Acrylic painting techniques - Light & shade (Part 1 of 2) HD

[Music] morning class unwell Kemp from will count art school and this week we're going to be looking at how to turn a form using a critic paint understanding how light and shade works and how it can make a massive difference in creating realism in your paintings this is the painting we're going to be creating this lovely little Apple study it may look complicated but we take it a step at a time and build it up with a very simple colors the first thing we do is a tonal ground to give us his lovely ground color underneath the Apple and then we block it in slowly just with one larger brush and one small round brush and that's all we use throughout the entire process so grab a little canvas grab a brew couple of biscuits and we'll be ready to start learning our lighting shadow work in your paintings [Music] [Music] so once I've got the ground color down this really nice bright color here and I've drawn out the basic shape of the Apple I've got this line in here which is a shadow line where the light goes away from the form you can see it here on the reference image you start to see that's where this line is hitting here I've also very very lightly marked out where the highlight is on the actual Apple and I've got this straighter line here which is the top of the Apple so the circle shape is very faintly just in there so just work within that and then you can start to judge your shape within the whole of the piece it's the first thing I'm going to do is just block out some of this background just so it's easier for us to judge the colors within the Apple and I'm just using raw umber this is raw umber straight from the tube this is a heavy body acrylic paint this particular one is from golden paint and the brush that I'm using is a rose Rico ivory filbert brush this is mainly used for oil paint but it's equally great for critics you've got a nice fill but edge to it it's got a nice bit of stiffness for moving the actual paint around and this going to be great for this first blocking stage of this painting I'm using a short handle because I'm working quite closely to the canvas so it's more like a pencil really in terms of its actual size when you're working with it so outer screen I've got some kitchen roll or paper towel where I can just dampen off and put my water into the actual brush to start to change the consistency of the paint and I've also got a water pot just out of shot that I can add water to change the consistency of the paint just going to put out a bit of titanium white and this is a touch of ultramarine blue so I've dipped the end of the brush into the water so this is just the raw umber to start with I'm just gonna really watery wash that on you see how when I work to the edge I'm using the side for filbert so I can go into the edge but I'm not going to straight up to it it keeps it nice and soft so I'm just doing this really just to get my eye tuned into the tones that we're looking at and start to check any shapes in the Apple again just dipping in some water here I might add a bit of the white so I'll keep on dipping in it to the water just so I get a nice consistency and as you get closer to the tone that you're after so Tony's just how light or how dark that mix is you can start to go thicker as you get more confident with that tone so that's looking nice for this side so I can feel confident I can block that in there I'm still leaving odd bits of the underpainting to it I might darken it off later but it is just to give you that bit of movement into the background of the painting I'm just adding a touch of the ultramarine blue and this will cool it down so it'll be nice and cool in the foreground so now you can just darken down that tone a bit still just with the raw umber and the ultramarine blue to make it a little bit bluer for this side of the painting so now just swapping to a rounder brush any small round brush is absolutely fine just so you can get a nice point to it to put in some of the darker areas on the stalk so now just add a bit more of the blue into that rule run birth to get this really nice darkest tone touch of water on the brush and you start to paint at it in a very darkest area it would form the car shadow and swap back to the larger brush it's light lightens as it gets to the end of the car shadow and then it softens off even more let's keep our edge sharp but soft so now I've got cadmium yellow light it's what you can just do is mix the raw umber and the cadmium yellow light and you'll get this lovely tone that is perfect for the form shadow area do you see how again on the side just turning the form touch more water to keep this quite thin the application because we want some of that warmth while some of the yellow color underneath to subtly come through when you're just working between these two colors you can just keep on judging your eye to your painting and you just have to worry about these two that's all we're concentrating on it turns around the top very gently you can add a bit more of the yellow which will lighten up the tone as we get down to this bottom area so we've got this subtle transition from the darker tone at the top getting lighter at the bottom as more that reflected light comes on to the bottom here of the Apple you can also add a little bit on this edge notice is very soft the transition between the two sides here if you want to reinforce that very darkest part again you might not need to on yours mine has just gone out a bit so I can start to put that real dark cast shadow in and for my painting I'm just going to be a lighter on this side just to give more of an illusion of the difference between the light and the dark now as I start to turn into the form I just put this on very very watery to start with and you'll start to see if I just add the yellow to it we put it onto here it's gonna be far too green as it is we're going to need something into here as we're turning into the light that's going to warm it up it's nice and cool in here and you can even emphasize that a bit more on this shadow just so you can see it so just put that nice mix there so to warm it up the rule rumber is going to be too cool because if we just look at the raw umber with white on its own it gets very very cool shade there so we're going to need something else in our palette to warm it up and I'm going to use some burnt sienna so now I've got the burnt sienna I can just start with that same mix again of the raw umber with some of the cadmium yellow light so I get that tone that's close to this here but then I just have had a little bit of a burnt sienna to it and that just warm it up really nicely [Music] [Music] so now you've got that basic form in you can start to look more closely at the Apple and start to see any differences in hue as in the warmer areas here you can then start to add thinner layers on top just so you get that sense of form in your painting so now just with the raw umber and the yellow I can just look at the form core Shelly the darkest part here and just emphasize that a bit more and then just look for any of that reflected light again it could just be putting a little bit stronger with it thicker paint [Music] [Music] [Music] [Music] [Music] you

Channel: willkempartschool

Views: 2,057,097

Keywords: Acrylic Painting Techniques, Drawing, painting, will kemp artist, apple painting with acrylics, acrylic painting tutorial, step-by-step painting demo, light and shadow, form shadow, blending acrylics, three dimensional objects, painting a sphere, painting an apple, shadows in acrylics

Id: Ik2gwIAgS1U

Length: 22min 29sec (1349 seconds)

Published: Wed Apr 16 2014