The linner brush is exclusively used for details. It comes in various sizes, and my recommendation is to have sizes from triple zero to zero. The lines created by this brush are very thin and precise. When it’s new, you should use it for the most demanding details. As the brush gets some wear, the…
Let’s create some foreground meadows. I continue working with the same colors we have used before, rotating them throughout the composition. Why? To maintain COLOR HARMONY. Going back to the meadows, the paint should be quite liquid so that it flows and the strokes are rigid. We vary the shades of the meadows to avoid…
Let’s start with the Female Figure. We’re going to create a color in medium tones, practically going towards the light of the skin color. We’ll work with Titanium White, Yellow Ochre, Naples Yellow, Burnt Sienna, and Cadmium Red. With these, we’ll create the skin color. In this case, the skin color we’re going for is…
Let’s paint the reflection on the water. But first, let’s paint the Sun. How do we do it? For the center of the sun, the part with the most brightness, I add pure white. This white will blend with the yellow base of the sun and create an interesting glare. Using a circular brushstroke, we…
In this case, we are going to address the more landscape-oriented topic. We are going to create a nocturnal landscape with Northern Lights. And as a first step, we will begin with sketching the artwork. To make the sketch, I use a number 2 or HB pencil. It’s my favorite for drawing because it’s precisely…
We have a freshly started sky. Add and create different warm tones and distribute them in different sectors of the sky. The important thing here is the technique we apply, one of the most important and that you have to master NO MATTER WHAT. The gradient. I’m going to start blending a bit because the…
Let’s work with the palette. Let’s prepare the color. We’re going to make a sort of wine stain below the palette. A very dark red. Always leave space on the palette. I’m leaving small remains in case I need to touch up each mixture again. Until the end of the painting, I try to have…
Originally, I wasn’t trying to do this, but it seems to be yielding VERY INTERESTING results. It’s called IMPASTO. It’s when we apply an excessive amount of paint or material, creating a raised texture. This texture is actually helping me a lot (I think) in creating the impression of WAVES. So, despite it being just…
Hello! Today I bring you a very powerful technique for advanced sketching. It is a traditional technique using THREADS. Why threads? Because if I start drawing directly on the canvas, it will be filled with graphite, and that will bother me later when erasing it. It will also be troublesome when it’s time to paint….
If you feel afraid or insecure when sketching for your work, or if you feel that you don’t have drawing skills and that ends up ruining all your work… The technique I’m about to teach you will serve as a guide throughout your sketch and will allow you to maintain the necessary perspective and balance…
