"Iíve been painting on my own for a while and thought I was doing okay. Now that Iím taking this course I see so many things I can learn from that will make my work so much better. This is the stuff you canít get in art school anymore, sadly. Thereís no way your paintings canít improve after this course. Thatís how strongly I feel about it." ... Bob Akers., Crystal Lake, IL, United States
"I find your courses really superb in two ways: first they are very complete and comprehensive, and second they go straight to the point, to the essentials. Both my wife and I paint and we both agree that these art instruction courses are one of the best sources of education for people who want to learn to paint in a direct or alla prima style" Bernado Martin, Alicante, Spain.
"This course is truly well run, professionally handled -- and I can only echo the great comments of other students: I am glad, I enrolled in this course!! I got so much out of it already -- lots of explanations, areas to study up on, other artists to learn from. AND I am not at the end of the course, yet. I am getting more and more confident and bold enough to follow my dream -- to become a proficient and sensitive artist.
Erika, USA, 2009
"In my opinion, your material is the best I have found. It builds the basics, from the ground up, recognizing that there are no short cuts.....Your course puts all the right info into one package, and even more important, it gives me an organized, building block way to get these things into my head, and I have already noticed an improvement in my work," George, USA
Building Block: Brushwork
Powerfully enhancing your visual music.
What is included in the Brushwork Building Block?
Brushwork in oil, acrylic and watercolor paintings enhances the visual music of your work by giving it a second level of abstraction. If you zoom in on any part of the painting, it becomes an abstract painting in itself. This is one of those other skills that differentiates the real master artists. You can also apply dry media such as pastel or graphite for the same effects.
Some of the things you will learn:
Basic brushwork techniques - basic brushwork techniques such as how to hold the brush and how to achieve different brush effects. You will also learn how to use brushwork to give your paintings a more interesting abstract quality when
viewed close up.
Descriptive brushwork - how to use brushwork to describe you subject matter - the critical factor in developing interesting brushwork and in improving the abstract quality of your paintings.
Focal areas - how to make your painting more interesting by varying the amount of detail in different parts of the painting.
Suggestion - various techniques for taking advantage of the
principle of suggestion to make your work much more interesting
Edges - how to incorporate a full range of edges in your paintings, from hard to soft
Optical color mixing - a look at various approaches to allow the viewer's eye to mix the color rather than mixing them fully on the canvas
How does it work?
Academy membership costs $24.95 per month and gives you a private account on our system where you can download the lessons and assignments you buy in Step 2. You also get access to the Academy Online Campus where you can upload your assignments and share them with other students, as well as access to supplemental learning materials such as videos and examples. In addition you will get three months' worth of lessons free to get you started. After the first month of membership you will automatically be reenrolled for the following month. You can cancel your membership at any time.
Buy the full program or beginner program. We will then add these lessons to the account you set up in Step 1. This process should be complete within 48-72 hours.
Read the lesson materials, do the assignments, and (optionally) upload them to the Online Campus.
No Risk Trial
Try it for one month to see if it works for you ó you have nothing to lose. You can cancel at any time during the four years, even after the first month, and owe nothing. Just contact us to cancel your subscription.
"The material is very well presented and easy to understand - no lengthy explanations but short and condensed paragraphs with a load of very valuable information. Along with plenty of illustrations, this makes it a fun and easy study."
What is included in each course unit?
Unit 1 - Techniques
The way you apply the paint to your painting is important. For example, paint your darks using thin paint and your lights using thicker paint (referred to as "impasto"). WIth thin areas of dark you prevent light bouncing off ridges of paint and destroying the dark effect. When you paint light areas thickly, light bounce off the ridges of the brushstroke when the painting is viewed making the lights brighter. Interesting brushwork is one of the things that makes a painting a "painting" and not a photograph.
In this unit you will learn basic brushwork techniques, and how to use brushwork to give your paintings a more interesting abstract quality when viewed close up. You will learn:
how to and how not to hold the brush
how to use the brush to draw accurate thin vertical straight lines
the difference between control brushstrokes and free brushstrokes and when to use them
a technique for drawing thin wavy stokes such as tree branches
how to prevent your painting breaking up into a series of disjointed small shapes
how to use the carving out technique to paint complex shapes, and create hard edges
when to use thick and when to use thin paint, and why
how to use glazes to fix a color that is out of place, or to make your colors more luminous
the importance of point, line, and mass
how to enhance the surface of your painting with thick and thin passages
how you can emphasize elements of your composition using contrast
how working large to small helps you build a solid abstract foundation for your work
Unit 2 - Descriptive Brushwork
Each brushstroke must make a contribution to the description of your subject, and should not be applied randomly. This has two advantages: your painting gains strength since the visual field is simplified into broader shapes of a single color and value, and you can paint more quickly and so are in a better position to capture changing subject matter more accurately and more true to nature.
Tip: When you are learning how to create good brushstrokes, use larger brushes (sizes 12, 10, and 8) to cover most of the canvas, and use smaller brushes only for detail work.
