The Real Art Lesson Rv2

8/14/2019 The Real Art Lesson Rv2

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Real rt Lesson!

Learn the secrets of producing classical,realistic oil paintings with these step by step

instructions.


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Real rt Lesson

By Delmus PhelpsTable of Contents:

Introduction page 2

Chapter 1 Getting Started page 5

Chapter 2 Canvas Preparation page 10

Chapter 3 The Drawing Transferred page 23

Chapter 4 Ipriatura page 33

Chapter 5 !urnt "#er "nder $a%er page 3&

Chapter ' (i)ing The Gre% Sca*e page 5'

Chapter + The Dead $a%er page ''

Chapter & The Co*or $a%er page &0

Chapter , The -inishing $a%er page 105

Chapter 10 Soe fina* thoughts

and #onus ateria* page 115

.arning/ The entire contents of this e#oo are copyright protected

You may not resell, reprint, or give away all or any of itscontents.

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A Real Art Lesson

ntroduction

!% De*us G Phe*ps

Cop%right 200&

!"ow do you do that#$

This is the nu#er one uestion I get at shows and ga**eries This

#oo wi** tr% to e)p*ain the process in p*ain ng*ish with a #oat *oad of

pictures to he*p the novice or e)perienced artist see soe of %

trics6 of the trade in creating a #eautifu* sti***ife painting

I7** tr% % #est not to *et an% phi*osophica* e)pos8s #ecoe added9

#ut #eware9 soe of it usua**% wears off and I apo*ogi:e ahead of

tie !eing a C*assica* ;ea*ist9 I have weathered different art

oveents in this countr% that were far awa% fro c*assica* art I7ve

heard it said that odern art taes no tie or ta*ent I cannot agree

with this stateent tota**%9 #ecause I have seen soe wor that

sip*% aa:ed e9 with #oth the techniue in its creation and theresu*ts of the finished wor (% hat is off to those that are

successfu**% creating wor in this arena and aing a *iving at it

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(ost art schoo*s9 co**eges and universities toda% teach severa* st%*es

of painting (ost however9 *ean toward the odern art genre .hat I

show in this #oo is not t%pica**% taught in art schoo*s toda% I wi**

show %ou a st%*e that fo**ows a strict series of ru*es or steps Go

outside the set of ru*es9 %ou a% find good resu*ts9 %ou a% not

.hat %ou ust ree#er is %our painting a% *oo great to %ou now9

throughout %our *ifetie Step outside the ru*es9 this a% not #e

guaranteed (odern artists as recent as the 1,20s and 30s have

seen their wor crac9 pee*9 fade and pop off the canvas #ecause of

unsafe practices used in the creation of their wor Soe of these

wors were *ess than 50 %ears of age -o**owing the c*assica* rea*ist

wa%9 wi** eep %our painting *ooing its #est not on*% throughout %our

*ifetie9 #ut a*so for generations in the future

I *ie to view % wor as a craft Crafts sii*ar to a carpenter9 a

p*u#er9 or even an e*ectrician .ith the proper si**s9

Ta*ent he*ps in that %our confidence *eve* to do this ind of wor is

a*read% high Ta*ent is sip*% things %ou have uic*% *earned

e*sewhere that can #e a*so used in the art rea* It usua**% eans

good e%e to hand coordination9


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(% guarantee is sip*% this9 if %ou are not satisfied that this

inforation cannot *ead %ou to a #eautifu* sti** *ife painting9 I7** refund

%our one% This offer is through this we#site on*% Purchase

tracing deterines where purchase was ade Therefore pro#*es

with a down*oad or refunds cannot #e honored un*ess purchased

fro % we#site

Sip*% put9 this e#oo wi** teach %ou how to paint a c*assica* sti***ife

painting fro start to finish/

;ee#er?

The coon worer wors with his@her hands

The coon craftsan wors with his hands and his ind

.hat do %ou ca** the person that wors with his hands9 his ind and

his heart>

An A;TIST/

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Chapter %ne

&etting 'tarted

Cop%right 200&9 De*us G Phe*ps

"ow to use this boo(: (% recoendation wou*d #e to read it

once through in its entiret% to get the who*e view Then9 read each

chapter #efore %ou proceed with the particu*ar step discussed It7s a

*ong #oo with *ots of pictures to guide %ou Tae %our tie and

enBo% the process/

.hen setting up %our sti** *ife9 choose o*d things9 prefera#*% things

fro an antiue store Things with age ew things with odern

*ines9 co*ors and ateria*s


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*oo wi** have the darer #acground Four choice as it wi** not affect

the *ongevit% of the wor

$ongevit% of the wor69 I wi** ention this throughout the *essons9

though % now*edge is not e)tensive9 the #asics are e)p*ained9 and

the shortfa**s or conseuences as I understand the wi** #e given

During the renaissance9 artists understood the properties of oi* paint

Toda%7s artist a% not I7 not a cheica* engineer9 so the things I

te** %ou here are fro now*edge I7ve o#tained through % own stud%

There are a great an% #oos avai*a#*e that ta* a#out the properties

of oi* paint and how to ae %our paintings *ast forever I7** ta*

ain*% on the #asics Stic to the steps9 %our painting wi** *ast Go

outside the steps9 and %ou ris a painting that wi** crac ear*% in its

*ife9 fade9 or worse9 pop off the canvas Direct sun*ight9 heat

variations and huidit% changes are the eneies of the oi* painting

.ith proper app*ication of paint9 fat over *ean69 and in the steps I give

%ou9 %our painting has a #etter chance to survive There are *oads of

we#sites that give detai*ed inforation on products and *ongevit% of

oi* painting f a** the too*s avai*a#*e for us to use toda%9 oi* painting

sti** reains ing #ecause of its *asting a#i*it%

ow for a *itt*e ta* a#out *ighting orthern facing windows give a

nice even *ight It is coo*er in co*or than direct sun*ight In the sti***ife

it can #e used9 #ut I prefer to wor with *ight that I contro* I usua**%

use a sip*e c*ip on spot *ight with a 100 watt G #rand ;evea*6

#u*# I then wrap foi* around the ref*ector to funne* the *ight to e)act*%

where I need it Direction of *ight is usua**% fro the *eft with cast

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shadows on the right of the su#Bect (% theor% on wh% this is so is

fro a practica* point of view I have found that feathering out a cast

shadow to the *eft is e)tree*% difficu*t for a right handed painter

.hen pu**ing the paint to the right for a right side cast shadow9 things

see to Bust wor out easier And a visit to %our *oca* useu wi**

show ost c*assica* wors are *it fro the *eft

In the paintings of o*der (asters9 there is a*so a secondar% *ighting

found in ost sti***ife It usua**% represents an interior cand*e *ight or

*ight fro the firep*ace This usua**% coes fro the right and puts a

war g*ow into the deeper9 darer cast shadows

I a*so use a #o) to p*ace the sti***ife in as this prevents outside

*ighting other than these two sources fro affecting the wor This is

not a*wa%s necessar%H it Bust depends on where %ou setup %our sti**

*ife

;eference photo

Direction of

spot *ight source

Direction of secondar% firep*ace *ight

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Eere is another reference photo that is used in soe of the

e)ap*es?

Direction of *ight

source

dge of #o) that

he*ps with eeping

shadows on the

*eft dar

Tip? secondar% *ight fro firep*ace


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so that a corner ends the coposition on the #otto and the fo*ds

point towards the pears I a*so *a% the grapes c*ose enough to give a

#eautifu* cast shadow that a*so pics up soe co*or of the grape


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Chapter Two

Canvas )reparation


In priing the canvas %ou wi** need (ode*ing Paste and Gesso Fou

wi** need to i)?

50J ode*ing paste

50J gesso

(i) these into a prefera#*% g*ass Bar that has a tight *id for sea*ing up

the e)cess

.h% %ou prie the canvas again rather than using an a*read% pried

canvas straight awa% is this These canvases are too rough9 even

though the% are pried once or twice a*read% This additiona* priing

gives %ou the sooth te)ture9


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The ode*ing paste gives the gesso #od% It is an acr%*ic product

The Purist wi** use ra##it sin g*ue as a paint ground This reuires

soe specia* i)ing now*edge #e%ond what is necessar% and not

discussed further within this e#oo Acr%*ic products have proven

these*ves to #e *ong *asting and not detrienta* to the oi* paint fi*

The% shou*d on*% #e used in the priing and su#seuent ipriatur

coat that goes on ne)t ever put acr%*ic over oi*s !e*ow %ou see

e having a*read% added appro)iate*% 2 of % dipping cups of

ode*ing paste9 here %ou see e adding the gesso then i)ing the

two

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.ith the gesso having additiona* #od%9 it is easier to spread and

sooth out It a*so is easier to reove iperfections "sing straight

gesso9


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Another c*ose up of the rounded corner ra:or #*ade

The ne)t too* is a confectionar% nife that has had its #*ade rounded

off with a grinding whee* This shows the curvature of the nife It

a*so shows % dipping cup and i)ing Bar G*assware sees to Bust

ho*d up #etter and the *eftover i)ture wi** eep for severa* wees

!e*ow? Confectionar% nife that has #een rounded off a*ong its edge

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The te)ture of a pried store #ought canvas This usua**% has one to

two coats of acr%*ic gesso a*read% app*ied As %ou can see9 the

te)ture is sti** ver% #up% with the weave of the canvas ver% visi#*e

This photo #e*ow shows a canvas with at *east 2 coats app*ied and an

iperfection that wi** #e reoved

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The iperfection is at #otto idd*e of photo This is shaved off and

feathered out with the ra:or and soe sanding The fina* coat of

gesso is then app*ied It usua**% taes 2 to 3 coats

If %ou use fine *inen rather than canvas9 %ou wi** have *ess steps I

have never needed ore than 2 coats to get a perfect*% sooth

surface Soeties %ou can find *inen priced the sae as the

canvas/ And *inen is the #etter product9 so %ou can charge ore for

%our painting

This is a cop*ete prepared canvas that is read% for the ne)t step/

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'tep by 'tepon how to ae this happen and how to app*% and

shave@sand in

#etween *a%ers

App*%ing the gesso

i)ture is prett%

straight forward9 %ou

can pour it fro the

Bar9 or da##*e a few

g*o#s with the stirring

stic I prefer the *ater so I have a *itt*e ore contro* of the aount

Spreading the i)ture can have its pro#*es I usua**% get the 1st

coat on uic*% of the entire surface and then #egin woring out to

each edge The stroes ust #e sooth and confident Pu** the nife

cop*ete*% across in one oveent if possi#*e This wi** *eave on*%

one edge to c*ear


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Eere %ou can see I have wored one side


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.hi*e the first coat is dr%ing9

c*ean the nife for the ne)t

coat The i)ture dries uic*%9

and I use sandpaper to c*ean

off the e)cess


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Fou shou*d have ver% fine

pee*ings of gesso@ode*ing

paste coing off as %ou

perfor this It is created

fro the high spots #eing

scraped off the surface


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-inishing up with soe

sandpaper to get the soothest

finish a*wa%s he*ps shorten the

process

I use a#out a 120 grit paper

This picture shows a second coat

going onto the canvas Fou can

see the first coat with an o*der

stud% painting underneath This is

done to show %ou the thinness of

the coats and he*p with

photograph% of this stage

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Down on the one side

Then down the other side

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A fina* #*ow dr%9

then scraping and

sanding .e are

fina**% done/

A fina* chec for

iperfections after

fina* scraping with the

ra:or #*ade and

sanding with 120 grit

paper

P*ace the canvas

vertica* and c*ose to

a *ight source Fou are *ooing for an% raised edges These need to

#e feathered out with the ra:or or the sand paper


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Chapter Three

The *rawing Transfer


Purists wi** argue that %ou ust draw the sti** *ife free hand or it

doesn7t count/ .hat ru##ish Fes9 %ou need to *earn how to draw

#ecause %our painting represents drawing with a #rush This ust

coe soewhat natura**% If %ou find it difficu*t9 practice/ $ie an%

si**9 e%e to hand coordination coes with ore practice There

again are *oads of #oos that ta* a#out drawing techniues ne of

the #est9 that rea**% awaened and he*ped e understand % own

a#i*ities is entit*ed9 Drawing fro the right side of the #rain6 .ithin it

is an e)tree*% great e)ercise where %ou tae a photo or o#Bect9 and

draw it upside down/ .hat %ou see is foreign to %our #rain9


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These tips are to he*p %ou speed up %our process

I use a digita* caera/ Shoced> Don7t #e ven $eonardo DiKinci

used a device he invented ca**ed the caera o#scura


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The iage

produced #% the

cop%@trace

achine

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A#ove9 the penci* drawing #egins

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!e*ow9 another sti** *ife setup with it7s drawing cop*eted (ost of the

aBor shading is inc*uded in the drawing

ow %ou are read% for the ne)t step The penci* drawing ust now

#e traced with a waterproof in The reason9 our first *a%er of paint

wi** erase a** penci* stroes Eaving the drawing done now in in wi**

preserve it in case the paint *a%er is essed up/ .h% not start with

the in *a%er> Fou can/ !ut when tracing9 and the *ights out on avertica* surface9 I haven7t %et figured out a wa% to do it without in

running down % ar9 and nocing over the in #ott*e .hat a

ess/

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I a*so *ie to *a% the wor down when perforing this part as it he*ps

with in f*ow onto the canvas I use a ca**igraph% pen that ust #e

dipped into the in we** ever% so often Eaving a good penci* drawing

he*ps e with the hash ars that are used to create the shadow

areas Fou a*so have tie to chec that %ou have captured as an%

detai*s as possi#*e A istae now in penci* is eas% to correct In in9

it is uch harder

ow on to the in drawing I *ie to eep a reference photo near #% to

chec with whi*e I do this drawing

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The tracing #egins

-inished with this

one


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As %ou can see9 I start severa* paintings at once I ca** it the pipe

*ine "sua**% 4 to ' are going at an% given tie ach at the sae or

different stage of cop*etion

I have found this he*ps in severa* different wa%s It discourages the

onoton% of woring the sae piece da% in and da% out This is

done #% #reaing up the da% uite we** fro piece to piece

It a*so a**ows % su#conscious to wor out soe of the pro#*es %ou

run into with a particu*ar piece Sa% for instance9 %ou7re not sure how

to hand*e a particu*ar te)ture9 what ethod %ou wou*d use to depict

it> r a%#e a copositiona* part Bust doesn7t see right I then

thin on it for a #it9 then ove on "sua**% the ne)t da%9 I have a

Lwa**a7 oent9 and the answer is there Soeties it taes *onger

!ut usua**% things wor these*ves out with the piece Four #rain is

a ver% powerfu* instruent9 and it does so*ve pro#*es whi*e %ou rest

.here do %ou thin the o*d sa%ing9 S*eep on it tonight6 coes fro

"s artist7s/

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As %ou can see9 the

ain e)ap*e is done

The ru*er is for %our

#enefit to give an idea

on si:es I a woring

with otice the detai*

of water drop*ets on

the grapes Ker%

iportant

At this point I7 doing soe

checing of diensions In the

sti** *ife with the ta#*e top9 it is

ver% iportant to chec this one

thing That %our ta#*e is straight/

If this part is off9 even a 1@1'69 %our

custoer wi** #e frustrated The

picture wi** appear straight on the wa**9

%et the frae wi** appear crooed

.hen the% correct to the frae the

picture wi** *oo crooed even though

the% a% not see wh% eep this one

diension correct9 and %ou wi** have happ% custoers

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As %ou can see with the photo to

the *eft9 I was Bust a #it off


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Chapter +our

mprimatura


There are *ots of uestions as to the wh% we ust even do this first

*a%er of paint Soe #e*ieve it he*ps the artist get over *ooing at a

white partia**% #*an canvas Soe #e*ieve it is to sea* the gesso

*a%er There are an% reasons9 #ut we won7t get into the a** at this

point Must suffice to now it is an iportant part of the step #% step

process of the c*assica* sti** *ife painting Ipriatura is the first oi*

*a%er in the -*eish painting techniue Ipriatura ust have a

neutra* o*ive hue The degree of darness or *ightness of ipriatura

shou*d #e chosen in re*ation to the *argest *ight area of the future

painting !ut it is #etter to err on the side of #eing too *ight9 as %ou

wi** #e a#*e to daren %our painting to the degree %ou need in the

u#er under *a%ers

The preferred ethod of doing this is with oi* paints "sing !urnt

"#er


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After i)ing9 %ou wi** app*% the paint across the entire canvas Then

tae a *arge soft #rist*e or e)p*oded #rist*e dr% #rush to #*end the

stroes awa% Eere are a coup*e of e)ap*es of using oi*s to

cop*ete the ipriatura coat

As %ou can see in #oth e)ap*es9 it is a ver% even coat of trans*ucent

paint *a%er with no visi#*e #rush stroes


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!ecause this coat of paint can tae up to a wee to dr%9 another

ethod %ou can use are acr%*ics/ The% dr% uic*% and wi** a**ow %ou

to get to the ne)t *a%er uch faster

"sing %e**ow9 red9 #*ac

and white9 I i) to get the

tone I need The *arge

coffee can aes i)ingand app*%ing eas%

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App*%ing the paint9 and #*ending to

hide %our #rush stroes

Spra%ing water over the

painting a**ows for #etter

#*ending

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This e)ap*e dried #efore I cou*d #*end out a** the #rush stroes9 #ut

it wi** suffice for the ipriatura coat

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Chapter +ive

urnt -mber -nder Layer


In this step9 %ou wi** paint the u#er under *a%er It is the 2ndoi* paint

*a%er Its purpose is to esta#*ish %our overa** contrast and shadowing

for the picture Fou wi** a*so hand*e a** detai*s of the painting e)cept

te)ture Tae %our tie with this *a%er as it wi** he*p %ou iense*% in

%our ne)t *a%ers I cannot overephasi:e this9 each *a%er is created

to faci*itate the wor %ou wi** perfor in the ne)t9 it is not used to

correct errors %ou have ade in the previous *a%er

ach *a%er actua**% #ui*ds upon the strengths of the one #efore it

ven in %our fina* *a%er9 %ou wi** #e a#*e to see in soe p*aces9 the

ver% *a%er that %ou are #eginning So tae %ou tie nBo% the

process Fou wi** depend on this *a%er to correct*% app*% i)tures of

%our ne)t *a%er It is used as a guide

!efore #eginning9 %ou wi** need to *u#ricate the painting It7s purpose

is to aid in the adhesion of paint9 and a**ow for dr% #rush #*ending of

the paint This is ca**ed oi*ing out6

App*% *inseed oi* to the piece9

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and using %our hand9 spread the oi* over the entire surface

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Fou can #rush it on a*so9 #ut it is iportant to ru# it in with the hand

as this wi** s*ight*% heat the oi*9 and cause a #etter adhesion to the

paint surface Fou wi** then wipe the e)cess oi* off and po*ish or #uff

out the painting with a soft c*ean c*oth or use what I use


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I(P;TAT9 do not use #oi*ed *inseed oi* It has additives that wi**

%e**ow fair*% uic*% in the painting7s *ifetie9 and it wi** dr% on %ou

#efore %ou have cop*eted %our ne)t coat of u#er under*a%er or

dead *a%er

.hat I discuss ne)t is soething %ou wi** use with ever% app*ication

of paint through out this course It is soething that is not wide*%

discussed9 #ut it is what wi** give %our oi* paintings that certain

soething that wi** set it apart fro *esser wors It is the use of 3

#rushes in the process of painting 1stis the app*%ing #rush9 then the

use of the correcting #rush9 fo**owed up #% the #*ending #rush which

usua**% is *arger and f*uffier

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Paint app*ication is sip*% putting the paint to the canvas App*%ing

co*ors #*ocing in the area9 sa** and *arge Starting *arge in ear*%

stages

Correcting is a co#ination of #*ending and reoving e)cess paint

.oring with #rushes the sae si:e or sa**er than the app*%ing

#rush

-ina* #*ending purpose is to reove the #rush stroes and soften a**

edges (ediu si:ed #rushes that are *arger than the app*%ing #rush

In the finishing *a%er9 %ou wi** use this #rush *ess often as %our

high*ights want to reain sharp and not #*ended Fou a*so want to

preserve the thic*% app*ied paint #rush ars in the fina* finishing

*a%er !ut for now9 #ac to our !urnt "#er "nder*a%er

TIP Start #*ending within 20 to 30 inutes of correcting Four

darer co*ors wi** #egin to #ecoe stic% and cause the #*end #rush

to drag ore into the paint rather than f*oat across the top of the

*a%er The wi** cause it to pic up and reove ore paint than %ou

want If this #egins to happen it is o to #*end with %our fingers

Soeties this #*ending pics up unwanted paint in an area that %ou

want the g*ow of the u#er under*a%er to show through don7t *iit

%ourse*f to the #rush to get the effect %ou want

.hen painting the u#er under*a%er9 it is ore *ie painting with

waterco*or or ver% di*uted acr%*ics !ut #ecause the oi* paint is uch

s*ower in dr%ing9 it can #e anipu*ated uch *onger The washes

can #e ver% uic*% app*ied9 and then corrected and #*ended If %ou

have an area that needs to #e *ightened9 %ou sip*% wipe awa% the

paint with either the #rush9 the rag or the finger

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The ediu that I use is 50J odor*ess turps9 25J daar varnish9

25J *inseed oi*

Artist *inseed oi*


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The a%o Bar contains a wire esh cage and turps that do we** in

he*ping c*ean % #rushes

.e are now read% to start the u#er under *a%er/


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Paint app*ied9 *ie a

waterco*or9 rea**% thin

!*ending and correcting this

app*ication of paint

Continuing to app*% and correct

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ow we are

read% for the dr%

#*ending otice

the nice round

suirre* #rush

This is a *ight9 feather%

oveent of the

#rush $ots of wrist

oveent here

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As %ou see in this photo9 on*% the end of the #rush is touching the

canvas9 not the sides of the #rush

In the photo

#e*ow? n the

far *eft9 #*ending

is cop*ete n

the right9 we sti**

see the #rush

stroes of area

%et to #e

#*ended

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This is a super e)ap*e of the techniue This process wi** #e used

throughout each *a%er App*ication of paint9 correcting9 then #*ending

This #*ending is what he*ps give the sooth transition of shadows on

a** %our round surfaces I7ve not found a #etter ethod And it rea**%

shows its true potentia* in the fina* *a%ers

(ost of the #acground cop*eted in #*ending

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ow to start with a great shadow of the pitcher

App*ication of paint

!*ending and correcting

Softening of the #ac

edge of the shadow

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Soft #*ending to reove #rush

stroes

Soft #*ending

continued

C*eaning the #*end #rush often wi**

eep the process oving a*ong

without reapp*%ing this #*ending

#rush paint fro the #*end #rush

#ac to the canvas Fou are

softening and *ifting Bust a *itt*e #it of

paint during this process

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Toilet Paper (TP)


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App*%ing paint on the

pitcher

After soft #*ending of the decoration on the pitcher See how nice the

tin% grapes ne)t to the vine%ard worer have deve*oped The soft

#*ending does this for %ou/ And even though other *a%ers of paint wi**

go on top of this9 it wi** sti** #e retained within the fina* finishing *a%er

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Eere is an e)ap*e of a

correcting #rush #eing used to

*ift paint off of the canvas The

#rush had #een dipped in

turps and dried s*ight*% It

then soas up the paint I

wanted reoved Soething

a water co*orist wou*d do

Su#seuent soft

#*ending

.h% tae a** this trou#*e with this *a%er> ach *a%er9 fro the pen

and in drawing9 the ipriatura9 the u#er under*a%er9 and so on

shou*d *oo and fee* *ie a finished painting It wi** and shou*d p*ease

an% one that visits %our studio and reviews the wor ach *a%er

#ui*ds upon the ne)t aing it #etter and #etter

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The cop*eted u#er under*a%er I cou*d se** this as an o*d t%pe

photograph/

Four resu*ts in this *a%er wi** #e visi#*e even in the finishing *a%er as

each #ui*ds upon the other In soe areas9 this ver% coat wi** #e

visi#*e9 %et9 when viewed with the other *a%ers of the painting9 it wi**

not #e noticed as the first *a%er

Setting on the she*f for

a dr%ing period and a

rest

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Iportant note/ Soeties it is necessar% to app*% a second layer

of the #urnt u#er *a%er to achieve a tota* darness in the shaded

areas that %ou need This doesn7t ean %ou repaint the entire piece

again9 #ut once it is dried9 %ou oi* out the painting again9 po*ish it9 then

app*% the #urnt u#er to the areas that need ore darening

"sua**% this is to the outsides so that the viewer7s interest is pu**ed

into the center of the painting and %our ain characters of the sti** *ife

If when %ou #egin this second u#er *a%er9 %ou see the oi* standing


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A tric is to soften the protective *a%er Bust a *itt*e without reoving it

