Lessons Archive

The pattern of the vase is established, and the silver cup painted.

Several roses are now painting to a semi-finished state.

Choosing the first roses to lay in.

The watering can and nest area are brought to a partial finish.

Deciding the best place to start building form.

In the beginning phase thin dark stains are laid in, as well as chromatic stains.

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We will focus here on all the rivets, dents, tilts and tattered parts….the cracks and open doors and all the other details that make our world and every object in it interesting.

Part 2 of 2

All the previous lessons lent themselves to clear rules, but mood, normally associated with fear dread, is an all inclusive element which requires a study of psychological cues to be fully implemented and utilized for subtler purposes.

Shadows can transform the even the most prosaic object into a sight to behold. This lesson is designed to reveal the uses and raw potential of shadows with the hows and wheres needed to fully utilize this in your art.

Overlapping is a powerful tool allowing us to sequentially step back into the scene and a useful device to link, contrast, and to play one value against a darker or lighter one. It is the single best unifying technique for producing tight compelling images.

Our objective here is to stitch together the scattered elements to produce a unified composition. Using overlap, soft and hard connections, cast shadows and a myriad of other devices we can join our scenes into a cohesive unit speaking with one voice.

This lesson focuses upon the dynamic of comparative contrasts such as: curves against straight, dark against light, unexpected verses the ordinary, frightening against familiar and combining these and many more to weave more powerful compositions.

Motifs are the standard beginning of all compositional study, with some new twists and directions on how to effectively use these motifs we can combine them in exciting new ways.

The purpose this lesson is to bring the viewers attention to the object of our choosing and without fail, to use contrast, shadows, linking of objects, control of distraction and to steer the eye on the path we have designed, producing the desired emotional reaction.

Part 2 of 2

In this final lesson you will create specified scenes using as much as you possibly can from all the concepts we have discussed. This is a daunting task, but you will will in time use them as if it were walking. These topics work when applied and are even more useful when used in combination with each other.

Join Robert as he covers many of the basic compositional elements setting the foundation for the rest of the lessons.

In this lesson you will explore contour using a master study. This will feel a bit more advanced because of the figure, but just relax. Contour is a very important concept, and this should prove to be a very eye-opening lesson.

Mead Schaeffer is another favorites of Jeff’s. Although lesser known than Cornwell he painted in an style very similar to him in both subject matter,staging and execution. Jeff demonstrates the portrait of the “Count of Monte Christo” with its subtle half tones.

Jeff Demonstrates an older bearded gentlemen, one of Jeff’s favorite types to paint and what a great head this is to copy.