some branches. You may like to use just the tip of the knife for this.

Now let’s use the T1 knife to place a few stumps in the clearing. For this I am using mix #2. I tried to make sure the stumps were not placed in a uniform pattern.

I wanted to use a couple ‘discord’ colors in this analogous color scheme to help make the overall painting more interesting and pleasing to the eye. Using the pointed knife I mixed up a small amount of red and purple to use in a few areas as random flowers.

Using the pointed palette knife and some of the darkest values in mix #2, let’s paint in a dead tree coming from the middle of the clearing. I decided to paint the darker values first and then place the highlights on the right hand side in the next step.

This last step is where we want to be careful that the darkest values are balanced and the lightest values are balanced. It is also important to look at the painting from a distance to see if you like the overall scene…and adjust as necessary. Don’t forget to sign and share it!

Hannah’s Cup Painting Value Sketch In this value sketch I have the light coming from the upper right. This light is reflected very nicely on the pages of the book, parts of the cup handle and reflections of the book onto the cup. There are darker areas under the handle of the cup, to the left of the cup part of the background and some of the pages of the book.

Color Palette –

Shiva Orange ~ Ultramarine Blue ~ Titanium White ~ Ivory Black

This painting is mainly employing complementary colors, orange and blue. The colors were mixed with varying amounts of each complement, and then tinted with a gray mix provided by the titanium white and ivory black.

Video Demonstration~ Use the link or scan the QR code https://youtu.be/D2PKV2t--wg

Main Color Mixes

Mix #5

Mix #1-4 Roughly, here are the paint amounts Mix #5 tinted with increasing amounts of Shiva Orange for each mix moving to the left… Then tinted with: Titanium White-50% Ivory Black-50%

Roughly, here are the paint amounts Shiva Orange-50% Ultramarine Blue-50%

Then tinted with: Titanium White-50% Ivory Black-50%

Mix #6-8 Roughly, here are the paint amounts Mix #5 tinted with increasing amounts of Ultramarine Blue for each mix moving to the right Then tinted with: Titanium White-50% Ivory Black-50%

Using burnt umber let’s put down a rough sketch to follow. If you’d like you can also put some tonal values which might be helpful.

Using mixes #1 – 5 let’s put the background in place and start to work out some interesting textures with your palette knife. Be careful to not overwork the paint or it may turn into one solid color.

With Mix #1 and 2 you can block in the area of the book and you will notice that I tried to achieve a blurry edge between the book and the background which I love from time to time. In any case there is an interesting contrast.

Using mix #3 and 4 I continue with the sides of the book. The left side of the book doesn’t receive as much light and I use a little of mix #5 to help darken that value. Under the pages of the book I am using mix #7 and 8 to begin working out the details of the flap.

Next, using a mix of tinted colors of all mixes, I begin to lay down the table. Keep in mind that to the left of the coffee cup there will be a greater shade, so place those darker values there.

At this point of painting the table, begin to make sure that all of the values are working between the table and the background. I darkened in behind the coffee cup to secure an interesting contrast in values.

The coffee cup was painted in a ‘blotchy’ way because this is what the actual coffee cup looks like. I started with mixes numbered 5-8 for the cup

The area under the handle and the bottom edge is darker due to the cast shadow, so I used mix #5 for those areas. Don’t forget the reflection of the book onto the coffee cup. For this I used mix #1. Also on the top edge of the cup you will see this same color.

And here we go! Don’t forget to sign and share your masterpiece! I included my reference photo for this painting so you can see the original cup, which was a gift from a former student.

Gondola in Venice Painting Value Sketch In the value sketch you’ll see that the main source of light is coming from the sunset. The light will gently reflect on the buildings to the right and the water. To provide an interesting contrast we will push the darks near the gondola and the distant shore lines. The buildings will all have varying amounts of darker values, so this should be an interesting painting!

Color Palette –

Bright Red ~ Rose Madder ~ Hansa Yellow Medium ~ Phthalo Blue Deep Phthalo Green Blue Shade ~ Titanium White ~ Ivory Black

This painting loosely follows a complementary color scheme with a range of oranges and blues.

Video Demonstration~ Use the link or scan the QR code https://youtu.be/v4F0tPwRKHU

Main Color Mixes

Mix #1 Roughly, here are the paint amounts Phthalo Blue Deep-70% Mix #6-30%

Mixes #2-5

Mix #7-8

These three were mixed with the following starting point…

These two mixes were started with the following…

Rose Madder-20% Bright Red-20% Hansa Yellow Med-80% …and then mix in varying amounts of mix #6

Phthalo Green-20% Phthalo Blue Deep-40% Rose Madder – 40% …and then mix in varying amounts of mix #6

Mix #6 Roughly, here are the paint amounts Titanium White-50% Ivory Black-50% Mixed in varying values

Let’s start out painting a light sketch. I used a brush and a small amount of a burnt umber because it dries quickly. Let’s gently block in the main shapes based on our value sketch.

Using mixes 2 – 5 let’s paint in a lighter value for a setting sun and then work around that with some darker values. I am using my faithful T1 knife.

Near the edge and horizons let’s place some darker values so that we can work in a blend to some contrasting tones in the sky.

You can get away with leaving this as a very choppy, loose style. I liked the subtle blends that I was getting so I continued with this trend throughout the sky.

Using contrasting values of mixes 2 – 5, let’s make sure the sky has an ambient brilliance of interesting contrasts. I painted subtle lights on darks and vice versa.

Using mixes 6 – 7 let’s begin to paint in the buildings on the right hand side, keeping in mind where the horizon line is and where the water will be. Also there are a few buildings on the left side.

Now let’s push the darks of the buildings where shadows will be with the darker values of mixes 6 – 7.

I noticed the sky was about dry so I used a little bit of Galkyd Medium with the lighter values of mixes 2 – 5 to create a little more light in the sky. I thought the painting was a little dark, but you can decide for your painting. 

Using mix #1 and 6 – 7 let’s put down some water. Keep in mind where the gondola will be and also keep your first amount of paint light so that you can add reflections and shadows.

Directly under the setting sun, let’s place some reflections of mixes 2 – 5. I decided to use the long oval knife to see what kind of reflections I could achieve.

Continuing with this process lets add some shadows in the water with mix #6 – 7.

Let’s paint in the silhouette of the gondola and the gondolier. In the distance, near the horizon, you will notice a few posts coming out of the water. I am using the T1 knife and the darker values of mix #6 – 7.

This scene would not be complete without a bird or two in the sky. I used the darker values of mix #6 – 7 and the T1 knife.

It’s time to stand back and look at your masterpiece. Are the contrasting shadows in the right place? Are you happy with the reflections on the water? And, don’t forget to sign and share it!

Daisy Notes Value Sketch Here is my value sketch. I have a direction of light coming from the upper left. I think this would be a great place for the lighter green/blue colors. The darker areas of the painting will use a dark blue mixture. The petals of the daisy will have various shades of white.

Color Palette –

Cadmium Yellow Light ~ Yellow Ochre ~ Alizarin Crimson Phthalo Green ~ Phthalo Blue Deep ~ Cobalt Blue Hue Cerulean Blue ~ Titanium White ~ Ivory Black

I loosely followed an analogous/complementary color scheme with blue as the dominant color, pulling some yellow and some orange tones to provide an interesting range in the colors. The center of the daisy provides an interesting contrast/center of interest, and that same color is sparingly placed around the field that surrounds the daisy. By placing the orang-yellow color around the painting the end result is more harmonious.

Video Demonstration~ Use the link or scan the QR code https://youtu.be/EyOCtGIrDDg

Main Color Mixes

Mix #1

Mix #2

Mix #3

Roughly, here are the paint amounts

Roughly, here are the paint amounts

Roughly, here are the paint amounts

Phthalo Green-10% Phthalo Blue Deep-20% Cobalt Blue Hue-20% Cerulean Blue-20% Titanium White-30%

Phthalo Green-10% Phthalo Blue Deep-30% Alizarin Crimson-10% Titanium White-30% Ivory Black-5%

Phthalo Green-20% Yellow Ochre-30% Cadmium Yellow Light-10% Titanium White-30% Phthalo Blue Deep-10%

Start out painting a light sketch of the daisy. I like to use burnt umber. Next paint the background using the dark (mix 2) and light (mix 1) blues. Be sure to let the colors exist in the painting – don’t over-blend so that you have only 1 shade of blue.

Farther to the left I moved to a lighter blue (mix 1) and transition this to the lighter values of blue-green (mix 3).

Paint the background entirely so the grass you paint will exist in front of the darker tones. If you are careful to not paint over the sketch it is easier to paint the daisy.…

The daisy will be painted over a few times because the white petals will have a tendency to blend in to the darker background…also use mix 3 to paint in the stem of the daisy using a lighter tone to provide contrast.

The first layer of white blended in to the background, which is desirable. By placing more white on top of that you start seeing the highlights of each petal.

I love the pointed palette knife for grass and creating interesting ‘parallel’ marks in the paint. Using this knife I worked in several passes to create an interesting blend of darks and lights.

Next, I used the T1 knife to push the darks and pull the lights to create an interesting contrast.

Lastly, I used a dark mix of alizarin crimson, yellow ochre and phthalo blue to darken the right side of the carpel/disk of the daisy, and also the top of the stem under the carpel. Don’t forget to sign and share your painting!

Marble Painting Value Sketch Here is my value sketch for the marble. Light is falling onto the marble from the upper left and there is a highlight on the top of the marble. The light is moving through the marble and touching a surface on the bottom right of the marble. In the darker areas of the swirl and the background of the painting I will use a dark blue mixture. Lastly I am imagining the surface of the table is a blue/green mix.

Color Palette –

Cadmium Yellow Light ~ Yellow Ochre ~ Alizarin Crimson Phthalo Green ~ Phthalo Blue Deep ~ Cobalt Blue Hue Cerulean Blue ~ Titanium White ~ Ivory Black

I loosely followed an analogous color scheme with blue as the dominant color, pulling from bluegreen, and some purple tones to provide a range of colors.

Video Demonstration~ Use the link or scan the QR code https://youtu.be/M-2i-wy_hd4

Main Color Mixes

Mix #1

Mix #2

Mix #3

Roughly, here are the paint amounts

Roughly, here are the paint amounts

Roughly, here are the paint amounts

Phthalo Green-10% Phthalo Blue Deep-20% Cobalt Blue Hue-20% Cerulean Blue-20% Titanium White-30%

Phthalo Green-10% Phthalo Blue Deep-30% Alizarin Crimson-10% Titanium White-30% Ivory Black-5%

Phthalo Green-20% Yellow Ochre-30% Cadmium Yellow Light-10% Titanium White-30% Phthalo Blue Deep-10%

I started out with a perfect circle…

I prefer to work on the background first, so I used mix #2 on the top and then mix #3 moving towards the middle (horizon…sort of) Be careful to keep your palette knife clean if you don’t want the colors to spread

I painted the foreground with mix #3 and a little mix #1 and mix #2 to provide a little harmony of color throughout

Next, I applied the colors for the upper area of the marble. Carefully I place the colors without blending all the colors with the neighboring colors, to create the impressionistic feel

The upper part of the swirl is painted mainly from mix #1, while the lower half is painted from mix #2 and a small amount of ivory black to provide a great contrast.

Next I focus on the lower highlighted area of the marble using mix #1. Again to achieve an impressionistic feel I am not trying to over blend any of the colors with each other.

For the highlight I use the lightest part of mix #1 and some pure titanium white. Notice the bottom and the top of the marble.

The cast shadow is painted with the darkest part of mix #2, and even some pure ivory black.

Lastly, look over all the areas and touch up anything that speaks to you…walk away for 10 minutes and look over it again with fresh eyes.

And there you go! Do not forget to sign it, and share with your friends. I hope you enjoyed this painting!

Whelk Sea Shell Painting Value Sketch You will notice from this value sketch that the farthest edges and ridges are very light and the darker areas are where the cast shadows are. There will be a reflection in front of the shell and some of these highlights will be noticed there also.

Color Palette

Hansa Yellow ~ Yellow Ochre ~ Shiva Orange ~ Alizarin Crimson ~ Burnt Sienna ~ Ultramarine Blue ~ Prussian Blue ~ Titanium White ~ Ivory Black

Video Demonstration~ Use the link or scan the QR code https://youtu.be/iw_YsquInTg

Main Color Mixes

Mix #1

Mix #3

Mix #5

Roughly, here are the paint amounts

Roughly, here are the paint amounts

Roughly, here are the paint amounts

Hansa Yellow - 70% Yellow Ochre - 15% Shiva Orange - 5% White - 10%

Alizarin Crimson - 60% Burnt Sienna - 20% Ultramarine Blue - 20%

Ultramarine Blue - 40% Prussian Blue - 40% Alizarin Crimson - 20%

Mix #2

Mix #4

Roughly, here are the paint amounts

Roughly, here are the paint amounts

Burnt Sienna - 50% Yellow Ochre - 30% Alizarin Crimson - 20%

Ivory Black - 50% Titanium White - 50%

Start out painting a light sketch of the sea shell. I like to use burnt umber.

Using mix #5, #3, and #1 let’s paint our background. The lighter area is the upper left and there are highlights throughout. The darkest blues are to the right of the sea shell. I’m using the T1 knife with short strokes of varying values next to each other to help create reflections on the water.

To paint the light coming from the left, some of the oil paint from mix #4 is added to mix #3, #5, and #1 and lightly added in the upper left and gradually moving down and to the right. To the right of the shell mix #3 and #5 are combined to create an interesting cast shadow.

With mix #1 and #2 let’s start to define the shape of the shell and where the highlights will be placed.

Next we create subtle blends and highlights. Also these same colors will be placed on the water under the shell to give life to the reflection of the shell on the water.

Next, let’s pull the highlights with mix #1 and mix #4. Be careful to not over work the shell or it will begin to look muddy.

Lastly, let’s use mix #3 to push the darks where the shadows will be from the edges of the shell.

Lastly, sign it and share it!

Seagull Painting Value Sketch For this painting I am envisioning a scene during sunrise of a seagull on the beach with her feet covered over with a wave of water. The main light will be from the left. Not pictured in my value sketch is the glow of light around the seagull. Furthermore, I imagine the waves will be reflecting a sky with a light pink/orange color, making the waves a very interesting part of the composition.

Color Palette –

Cadmium Red Light ~ Orange Shiva ~ Hansa Yellow Medium ~ Ultramarine Blue ~ Titanium White ~ Ivory Black I loosely followed an analogous/ complementary color scheme with orange as the dominant color, pulling some yellow and some orange tones to provide a nice range of colors. The complement I used is Ultramarine blue.

Video Demonstration~ Use the link or scan the QR code https://youtu.be/KPtxGr8zATQ

Main Color Mixes

Mix #1

Mix #4

Mix #5

Roughly, here are the paint amounts

Roughly, here are the paint amounts

Roughly, here are the paint amounts

Shiva Orange 30% Hansa Yellow Medium 70% Then tinted with mix #7

Mix #5-50% Mix #2-50%

Then tinted with mix #7

Mix #3 Mix #2 Roughly, here are the paint amounts

Shiva Orange-50% Cadmium Red Light-50%

Then tinted with mix #7

Roughly, here are the paint amounts Shiva Orange-80% Hansa Yellow Medium20%

Mix #6-50% Mix #2-50% Then tinted with mix #7

Mix #6 Roughly, here are the paint amounts Ultramarine Blue-60% Shiva Orange-40%

Then tinted with mix #7

Then tinted with mix #7 Mix #7 Roughly, here are the paint amounts Titanium White-50% Ivory Black-50%

Start out painting a light sketch of the seagull. I like to use burnt umber as it will dry very quickly. When painting, I like to do the background first and many times I overlap this sketch a little so there is no burnt umber showing.

Using Mixes #1-6 let’s make ‘rows’ of paint that will serve as an underpainting for our waves. I am using the T1 knife and applying the paint very thin. Just under the crest of the wave I am painting with mix #6, the darkest value.

Moving forward with our ‘rows,’ we will start to blend the areas of transition between the rows. Again I am applying the paint very thin; if you start to get ‘muddy’ paint you can scrape some off and wipe your palette knife clean.

Using the pointed palette knife I start to blend with short strokes to move paint around. Because we are painting thin layers the underpainting is noticeable and bleeds through, creating an interesting color.

Using the T1 knife I decide to use mix #6 and mix #2 to push the darks and pull the lighter areas. The trough of the wave will be reflecting the sky and since it is a beautiful sunrise the color in mix #2 is perfect for this effect.

After adding the highlights and darkest areas to our waves let’s start to paint our seagull with mix #6 and mix #7. You may want to add more titanium white and a tiny bit of mix #1 to pull out the highlights of the seagull.

Now let’s use mix #2 and mix #3 to paint the beak of the bird. I also used a tiny bit of mix #6 to outline the area between the upper and lower beak. The bird’s dark feathers, legs and eye are all painted with mix #6 and blended carefully as needed.

Finally let’s add a glow of orange that outlines the seagull as the light is reflecting on it from the sun, clouds, and water below. Also, don’t forget to paint the reflection of the legs and the brighter parts of the seagull in the ocean. Don’t forget to sign and share your painting!

Lily Pond Painting Value Sketch In this value sketch you will notice that there is a nice band of reflected light from a clear day from the upper right of the composition. The water lilies and the edges of the lily pads will provide interesting highlights to the painting. There is a strong contrasting dark value in the upper right where the reflection of trees will be. This will be a fun painting!

Color Palette

Phthalo Green ~ Viridian Green ~ Sap Green ~ Naphthol Red ~ Bright Red ~ Alizarin Crimson ~ Ultramarine Blue ~ Prussian Blue ~ Titanium White ~ Ivory Black This painting is loosely following a triadic color scheme using a range of reds, greens, and blues.

Video Demonstration~ Use the link or scan the QR code https://youtu.be/OXTm-amVJE8

Main Color Mixes

Mix #1

Mix #2

Mixes #3-4

Roughly, here are the paint amounts

Roughly, here are the paint amounts

Roughly, here are the paint amounts

Phthalo Green-30% Sap Green -20% Viridian-20% Alizarin Crimson-30%

Titanium White-50% Ivory Black-50%

Prussian Blue-20% Ultramarine Blue-50% Mix #2-30%

Mixed in different ratios with a little yellow

Mix in varying amounts of mix #2 to create a nice range of blues.

Let’s paint in a rough outline, blocking in the key elements of our painting. I am using this as a loose reference, so if things are a little different in the end, it’s no problem.

Using the T1 and the pointed knife, let’s paint in the upper left darker area with mix #1. I liked the result of varying the values, even in the dark area so there is an interesting blend of darks.

Continuing with mix #1 let’s bring in some lighter values to the lower left of our pond. Using mix #’s 3-4 let’s paint in the upper right area of the painting where the reflection of the sky is. Try to not paint where the lily pads are…if you do it’s still no problem.

Using mix #1 let’s paint in some reflections of the emergent weeds at the edge of the pond. I am using the pointed knife and slightly touching the surface without blending too much.

Using mix #3 let’s paint in a few subtle reflections on the surface of the water. I am using the long oval knife.

Using the long oval knife let’s paint in the lily pads. Let’s use some of the lighter values of mix #1. I tried to keep in mind that the light would be more noticeable on the left and on the edges.

Underneath the edge of the lily pads place a dark value of mix #1. Also continue to adjust values so that the edges are highlighted. You can place little specks of white in places to indicate water drops.

Using the long oval I mixed a little Alizarin Crimson and Bright Red to paint in the stems of the lily pads, which are under water. Approach this carefully and blend a little white over different places so that it looks like it is under water.

Using the long oval knife for the petals of the lilies was a fun experience. Be careful to adjust the values of white, toning it down with some of mix #3-4. The underneath side of the petals closer to you will be darker. Then, paint in a little yellow spot in the middle of the lily.

Let’s repeat that same process for a couple more lilies. Also you will notice a subtle reflection of the lily on the water.

Take a step back and look for a nice harmony of colors, blends and light. Don’t forget to sign and share it!

Butterfly Rose Painting Value Sketch Here is my value sketch. I have a direction of light coming from the upper right. I plan to place highlights on the upper part of the wings and top of the rose. The darker areas will be inside and under the rose. The background will be an interesting mix of grays and darks.

Color Palette –

~ Naples Yellow Hue ~ Yellow Ochre ~ Rose Madder ~ Phthalo Green Blue Shade ~ Ultramarine Blue ~ Titanium White ~ Ivory Black

For this painting I loosely followed a complementary color scheme with the rose madder and the phthalo green blue as the complements. The orange and yellows I borrowed from an analogous scheme to provide more ability to add highlights.

Video Demonstration~ Use the link or scan the QR code https://youtu.be/2plx9W3N1nE

Main Color Mixes

Mix #1

Mix #3

Mix #5

Roughly, here are the paint amounts Naples Yellow-60% Yellow Ochre-25% Rose Madder-15% Then tinted with mix #6

Roughly, here are the paint amounts

Roughly, here are the paint amounts

Phthalo Green-50% Rose Madder-50% Then tinted with mix #6

Phthalo Green-20% Yellow Ochre-30% Cadmium Yellow Light-10% Titanium White-30% Phthalo Blue Deep-10%

Mix #2

Mix #4

Roughly, here are the paint amounts

Roughly, here are the paint amounts

Mix #3-50% Mix#1-50% Then tinted with mix #6

Phthalo Green-10% Mix #3-30% Ultramarine Blue-60% Then tinted with mix #6

Mix #6 Roughly, here are the paint amounts Titanium White-50% Ivory Black-50%

Let’s put a sketch down in burnt umber. The rose isn’t fully present in the painting, but the top of it suggests that it is a rose.

Starting in the background I am using mix #5, 1, and 2. These colors have been muted with the gray so the foreground colors will pop.

With mixes #2 and 3 I am darkening in the lower part of the background. It is suggested that there is a horizon but nothing is fully defined. I am using the pointed knife to create interesting blends.

With mix #1 I am using the pointed knife to dab in just a little color. This provides a really interesting contrast and suggests a source of light in the distance.

Using the pointed knife I tried to create some movement in the colors in the background so that it would not look like random blotches. Next using the T1 knife let’s start painting the rose with mix #1.

Using mix #2 and 3 let’s place the darker parts of the rose. Then we will gently blend to create a transition from the darkest to the lightest areas of the petals.

Using the T1 palette knife let’s start putting in the color for the butterfly. Let’s use mix #4 and a little mix #1 to tone down some areas to provide some interesting blends in the wings.

Using the pointed knife let’s blend some of the colors with the curved edge…experiment with putting the knife down and pulling gently…clean the knife with a napkin so that the colors do not turn out too muddy.

For the tips of the wings I found the long oval to be very useful. I put the darkest value of mix #4 to give the edges of the wings a nice presence.

Using the curved edge of the pointed knife and mix #1 – and the lightest value of mix #4 – let’s pull the lightest values a little. We can do the same with the darkest values of mix #4 near the butterfly’s body.

The pointed palette knife has a nice straight edge that can be used to paint in the antennas and legs. I used the darkest values of mix #4. Also place the dark values under the butterfly and the light values of mix #4 on the top of the butterfly’s head and body.

Lastly, I used the lightest value of mix #4 to define the leading edge of the butterfly’s wings and the tips in different places. This gives an interesting definition to the form. And, once you are happy tweaking the colors don’t forget to sign and share it!

Manhattan Bridge Painting Value Sketch In my value sketch you can see a striking shadow under the bridge and various structural pieces of the bridge. The light is coming from above and to the right. It is an overcast scene but the shadows really resonate with me in this image. The buildings are made of brick and will provide a unique exercise in using the straight edges of the palette knives effectively. I am very excited about this painting.

Color Palette

Ultramarine Blue ~ Prussian Blue ~ Shiva Blue ~ Orange ~ Titanium White ~ Ivory Black ~ Cadmium Red Light ~ Red ~ Alizarin Crimson ~ Shiva Green

This painting loosely follows an analogous/complementary color scheme using blue and orange-red. I am using the complements of each of these colors to achieve rich dark values.

Video Demonstration~ Use the link or scan the QR code https://youtu.be/JUxaMd0Wo_8

Main Color Mixes

Mixes #1-5 With these mixes the Prussian blue and Orange make a beautiful black and the other blues were mixed in varying ratios and tinted with mixes 68.

Mixes #6-8

Mixes #9-12

Roughly, here are the paint amounts

With these mixes the Shiva green and the Alizarin Crimson make another beautiful black. The Cadmium Red Light and Red were mixed in varying ratios to create a range of reds. These colors were tinted with mixes 6-8 as needed.

Titanium White-50% Ivory Black-50%

Mix to varying ratios for lighter and darker grays to tint the other colors as needed

Using Burnt Umber or another color let’s outline our bridge and the two buildings. Sometimes it can be helpful to use a ruler so the initial starting point is a true straight line.

Using a ratio of grays and blues-I used a small amount of a dark blue and a greater amount of mixes 6 through 8 – let’s paint in the background

It is better if the background bleeds over your structural lines in my opinion. This way when you outline the structural pieces with the straight edge there is a perfect transition from the blue to the gray…with no burnt umber showing.

Using the T1 knife let’s put in the structural cross members. It is handy to remember and think back to what is parallel to what. I am using mixes 1 through 5.

Keeping in mind that the light source is mainly coming from the right let’s apply the darker blues to the left of the structure and the lightest values on top and to the right side of the structural pieces.

Using the straight edge of the T10 knife, carefully place the darker values of the left hand side of the structural members. Also start to connect the same mixes of blues that you are using on the vertical elements to paint the structural pieces that go between the buildings.

After placing a strong dark value under the top of the cross members let’s paint in the lighter structural pieces. It is helpful to do the vertical ones first, spacing them correctly, then do the angled ones.

Moving under the bridge there is a beautiful dark blue that contrasts so beautifully with the sides of the bridge. There are a few lighter reflections under the bridge that really bring a subtle highlight that contrasts.

Let’s continue to work down with the vertical foundations of the bridge. It can be tricky to not have the alignment correct so approach that with caution. Follow the same approach with the angled members as we did with the top of the bridge.

Using the same gray mixes as you did with the background place a few highlights under the bridge where you can see through the cross members of the foundation. I am using the tip of the T1 knife.

Using the darker grey mixes and the tip of the long oval knife I painted the main cables in to the top of the towers. Keep in mind that the top will be lighter and under the main cables the value will be darker.

Using the straight edge of the T10 palette knife and the gray mixes 6-8, carefully paint in the suspender cables, keeping them as parallel and vertical as possible.

Smaller details of the Manhattan Bridge are added to the suspender cables like these little cable clamps, or at least I think that is what they are.

Using the darker values of mixes 9-12 let’s paint in the foundation of the bridge. I used some lighter values to place highlights on the middle right hand side of both feet of the bridge.

Using mixes 9-12 let’s now move on to the buildings. The areas where the windows will be were painted with a darker value and the areas in-between the floors were painted with lighter values. This is the under painting so be careful to keep these layers thin.

Using the windows as a guide, let’s paint in some vertical lines with the straight edge of the T10 palette knife and the lighter values of mixes 9 through 12.

Switching to the pointed knife, let’s paint in some darker values just to the right had side of the lighter values. This will serve as a cast shadow and help to create an interesting contrast.

Then, using the same pointed knife with some lighter values of mixes 6 through 8, let’s start to paint some reflections on the windows. Approach this will a small amount of paint and be careful to not over blend.

After you are happy with the building on the right, let’s paint the vertical lines of the building on the left using the same approach. With paintings like this it can be helpful to paint in an area and then come back to it to look for areas that you want to tweak.

Using the straight edge of the T10 knife, let’s paint in some cast shadows with the darker values of mixes 9-12. Be careful to not use too much paint or to over-blend and area. If you do put too much on you can always scrape an area of paint off and try again.

Then using the T1 knife and some lighter values let’s paint in some reflections of the skies on the windows.

Using T1 knife, let’s paint in the decorative structural pieces on these buildings. I am using the darker values of mixes 9 through 12, just placing them in between the floors.

Using the pointed knife let’s paint in the top of the building on the left. I am using darker values from mixes 9 through 12 to create a cast shadow. Remember that because of perspective and vanishing lines the building looks angled.

Using the T1 knife let’s paint in a couple street lights with the darker values of gray, mixes 6 through 8. Then go back over the buildings to scrutinize foe a consistency of palette knife marks, shadows, and highlights. And don’t forget to sign it and share it!

Windmill Painting Value Sketch In this value sketch there is light coming from the upper right. The left side of the windmill is a very dark value. The lighter values in this composition are in the sky, reflections on the water, the right side of the windmill and a few areas where the grass is brighter. The sky will be an interesting area where both lighter and darker values will be close, creating an interesting contrast. Let’s get started!

Color Palette –

Ultramarine Blue ~ Prussian Blue ~ Sap Green ~ Burnt Umber ~ Yellow Ochre ~ Hansa Yellow Medium ~ Alizarin Crimson ~ Titanium White ~ Ivory Black This painting loosely follows an analogous color scheme of blue and green, also using their complements.

Video Demonstration~ Use the link or scan the QR code https://youtu.be/7s9LzurolJ0

Main Color Mixes

Mix #1

Mix #2

Mix #3

Roughly, here are the paint amounts

Roughly, here are the paint amounts

Roughly, here are the paint amounts

Ultramarine Blue-60% Prussian Blue-30% Alizarin Crimson-10% …toned with varying amounts of mix #3

Sap Green-60% Yellow Cadmium-30% Ultramarine Blue-10% …toned with varying amounts of mix #3

Titanium White-50% Ivory Black-50% …mixed in varying amounts of black

Let’s get started with a basic sketch of our windmill scene. I made sure the windmill would fit on the 8X8 canvas panel and that it was not centered. I used a small amount of Cadmium Yellow Medium to block in the main elements.

Let’s paint the background with a dark value of mix #1. Starting in the upper left let’s work down to the horizon with different values of mix #1.

Apart from the windmill blades let’s paint the background everywhere except the windmill. The windmill blades will be painted on top of the background.

Using mix #2 and the T1 knife let’s paint a dark value at the horizon and work in some lighter values as we move down the painting.

Moving down towards the river let’s paint some lighter and darker values of mix #2. At the base of the shore there is a dark value that separates the river from the grass.

Using the T1 knife and mix #1 let’s paint in the river with varying values. Keep in mind that the river will have a reflection of the windmill and the highlights and darker values of the sky.

Using the pointed palette knife let’s work over the grassy areas, using some highlights to add some interesting flowers. To the left of the windmill the grass will be a bit darker due to the shadow.

Using the T1 knife and darker values of mix #3 let’s begin placing the shadow side of the windmill. Keep in mind the structure of the windmill and where the vertical seams are..

As you work around to the right had side of the windmill, use lighter and lighter values of mix #3 to create a noticeable area that reflects the light. Remember also that under the windmill the foundation will be darker and have a cast shadow on it.

Using the T1 knife and the same colors as the windmill, let’s place the reflections of the windmill on the surface of the river.

Next, using the pointed palette knife, let’s place the windmill blades. Let’s use mix #3 to create the main part of the blades. I think it looks better if the blades/sails are angled a little instead of perfectly vertical…up to you.

Now let’s use either the T1 knife or a short flat edge to block in the sails. I used a light value of mix #3.

Let’s paint in the support structures on the left and right using the pointed knife with mix #3. On top of the structure it can be a lighter value, and the bottom will be a darker value.

Using the T1 knife and a small mix of alizarin crimson and mix #3, let’s paint in a few flowers around the field.

Finally let’s step back and look for areas where we want to adjust the overall balance and contrast of color. In the background I placed a few highlights on the distant trees. Throughout the grass it seemed fitting to place a few highlights as well. Don’t forget to sign and share it!

Ballerina Painting Value Sketch In this value sketch you will notice that there are highlights on both sides of the legs. The ambient lighting and the spotlights on a stage can really provide several places for a lighter value. The darkest areas of the painting are under the backdrop, the shade under the point shoes, and the sole of the right hand point shoe. This will be a very fun challenge because painting something round with a palette knife can be very tricky at best in places. Let’s get started!

Color Palette –

Naphthol Red Medium ~ Alizarin Crimson ~ Ultramarine Blue ~ Naples Medium Hue ~ Hansa Yellow ~ Titanium White ~ Ivory Black

This painting loosely follows a complementary color scheme with several purples and yellow.

Video Demonstration~ Use the link or scan the QR code https://youtu.be/jjVQBooyEDQ

Main Color Mixes

Mix #1-4 Roughly, here are the paint amounts Naphthol Red-50% Alizarin Crimson-50% …then tinted to various tonal values with mix #7

Mix #5 Roughly, here are the paint amounts Naphthol Red-20% Alizarin Crimson-40% Ultramarine Blue-40% …then tinted to various tonal values with mix #7

Mix #6 Roughly, here are the paint amounts Hansa Yellow-60% Naples Medium Hue-40% …then tinted to various tonal values with mix #7

Mix #7 Roughly, here are the paint amounts Titanium White-50% Ivory Black-50% …mixed to different values of white or gray

Using Burnt Umber let’s outline our ballerina and stage setting. I hinted at where the darker values are and then adjusted as I felt necessary.

Using mix #1-4 and the T1 palette knife, let’s begin blocking in the background. The upper part of the curtain is a bit darker than the lower part, so keep that in mind as you choose the ‘underpainting’ color.

With the T1 palette knife and lighter values in mix #1-4, let’s begin placing highlights on the folds of the draped curtain in the background.

Let’s use the pointed knife in a vertical orientation to begin blending the paint in the drape. The goal isn’t to blend it all in to one color but to set the background up to apply highlights and shadows to create an interesting background.

Then, using the lighter values in mix #1-4 let’s apply small amounts of paint to highlight some of the lower part of the background.

Using the T1 knife let’s use a combination of mix #1-4 and #5 to paint the stage. At this point I am treating this as an ‘underpainting,’ and will adjust the values later for the cast shadows.

Using some lighter values of mix #1-4 and the T1 knife, let’s begin placing some highlights on the stage. The area closest to the curtain will be a very dark value so let’s place darker values there.

Switching to the long oval knife and mix #7, let’s begin painting the ballerina’s yellow tights. For the first pass we can treat use a mid-tone value of mix #7, hinting at where the highlights and shadows are.

Let’s start to blend the colors in a way that suggests the legs are round…this can be achieved by placing darker values near the edges and highlights in the middle.

I found the large oval knife very useful for blending because it has a desirable curve that is similar to the ballerina’s legs. Using the lighter values of mix #7, let’s start placing the point shoes and reflected lights on the straps.

Using the T1 knife let’s place the highlights of the straps as well as some shadows around the straps and ankles of the ballerina’s point shoes.

Using the long oval knife let’s push darks and lights on the legs being sure to look at the whole painting for consistency of values.

You may find it useful to tilt your painting to use the natural ability of your wrist to paint rounded shapes while refining the edges.

Look for areas to adjust the shadows and highlights around the point shoes and under the ballerina. And, don’t forget to sign and share it!

~Conclusion~ I hope you learned some interesting oil painting techniques! Never give up and keep on painting. As a reminder, I would love to see you work – please share it with me on social media!

HMVierow

@hmvoilpaint