Learning to Draw: How to Draw a Horse – Fine Art-Tips.

I am Leonardo Pereznieto and I am so glad to see you again. Today I’ll draw a pony for you. I begin by practicing the line that I want to do. Then I sketch an organic pattern same to a peanut. This is how I start drawing a pony if it is in profile. Then I gently label where the intelligence got to go get up to, and also the sides of the animal. This is very light, and maybe it can’t be seen very well. I sketch the muscles which for right now will have a brilliant triangular influence. I sustain by now establishing some pattern to the horse. I do the leg with straight lines.

The hoof leads about here. And now the hind leg. I will rapidity this out otherwise some of my students may fall asleep, and I will get disconcerted with the store. I do the form of the intelligence, and the features. This peanut is slightly long, I’ll make it shorter. The tush. I begin shadowing. I’m utilizing a couple of pictures as a remark, but I require the muscles and bones to show in my pull, it was, therefore, gazing richer and most realistic, but as I can’t see those in the picture, I am also utilizing a pony anatomy chart. I hope that with all of this, I can get a good ensue. Here, for example, I glean some muscles. I lightly indicate the rib. And I continue in this way, shadowing while doing the pattern and the details.

There are some other bones that one may watch, like the knee. I reinforce some darkness and then put some reflexions with the eraser. Exceedingly well. I hope at no time I woke up everyone else who has fallen asleep, but predominantly I hope that it was helpful for those who manage to stay awake. In the comments, I would love to know what do you think about it.

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Geometric Abstract Art lesson preview how to paint large texture artworks

Today we’re gonna take you through an abstract artwork. We’ll do it step-by-step. But we’ll fast motion it up for you, so you’ll get to see the whole situation are working together. So sit by and enjoy.[ music] Well here we have another finished artwork. I hope you enjoyed watching the beginnings of this artwork are working together. I wasn’t able to show you the full artwork because it’s such a slow artwork to create. You gotta be so slow and meticulous. It would have taken such a very long time on the video to do that for you. So I’ve just added a short peek to seeing how you see it is working together. It’s just a matter of putting colorings on top colorings. To start off with. I used a beautifully textured base to start off with. And that presents us a real interest in the artwork. I’ll zoom in to be allowed to “ve got a bit of a” seam, and you can see all that texture lead-in that I’ve being implemented in underneath here to get those textures working for you. Then once you’ve got the texture on, you’ve gotta be able to tape up all of these shapes, and we’ve gotta be able to do that in a manner that is that we are able to hinder those sharp boundaries without color bleeding through where all the rough edges are on the texture underneath.

So I’ll be demonstrating you the step-by-step format on one of my next DVDs in my series. So if are you gonna go to the website, check out the website and check a whole piling of other art lessons with entirely different art styles. So, I hope you enjoyed that. And until next time, happy depict.

Recycled Pallet Wood Art: Using Pallet Wood and Random Items to make Wall Art

The Wave All right here’s some of the material I’m used to trying and making this recycled wall artwork. I have some pallet lumber, some old barn wood, some glass scraps, this thin piece of plywood, and then I have some old Christmas lighters. I’m going to go ahead and get started by putting the pallet lumber onto the plywood.* Spray paint* So there you go recycled pallet wood wall artwork. Overall I think it turned out kind of cool. It was just basically a merriment job because I’ve been having this idea about wanting to be all artsy and uh…

Make the kind of uh … like a framed artwork piece use pallet lumber and some up random scrap cloth so this is what I purposed up with I’m jubilant with it, you know considering I’m not artsy at all. I suck terribly at outlining and you’ve maybe noticed all I ever describe are waves because that’s all I can describe so busted out a ripple over there I did kinda like a little floral situation.  Over here with the glass you know the palm tree in some buds and material like that in the background, it’s kind of like uh … this a little painted graphic you know what sun lights come out represent a sunset with the nighttime coming over the top.

So finished yet up there with a barn lumber chassis and oh yea the best part oh yea twinkling starring kind of cool, huh.  So yeah, that kinda finished it up with the stars That’s just old Christmas lighters with holes drilled, and I poked the lighters through and I just kinda think it generates it fresh effects, so that’s it for this week until next time Stay bummy beach bummy LOL !, that was stupid.

Basic Oil Painting Techniques: How to Finish an Oil Painting

On behalf of Expert Village, my figure is Vince Fazio, and I am here to talk to you from the Sedona Art Center about one conference oil painting. To some extent it’s good too, toward the end of the process, a pace away from your painting, travel has a bowl of coffee, do something else because you are going to come back to it and you’re going to look at it with fresh eyes. If you can, it is best to forget about it. Speak something, do something that confuses you. And then come back to it, and that first glimpse tells you everything you need to know. A famed artist formerly replied “Content is in a glimpse” and no matter how long you work on a painting that’s true. So, what I did is I came back, and I looked at the edges of this figure, looked at the values and colors around the above figures and used all those figures around the above figures to isolate the figure in words of the silhouette.

And then went into the figure with the values and tints. The terrace got lowered, the purse implemented in, some little highlightings of stuff she had sitting on the patio. That constitutes kind of a nice color note out there. Kind of fetching some of the light blue-blooded from the sky back in down here. This became very, a vibrant green color. And, again I brought out the things that were initially attracted me to the image, and that’s really the extent. The painting took on a little more life when I added these bright pinks into the, not pink genuinely, but bright colors, beige kind of color to make the soil. And so I have what I started out with in my initial thumbnail sketch. I have a passing of light moving through the image, from background to foreground in that direction. And the above figure is an average episode in that passing of light. This painting will be posted on my blog where I will be, depictsI’m indicating small scale illustrates that I do as learn draws that are just done on a small scale.

From: Youtube

Polymer Clay Landscape Painting Tutorial (Intro Vol-083)

Hi, guys, this is Cindy Lietz, your Polymer Clay Tutor, and this is the introduction video to my paid tutorial serial; Landscape Painting in Polymer Clay. Now, these are really tiny little mini- paintings that are done on canvas, just like these little ones here, and they’re stretched canvas, but they are completely covered in Polymer clay. So the whole situation is done in Polymer Clay, the backgrounds, the covered on textures, the 3D elements in the paintings are all done in Polymer Clay. So I’ll show you few different instances here, I’ve got this tree here, that’s got … you know the textural tree and the wheeling mounds in the background … and all of these little mini paintings are more on the general feature, they are not supposed to look super reasonable. Now I’ve also … right to the side here, I’ve got another drawing does so with a cherry tree branch coming from the side, wrapping around to the figurehead with a cluster of little blooms and kind of a sundown and wheeling hills.

Down below here, I have another minuscule little person, this one’s only 2 inches by 2 inches, those other 2 were 3 inches by 3 inches. And this little one is a coast incident, it comes beach and small seeds and ridges and lake. It’s more of a lake event with the mountains and substance there. Now over here, I’ve got a couple more paintings, both does so with the same backgrounds but imparted entirely different effects.

This one has a real modern look to it, it’s various kinds of just straightforward and clean lines with a textural horizon way and the little 3D sun there and the little strings in the base percentage to give kind of the inspect of pastures and stuff. And then this one here is much more textural, more painting- like, and it’s got ridges in the background and a little tree in the figurehead foot there. This procedure can be done on this little mini canvas, and I’ll show you some examples of the paintings that are available out there.

You can get the little 2 by 2 stretched canvas … I got these at Michaels actually, and so they are available in quite a few targets. This one is a 3 by 3… or you are eligible to buy these little easels for the paintings, which are utterly cute. And then, I likewise got a change of these light-footed colored easels with a cluster of coat cards. So they are not really stretched canvas, but they have an art composition on them, and that’s what I did this one drawing on. And then I likewise find … actually, at my local dollar supermarket, a really nice little easel and a little bit bigger unfolded canvas and then, of course, you could do any sort of width you wanted are dependent on what the fuck is … it has to fit in your oven, though. But I actually affection these little guys, it moves for the purposes of an easier … not exactly easier, but a neat little big project to do, consumes hardly any clay and you can do quite a few different instances without devastating your opening with large paintings. I think you’re gonna really affection this tutorial it’s got lots of tips-off and techniques that can be used in lots of different areas of Polymer clay.  You could even use it in jewelry, these little mini- paintings, of course, would be charming in a doll room but they would be lovely hanging on your wall, turned into magnets, even a piece of jewelry if you wanted to.

So, we will hopefully see you in the next video of this serial.

AB EX NY: The Painting Techniques of Franz Kline: Chief


Around 1960, when Franz Kline had started selling some prints, uttering some money, he had been working roughly exclusively with residence coat. Now, Sidney Janis, his gallerist, didn’t like that mind so much, perhaps because he was go looking for great art premiums, not hardware store premiums. What he did one night, was to break into Kline’s studio, take all of the members of this house coat and supplant it with Winsor Newton fine art pointed paints.

The next day Kline came in and replied, “What is all this? ” Took it out of there. Went back to the hardware store. Come to some more residence coat and went back to cultivate. Why was Kline so enamored with house coat? Because it’s cheap. Because it’s kind of crass. Because it’s kind of consumerist. Because it’s not fine art. All of those are on the table. How about the material itself? Let’s take a look at the studio. Gaping at the coat in the can, it seems entirely different from artist excellence coat. It’s very, terribly fluid. It was bone-dry to a terrible, very difficult terribly, terribly flat and high silky face. Things that were all terribly seductive to Kline, in addition to the viscosity of coat that could be attracted across the canvas with a brush with this coat, because it is such a low-pitched viscosity coat.( jazz music) Gaping at Franz Kline’s Painting announced “Chief” from 1950. You might be surprised to learn that just two years before the uttering of this cover, Kline devoted the majority of members of his time in the studio uttering figurative drawings and prints of things like furniture, chairs, for example, .something that searched a little bit like this. It was a transformative minute for Kline. He realized that the abstract language that he wanted to pursue was based on that figure on a grid, or in such a case, black on lily-white.( jazz music) When Kline decided that he was going to become an abstract painter it does not mean to say that he was done with drawing.

In actuality, this cover, which looks very spontaneous, looks like it perhaps could have been done in just half an hour, maybe even less, actually was the result of cautious subjects. Kline made abstract representations and then relatively carefully assigned those images onto this vast scale cover, again with fast dripping enamel coat.( jazz music) It’s still one coating more complicated because this is not merely black on lily-white. This is actually black on lily-white, but then lily-white back on top of the black,

Around that time, Kline called his pal Willem De Kooning. De Kooning invited Kline to demonstrate him a new plaything, a projector. Something that could grow an attractiveness or photo numerous, many times, up to the scale of, announce, a wall. Kline, at that point, was reaping these chairs, if you will, on the sheets of a phonebook. When he projected these onto the wall, he realized that they’re so large that no longer could you assure the chair. In actuality, you couldn’t even speak the amounts and words of the phonebook sheet. Instead, he abstracted black on lily-white, or in that case yellowish in the phonebook, abstracted epitomes out of his source fabric, again drawings and the numbers and words in a phonebook. What Kline find was black back on top of the lily-white again. It’s an iterative process. Establishing and going, if you will, between these two emblazons. One step substantially, we’re not speaking about just one color lily-white. If we look here, we have the manner of a chill, crispy searching white.

If we look here, we find a much warmer lily-white color. Depicts like this are often refers to as war paints because we can roughly reckon the painter as a kind of dancer whose campaigns in front of the canvas are recorded in time and infinite.

Tips to Draw Better in 6 Minutes: The Line- Fine Art-Tips


Hello, and welcome to another to Tuesday! I am Leonardo Pereznieto, and today I’ll give you some tip-off, that I am so sure they are going to be helpful that I ensure if at the end of this video you don’t attract better, just let me know, and I’ll give you, your fund back in full. Oh, you didn’t pay for it, did you?. Doesn’t matter, it will still help you. This tutorial is going to be about the line, how to do it clean and richer. I will attract a very simply beautiful figure. First, do it in the way that most of us will seduce to do it. What I mean is that we will be very meticulous, a bit uncertain and we will have back on forth moves. I do this myself all the time and consciously, try to get out of it. I’ll speed up at the shoot a little bit.

Ok, we are back to real time acceleration, and this is what I call chicken stairs attracting. Ok, very well! Next, we are going to see a clean line. But before we do that, I crave to tell you something … The line as you know, maybe light and thin … or small but darker … or dark and white, among many others, and you can use these to enrich your attracting. Let’s say that the light source is on the top left. Then the ignites that face this, is likely to be lighter, and the opposite ones will be darker.

This time I’ll try to shape my line cleanser. For this, I practice the free movement of persons a few times without touching the working paper, and then I attract it. I celebrate where the shoulder “must’ve been,” and then I get there with a continues line. I am is still very soft since this part of the body is the one getting the most sunlight. For the next one, I celebrate my target, then I practice two or three times.

And then … foom, and I go over it as need it. This part is a little darker as it doesn’t get as much sunlight. I practice the next curve and do it. And persist like this. I practice this back part of the look and do it. I celebrate where the shoulder will go and got to get with a single line. I visualize the back, practice and attract it. I persist … foom, foom trying not to shape chicken stairs. The center line of her back will be almost invisible. This portion of the look is likely to be darker, as it is currently in shadow. As well as this side of the back and of the arm. Especially the lines that are facing down. When one surfaces touches another one, is rendered what in attracting is called an accent. Accents are going to be the darker and wider pipelines. These ones are also traveling to be light as it is facing down and therefore in shadow. I’ll go over a few others. I virtually forgot the dress. Ok, it’s ready! Here we can see the difference between chicken stairs attracting and one that looks much more set, clean, professional, and that shown in the volume, even if it’s just a line! If this tutorial was helpful, delight, pass it a LIKE! And subscribe to my channel.

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