This unit shows you how to use brushwork to say more with less - the critical factor in developing interesting brushwork and in improving the abstract quality of your paintings. You will learn:
how to improve the three-dimensional quality of your paintings using directional brushstrokes
how to create and simulate texture
how to convey the impression of movement
how and why brushwork establishes the emotional mood of a painting
how to use brushwork to communicate perspective in painting
why speed is important in helping you develop your own individual brushwork, and how to use it
Unit 3 - Focal Points
When you look at a scene that inspires you to paint it, remember that your eye sees only one part of a scene clearly in focus. You see the rest of the scene in a more generalized way using your peripheral vision. A painting should do the same for your viewer: the objects in the focal point or focal area should be in sharper focus compared with objects in other parts of the painting. Do not make the painting look like a photograph in which the whole scene is in focus.
In this painting of Calla Lillies and Oranges, notice how there is more detailed brushwork in the flower closest to the viewer, and more suggestive shapes as you move towards the distance.
In this unit you will learn how to vary the amount of detail in different parts of the painting. You will learn:
when to put detail and when to stay loose
the difference betwen freehand and control hand brushstrokes and when to use each type of brushstroke
when to work carefully and with a high degree of control, and when to work freely and loosely in an intuitive manner
the mop/rigger technique for differentiating your focal area from the rest of the painting
Unit 4 - Suggestion
Old master artists knew how to suggest a lot of detail without actually rendering it. Look closely at any John Singer Sargent painting and you will notice that an elegant dress is no more than a series of abstract brushstrokes. Old masters knew how to increase the viewer's involvement and interest in the painting by making viewers exercise their own imagination, which is almost limitless. No longer are you just showing the viewer what you, the artist, is thinking about, but you are stimulating them to contribute their own thoughts and images to the work. In this way, the viewer becomes a participant in the experience. If you depict everything to make it look like a photograph, you leave nothing up to the imagination of the viewer, who becomes just a spectator of the work, rather than a participant in it.
Look closely at the bunch of grapes in this still life painting. They were massed in using the general color of the grapes, then a few of the grapes at the edge and inside the large mass were picked out by modeling them with some reflected lights and highlights. This way the few rendered grapes suggest the whole bunch.
In this unit you will learn the various techniques for taking advantage of the principle of suggestion to make your work much more interesting. Suggestion is all about painting a little, but saying a lot. You will learn:
why suggestion is much more powerful than detailed rendering
how to paint highly complex areas such as roof tiles, bunches of grapes, or detailed foliage
how to turn mistakes to your advantage and make use of old discarded paintings
how to use transparent pigments to increase the power of suggestion
the importance of the silhouette for suggesting form
why accurate color spots are critical for suggesting form
Unit 5 - Edges
The mistake a lot of artists make is to forget to incorporate a full range of edges, with hard to soft brushstrokes. It is important to develop and refine edges because they enhance the atmospheric perspective in landscapes, as well as in still life paintings and interior scenes. They also create the three-dimensional quality of forms, by making them "turn". In this still life painting, the tips of the asparagus leaning against the tin are painted with a hard edge, in this case a sudden change of value from light to dark. The asparagus pieces laying on the surface are painted with soft edges in a gradation of values.
This unit deals with one of the most important topics relating to brushwork - edges. You will learn:
how to incorporate a full range of edges in your painting, from hard to soft
how to use the direction of the brushstroke, and changes in value to soften edges
how to develop an edge by adjusting the background, rather than working directly on the edges of objects in your painting
how to use edges to move objects forwards and backwards in space and give your paintings more depth
how to use edges to create eye movement in a painting
how to use "lost and found" edges to improve the realism of your painting
how to use color changes at edges to enhance your painting
Unit 6 - Optical Color Mixing
One technique that the French and California Impressionists used successfully in their artwork is optical color mixing. You do not have to do all the work for the viewer, a painting can me much more interesting and exciting if there is still some work for the viewer's eye to do. If you view two adjacent color spots from a distance, the eye mixes them to form a third color. The result of mixing two saturated colors is a third, less saturated color. There are several benefits to this approach. The first is that by letting the eye do the mixing, more light reaches the eye than if you were to fully mix the colors physically on the painting. This gives the painting luminosity and makes the color in the painting carry further into the distance. Another is that the vibration created by this approach adds visual interest to otherwise flat areas of color in the painting.
In this painting of Bastia Harbor, Corsica, the wall is painted using equal amounts of two complementary colors, blue grays and burnt siennas, which creates a luminous, almost neutral gray. In this unit we are going to look at various approaches for using brushwork to let the viewer's eye mix colors, rather than mixing them fully on the canvas. This effect is called optical mixing, and can enhance your painting in many ways. You will learn:
what is optical mixing, and how it works
the difference between triadic, complementary, and analogous optical mixing
how to make effective use of an imprimatura to create an optical mixing effect, and what pitfalls to avoid when using this approach
when to use a warm and when to use a cool imprimatura
how to create an optical mixing effect when you are working directly (using the wet-in-wet mixing approach)
how to achieve optical mixing by using washes
how to build up a painting in layers to create an optical mixing effect and to make the surface of the painting more interesting
how Monet captured the effect of light in his "series" paintings
Our comprehensive 4 year program of study for all levels
A 1 year program of study in painting for beginners
If you are serious about improving your painting skills and you want to become an excellent artist and you are looking for a comprehensive in-depth program of study that's expertly organized, then look no further.
You will get immediate access to:
Designed for beginners, but also with the busy professional in mind, this shorter course gets you started on a simple series of exercises and assignments so you make progress quickly. You can upgrade to the Full Course anytime.
You get access to: