The Travelling Artist: An Introduction to Oil Painting | Robyn Whale | Skillshare

The Travelling Artist: An Introduction to Oil Painting

Robyn Whale, Artist | Pilates Instructor

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9 Lessons (33m)
    • 1. Introduction to Oil Painting

      4:31
    • 2. Raw Materials & Supplies

      3:43
    • 3. Life Drawing for Oil Painting

      2:48
    • 4. Oil Painting Lesson 1: Breaking in the Canvas

      3:47
    • 5. Oil Painting Lesson 2: Mark Making in Detail

      2:35
    • 6. Oil Painting Lesson 3: Selective Painting

      4:09
    • 7. Oil Painting Lesson 4: Glazing

      3:44
    • 8. Oil Painting Lesson 5: Correcting Mistakes

      2:41
    • 9. Conclusion

      4:36

About This Class

Are you new to oil painting and would like to understand what it involves? Or have you been painting for a while and would like to explore new techniques to add to your already existing skillset?

Robyn loves to travel and gathers her inspiration from far off destinations to create her artworks. Robyn has been painting since she was 12-years-old, dabbling in oil painting and acrylics, as well as a variety of other different mediums. She is self-taught and would love to share her experiences, knowledge and creative process with you.

In this course, Robyn introduces an overview of the oil painting process and what is involved. Robyn has selected a very personal, inspirational reference from her travels in the Philippines in April 2018. She stumbled across swings that inspired an unexpected love story, which continues to this day.

In this 30-minute class, you'll get insight into her personal process, from the beginning to final stages. This fun and informative course will cover numerous techniques and will include lessons on raw materials & supplies, life drawing for oil painting, breaking in the canvas, mark making in detail, selective painting, glazing and correcting mistakes.

So, if you're looking at getting started or are wanting to get to grips with new techniques, this is a great place to start.

Happy painting and looking forward to seeing you in lecture 1!

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Transcripts

1. Introduction to Oil Painting: Hello, Welcome. My name is Robin. I'm an artist. I have Bean an artist for as long as I can remember. In fact, I remember my first official artwork was when I was 12 years old. I painted it in acrylics and I knew then that I always wanted to be involved in art in some form or another. And in fact, I ended up in the fashion industry and I I was there for about 12 years until the point which I lifted altogether. That was in 2012 Andi. I decided to pursue my love of oils and Teoh dedicate my time fully, Teoh learning about their mysterious and magical qualities. And I have been doing so ever since. I really love oils because they seem Teoh. Oh, I seem to be able to achieve a certain depth and luminosity in my work, which I struggled to get with other mediums. I do quite often double in charcoal or pencil or even watercolors acrylics. But I feel that my main absolute 11 life are oils. And so I focus my attention bay. This year I started to travel and I've had the absolute privilege off visiting the most beautiful destinations around the world. I started in Southeast Asia, and I've bean around through America and I'm still on that journey. And so, essentially, I'm a traveling artist, and the way in which this benefits my life so much is it's just inspiration every way. Salgo. After I'll go to Indonesia into the middle of Norway. Oh, I'll go to barley while, or I'll go to Japan and to the cherry blossoms and take photographs and drool and right and think and drink a lot of coffee and then bring all of that wonderful stuff back all that inspiration back to, then try and create beautiful artworks in oils. And so that's how I get together, all my inspiration for my art. So the reason why I have decided to introduce these courses is too bring you into the world of the traveling artist. This course, in particular, is going to focus on a Seascape from the Philippines. - I just like to remind you that I am self taught, and so everything that I'm teaching in this course is from my own experience. There are many methodologies out there in many ways of painting and theories and advice that you can get from different platforms, but in my course it will be based on my own experience of off off oils and what works for me. 2. Raw Materials & Supplies: 3. Life Drawing for Oil Painting: because we aren't using the grid system for precision in the execution off the composition In our painting, we are relying on our hand eye coordination and ability to see. I mean, really see the faced example illustrates drawing with ink from a pin. I would advise keeping your eyes fixed on the subject, attempting not to lift your pin from the page. A challenge, yes, but with practice, it becomes possible. Search for shapes as opposed to the subjects. Obvious components. Pencil is in a progression into line and shading. It is more forgiving than charcoal or even pin, for that matter. Not only are you looking for the outlines of the shapes, but you're being introduced to the shadows to start to become experimental with the way. Use pencil. Avoid traditional sharpness that rather up to four blades and then angle your pencil with different grips. Always maintaining to keep your eye on the subject. Don't be afraid to be experimental. No mark made is wasted. Charcoal is a great method of searching for light and dark shadows and highlights. Much of the time we focus on drawing the subject rather than what our eyes actually seeing . Draw a rough outline as a guide and then try to work the shadows from inside the form outwards. That is the pittle belief. The stem look for the substance that the actual form is made off and how the light catches it. You may notice your circle judge criticizing your attempts, but every attempt is a step forward to progressing with your art and ultimately, your oil painting. Try and put time aside once a day to draw from life. 4. Oil Painting Lesson 1: Breaking in the Canvas: welcome to our first lesson of oil painting. This lesson is about making your first marks to the canvas and plotting the initial composition. One of the most intimidating parts of oil painting is breaking the canvas in, as I like to call it, grabbing a broad brush turpentine on a transparent color or two. In my case, a mix of lemon, yellow and fellow turquoise. Apply this to the canvas. Transparent colors aren't as severe and so a little less intimidating. Then gradually add more colors to the palate on the canvas itself. This may not be the traditional way of painting, but is an experimental nudge. When getting over this fear. Have fun with it. At the second stage of prime ing my canvas, I've decided to add a darker turn of blue, namely French Ultra Marine. I'm starting to look at the horizon line, ensuring I'm blending fully and adding enough of the pain to turpentine ratio to avoid running or bleeding of the surface. The white surface should be covered completely at this point. Now it's time for mock making. The surface is wake from the turpentine application, and so add French ultra marine slowly and very loosely applying the paint in accordance with my reference. In this case, I'm focusing predominantly on the shadows within the ocean bed itself. There is theocracy in tow. Wait for the painting to dry before moving on to the next phase. But in this case, I've decided to add or Paige paint for implementing the position of the clouds. I'm using titanium white with a speck of lemon yellow, still utilizing turpentine as my medium. At this stage, I start to loosely work the clouds with a medium hugs hairbrush with rounded edges. This helps with controlling and catching the ages, but my suggestion would be to rather not get too finicky about detail that will come later . Paint suggestively for a rough outline of where the clouds are positioned in relation to your image. With this approach, it's easier to correct mistakes when find tuning the details. Watch as I use my brush to scan the surface, searching for blocked areas within the clouds. This is called blocking in abroad technique. To get the shape of the form in place, this painting will ultimately strengthen your hand eye coordination without getting to court up in detail just yet enjoy mixing the colors on the canvas, blending their paid paint into the wet surface that's already being prepared for you. It will enrich your palate at an early stage. 5. Oil Painting Lesson 2: Mark Making in Detail: Hello and welcome to our second listen in mark making in detail at this stage, we start. Add linseed oil to the turpentine. Ah, half, half split ratio. Although linseed oil is not toxic, I would advise always having an awareness around the solvents you use. We will also now be adding a Paige titanium white. Our palette of transparent hues mixing a small amount of oppression blew a teeny bit of lemon yellow with the opaque titanium white. Now medium. Start to search for the patterns in the water. Study your reference beforehand, investigating rhythms, shapes and movement and then work the hands steadily to replicate this through brush strokes. Pick spare mental with it used the history of what Marx already exist, painting in unison with them, allowing them to assist with what new marks you make. This will create dips in the detail as you may notice the history in the glaze work in previous mark making compare vital role in informing or adding to the more intricate work we are adding to now in the forefront of the water I'm working in. My main objective is to try and achieve transparency by working in linear inspired shapes, maintaining the ocean bid underneath. I condemn use glazes later on to enhance this. It's a process of fluidity and control and can only be achieved through trial and error, but mostly by practice. I then work further back into the painting, ensuring consistency throughout. I prefer to work a whole surface if I can, and then glows over to consolidate and let the entire composition together. That is not always easy, particularly with bigger paintings, but will encourage you to work more loosely and freely at this early point in painting. 6. Oil Painting Lesson 3: Selective Painting: Welcome back to our third lesson where we will be specifically focusing on painting. Clouds will be using a medium to large brush with Indian yellow, as are chosen transparent color. Ensure that the surface of the sky is dry before continuing. Indian yellows. One of my most used and favorite colors. It's brilliant for glazing with I've chosen it because I want to add warmth to the base of the sky. Mix without two way medium loosely plays the entire surface. I would suggest glazing over the horizon line into the ocean so that it blends and doesn't cause too much of a severe line with waiting. This surfaces attentive plays. I'm then able to blend the clouds with more than one color we're going to then use a small and medium sized brush, preferably with slightly rounded edges. Using a mix of a Paige titanium white and transparent French ultra Marine, start to loosely apply the pain to the clouds. With the smaller brush, it might seem quite severe market first, but then stuff in the ages with the medium brush, working in circular motions from the middle of the cloud outwards ensure the larger brush states relatively dry that is, don't initially with the brush with the medium. If you're finding its naturally becoming moist, just use a paper towel to dry it off. I would actually suggest going outside and studying the clouds. The real thing. Additionally, gather more than one reference of clouds for your painting, then, in painting the clouds just above the horizon. It is much tighter in detail, but I would avoid any hot ages. You want to try and stuff in the ages as much as possible. Think loose, floating and powdery layering of varying transparency is like shadows and shapes. I would naturally follow the line of the horizon, but remember not to get too caught up in the linear as a young child would color outside the lines. Look at magnificent horizons that inspire you and take them into your painting. Essentially, you are painting your experience of clouds or anything else, for that matter how it all made you feel at the time. Wen's awareness and senses are both crucial and developing as an artist, by all means, as I'm clearly demonstrating in the video, use the reference until such point that you feel comfortable enough to paint intuitively from my own experience, the aim is to become the master of the painting rather than a slave to the photograph. That's why it is important to collect more than one reference. But there will come a point when you will no longer need it. It is then that you will authentically interpret the world around you and ultimately introduced your own unique style of painting. 7. Oil Painting Lesson 4: Glazing: welcome to lessen foreign oil painting where we will be talking about blazing. Probably the first question to ask is what is glazing blazing is a technique we want can apply transparent to semi transparent paint over the dry surface of an under painting without changing the fundamental mocks made previously, it has the ability to add wonderful depth and luminosity to your work. If used correctly, it is if you're applying medium to a surface but with a pigment attached. At this stage, I would advise adding a quick drying medium which will assist the glazing process. Such a silken or liquid therefore mixed together third Turpin time. 1/3 linseed oil and 1/3 Selcan, or the equivalent it is only necessary to apply a small amount of medium. As transparency is already contained in the transparent pigment, the medium will literally allow the pain to spread across your surface further and to speed up the drying time. The fact of a lean principle applies here too, and so it is important to keep adding the same medium as previously applied to your layers to retain flexibility in the paint. This will avoid future cracking. There are two types of blazing I go by, namely general glazing and selective glazing. Let's start with general grazing. This method of glazing covers a broad area of the canvas. In this case, I am glazing the water in the forefront with a lemon yellow, covering all the previous ripples and mocks made without changing the equality. My main objective is to assist with encouraging transparency in the water. Additionally, I want to give it a vibrant glow, which I remember is being so evident in the Philippines again, I'm making a conscious effort to recreate what I felt like at the time I was in my environment. Selective glazing, on the other hand, is a method I used to work loose detail into specific areas. It could be considered additional mock making or just emphasizing mocks that already exist within the painting. In this case, I'm using docker glazes to reiterate evident pockets within the ocean bid, which appeared to be either areas of cult Carl or sinking depths. I like to step away from my canvas to allow for perspective. It's almost a ziff. A dance begins between yourself and the artwork. Painting can become very active indeed, it's necessary to do this, to be able to ascertain if this method is infect, adding dicks and a three dimensional component to your Seascape. 8. Oil Painting Lesson 5: Correcting Mistakes: hello and welcome to oil painting lace and five. So you're all ready to go. You've happily chosen your color palette, having mixed the correct medium, you know, adding further details into the water, wanting it to look a little more three dimensional. You feeling like you got this? You've mixed a glaze and I carefully working it over the swings. This detail took an immense amount of effort to look the way you want it to. Plus, let's not forget the waiting time to dry, and then you look at your reference, and the next thing you know, there you are, rubbing it all out with a paper towel and your Turpin time. Firstly, identify what isn't resonating with you. In my case, the painting the too dark with too much detail in the backwater. That's preventing perspective, I think Mixed, attempted or Paige with a fast drying medium and loosely work the area in an impressionistic sort of way, creating illusion rather than perfection. This wouldn't show you covering the era and creating space to work with. I'm now adding highlights of Indian yellow to the titanium white, purposely wanting it to look sun kissed and romantic. I'm Upton not to color in the already existing detail, but rather to work with it, adding live to the white fabric on the swings. The variety of colors is attractive and becomes more realistic pain suggestions rather than fact. Remember, it's not about copying image. It's about designing your own signature. I also felt the sky was to dock on the surface, needed more paint, mixing titanium white with career Liam hue and very little fostering medium. I'm likely brushing over the surface, illuminating the selected areas of sky. 9. Conclusion: Okay, so we come to the end of the course. Thank you for joining me. I hope you've enjoyed it as much as I have and can really take away some beneficial techniques and skills to apply to your soil painting. As we all know, oil painting is a lengthy and complex medium and takes time to develop. And the reason why I say this is because the painting that I've bean using as a demonstration throughout the course is not yet finished. In fact, what I'm gonna do is I'm going to apply the very techniques I've taught you to the painting and to develop it over a period of time over several months. And when I feel like the painting is complete, I will upload it for you all to see. I would like to make a suggestion that you to get some sort of journal purchase a journal where you can document everything that you're going through Western painting process. So the pain see, used, the mistakes you made and how you resolve them. What you did really well, this will help you to actually review your yourself in your progression. If you look back on the Journal. As well as looking back at an issue that perhaps you need to resolve again, you could read up how you actually resolved it and then apply to your new paintings. So it's a really useful tip in terms off keeping up today. Tore Stain conscious to your painting process. I also think it's very important Teoh review your work objectively, so to look at the things that you did really well and the things that you could work on. And that's what I'm gonna look at now in the painting, I'm happy with the overall look and feel of the Seascape. I started out using the reference to plot the composition, which is relatively accurate, with not having used a grid for precision. In the beginning, I have been added my own touch to try and achieve an ethereal quality. For example, the clouds are much softer and plump. The structure is in place, so I'm feeling confident about being a little more experimental with light in color. Having said that, I feel that the paintings started off too dark and overly green duty over glaze of yellow and blue. I am therefore, as you can see, working on lighting pockets of areas in the ocean and will continue to experiment with glazing and detail until I achieve the correct luminous turquoise color and illusion of transparency. I'm still unsure whether or not I will add vibrant color to the swings as the white almost symbolizes a spiritual component. And that is essentially the focal point that will take a little bit of courage and trial and error to realize this outcome again. Thank you so much for participating in the course. If you have any questions or would like feedback on your work, I'm available. Teoh chat about that and to connect of you. And I would so love that I would also really appreciate it if you would take a few minutes of your time to review the course, and if you really enjoyed it to give it a thumbs up, I would be most grateful. Happy painting. I hope you have a great day and hopefully here from East