Lessons Archive

As with all of the continuing videos, in this Part II we will be working through the later phases of manipulation of your key areas–edges, values, and shapes–until the finish is obtained.

In this exercise we will take a close at the first of four "mannequins". This mannequin is at the core level of figure break-down and invention, so take note.

In this lesson we will continue to lay-in abstractions of shape, color, and edge. Jeff will show various tools, such as palette knives and even fingers (along with your brushes of course), that can be used to get the desired finish.

In this lesson Jeff will introduce you to a style he is mostly known for in his own work. Used by such artists as Antonio Mancinni and Nicolai Fechin, this is quite possibly the most difficult but engaging of the key styles we have looked at in this phase.

Now that we are close to full coverage we will slow down and really start finessing the bridge tiles as we strive for getting closer to the desired finish. We will do our best not to blend.

In this continuation video we go heavy into the tiles and coverage of the head. Tiling is a controlled way to introduce lifelike variation into your paintings.

In this lesson we will explore one of Jeff's favorites. Used by artists such as Norman Rockwell and Morgan Weistling, the "tiling", or shape recognition approach, offers great range. It also helps students learn to turn form with temperature and shape rather than over blending.

As with most of the part III’s we will be massaging our shapes, edges, and values as we strategically blend up to our finish.

Now that the surface has been covered I will guide you through the articulation phase, or where we begin to work up to the features.

This lesson is very similar to the Direct Approach. We will use an initial drawing, but later we will finish executing this painting alla prima, or wet into wet.

In this continuation we will now be adding more opaque passages as we cut and carve the paint into itself.

This lesson will introduce you to a classic approach used by painters such as Zorn, Sargent, and Sarolla. This method really helps to develop a keen sense of value and edge control as you work wet into wet with the oils.

Now that you are getting a bit more comfortable with this method it is time to see how to work the mid-tones up to the lightest lights. Then we will move onto manipulation of the edges until the desired finish is reached.

Now that you have successfully completed your under-painting in Burnt Umber, see how to use the Zorn Palette to place color on top.

This lesson is a continuation of part I, and demonstrates the later stages of the Burnt Umber under-painting.

In this lesson we will show you how to properly execute an under-painting in Burnt umber.