To do this %ou use an onion/

The ether oi*s within the onion wi** s*ight*% soften the surface to a**ow

fresh oi* to #e app*ied and not #ead up Must cut the onion and ru# it


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This wipe down is again ca**ed oi*ing out9 and po*ishing This *eaves

a ver% fine *a%er of oi* onto which %our ne)t coat of paint wi** adhere

#etter9 and wi** definite*% he*p in the #*ending portion of %our wor

Do e)perient with this Fou wi** find if %ou do not oi* out9 %our

#*ending and softening is virtua**% ipossi#*e to achieve In soe of

the reference ateria* I have read concerning this9 artists of the past

wou*d *u#ricate their paintings with a nu#er of edius I fee* with

% *iited now*edge of these other ateria*s9 *inseed oi* and the

onion are safe #ets

ther tips wi** #e ta*ed a#out concerning oi*ing out in *ater

discussions of the co*or *a%ers

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Rubbing o t!e onion "ui#e onto t!e $rie$ #an%as& 'n t!is

eaple* ' use$ anot!er painting t!at t!e $ea$ la+er ,as

#oplete an$ '- preparing or t!e #olor la+ers& .+ stu$iosells o onion* linsee$ oil* an$ la%en$er oil (,!i#! in#reases

brain un#tions)&


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Chapter 'i

/iing the &rey 'cale


Co*ors that are needed for the gre% sca*e are?

Titaniu .hite


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Fe**ow ochre9 #urnt u#er and Prussian #*ue in sa** aounts

depending on the su#Bect atter The portrait wi** reuire a greener

dead *a%er


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This is a step #% step set of photos on how I #*end % i)tures

uic*% There are a :i**ion ethods9 I Bust find this wa% easier Photo

shows e using a wide #*ade nife and picing up a** three co*ors to

the nife Then9 pressing down on the pa*ette and pu**ing towards

e to sear the paints together "sua**% %ou wi** see the individua*

co*or streas on this first pu**

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eeping the nife on the

sae side again9 start

co**ecting the paint for

the ne)t pu** Scrape

the paint off the pa*ette

with severa* swift

oveents


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A fina* co**ection of paint

to the nife and then

p*acing on the pa*ette

This is %our #*ac i)ture

.e are now read% for the idd*e tone i)ture

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1 part ,!ite* 2 parts prepare$ bla#/* 1 part uber (be#ause t!is isa still lie* ,e ,ant a ,ar $ea$ iture o gre+s&


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The first pu** of i)ing this idd*e tone

Severa* pu**s and we sti** see

streaing of the i)ture

A nice unifor idd*e

tone after severa* ore

pu**s are done

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.h% tae a** this tie to show %ou the gre% i)ture f a** the *a%ers9

I #e*ieve this to #e the ost iportant Tie we** spent here wi** give

%our painting that soething e)tra that wi** aa:e %our viewers It is

in the dead *a%er that the ha*f tones9 shadows and ode*ing are

captured Get it right here9 and %our co*or *a%ers are dead eas%/

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Prepare$ !ite Prepare$ .i$$le

Tone Prepare$ la#/

T!ree a$$itional intere$iate tones bet,een t!ei$$le tone an$ t!e prepare$ ,!ite& ou #ansoeties in$ it !elpul to $o t,o a$$itional

intere$iate tones bet,een t!e prepare$ bla#/ an$

t!e i$$le iture& 'n our eaple paintings* '/ept it siple ,it! "ust si tones&


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ot to ention %our finishing *a%er wi** #e a #ree:e9


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!ut #efore we start9

*ets not forget to oi*

out the painting

App*%ing a uarter si:ed

do**op of oi* Eand

ru##ing the oi* into the

canvas

After oi*ing9 I do a *ight scrape with the

ra:or to reove #rush hairs9 dust and

e)cessive paint This eeps the canvas

sooth Custoers *ie to see paint

te)ture9 #ut this is added in *ater *a%ers

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After *ight*% scraping the canvas9 wipe the canvas down with a soft

c*oth or TP


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Chapter 'even

The *ead Layer


In the dead *a%er9 %ou are capturing the ha*f tones9 shadows9 and

detai*s as #est possi#*e As I7ve said #efore9 this *a%er wi** ae or

#rea %our painting In the u#er *a%er9 %ou have decided on the

tona*it% and overa** contrast@ darness of the overa** painting Fou wi**

re*% on this u#er *a%er in the dead *a%er to guide %our choices in thetone or va*ue of the paint Fou can ae soe changes in darening

or *ighting up certain areas9 #ut not too drastica**% as wi** #e difficu*t to

cover proper*% The *ighter tones are app*ied with thicer paint9 and

the darer areas are put down with thinner washes9 ore transparent

than opaue in co*or I a*so #egin to rep*ace the daar varnish with

.insor ewton $iuin paint ediu This rea**% acce*erates the

dr%ing tie -urther co*or *a%ers and finishing *a%er have a ediu

with *ess turps and ore *inseed oi* in eeping with fat over *ean

ru*es

.e start #% app*%ing soe dar i)tures to the #acground otice

that I do not cop*ete*% cover the canvas The #*end@correcting

#rush wi** hand*e this A*so9 *eaving the u#er #etween stroes he*ps

%ou #e sure %ou have the right va*ue or darness@*ightness of paint

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Then woring around the *it area of the #acground with *ighter tones

The #acground paint has #een app*ied

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ow we get the #*ending@correcting #rush read%

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The dar area has #een #*ended soe and the *it area #*ended into

Bust a#ove the vase

The right side with soe initia* #*ending@correcting I now #egin soe

fina* #*ending of the #acground The fo**owing shows a #efore and

after picture

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Eaving used the fina* #*ending #rush here

P*ease note the softness that has occurred

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C*eaning the fina* #*ending

#rush

.e now get read% and start the vase Again app*%ing paint to atch

the under *%ing u#er under*a%er in tona*it%

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Eow it *oos after correcting and #*ending

As %ou can see9 soe edges are *eft to #e sharp9 soe are #*ended

ore vigorous*% The fina* #*ending pu**s it together !eing an

#oo9 %ou can rea**% agnif% these pictures to see the su#t*e changes

and additions fro *a%er to *a%er I7ve found these t%pes of #efore

and after photos ost he*pfu* in % own search to understand the

-*eish St%*e of painting

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!e*ow? the #otto of the vase is painted in

Paint app*ied

Paint

corrected9

then

#*ended

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Correcting with a sa**er than usua* #rush I didn7t want to *ose the

su#t*e changes on the grape sin Again9 soe areas are *eft with a

sharp edge9 others are #*ended ;ee#er9 grapes are *ie

snowf*aes9 no two are a*ie/ ach is a *itt*e Bewe* within itse*f/

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A#out finished with the dead *a%er at this point

Decided to pu** in another painting to give soe additiona* reference

shots of the paint *aid in and then #*ending !*ending usua**% taes

*onger than the initia* app*ication of paint/ Don7t #e discouraged #%

this Four paintings wi** stand out #ecause of the care and tie %ou

devote to the

Pears with dead

*a%er started

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Correcting #ut fina* #*ending not %et done

Grapes with initia* co*or *aid in and corrected #ut no fina* #*ending %et

ote the u#er showing through/

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In the picture e)ap*e #e*ow there is the g*ow fro the firep*ace on

the drape I wanted to preserve So reoving and #*ending with %

finger was a uic fi) to do this


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After this painting session is over9 I tae % gre% i)tures and p*ace

the in a foi* pouch to put into % free:er This eeps the i)ture

fro dr%ing and changing in an% wa%

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Chapter 0ight

The Color Layer


In producing the co*or *a%er9 %ou wi** do sip*% that As %ou are

adding these co*ors9 %ou wi** find that the *ighter co*ors wi** need to go

on with thicer ore opaue paint The shadow areas wi** #ecoe

darer and ore co*orfu*9 #ut %ou wi** #e using thinner ore

trans*ucent paints This is sip*% the properties of the ateria*s The

white added to co*ors wi** ae the ore opaue9 and #ecause %ou

want good coverage9 the% are app*ied thicer

!efore starting9 ree#er9

to oi* out and c*ean the

canvas

i* #eing app*ied

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i* on the canvas

!eing ru##ed in

Fou can see the sheen of the oi* prior to reova* of e)cess oi*

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ow %ou see after it has #een #uffed out

The ra:or #eing used to reove dust9 e)cess paint #ui*d up9 and

#rush hairs

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Fou can see in this photo soe of the e)cess paint that was

reoved The dust and hairs are too sa** to see This *eaves the

canvas sooth !e carefu* doing this and use on*% the rounded

ra:or In fo**owing *a%ers9 %ou wi** use on*% the pa*ette nife to scrape

the canvas Dust and fine hairs are to #e reoved #ut %our co*or

*a%er is #eginning to #ui*d up Fou want this intact

ow on the pa*ette9 I #egin to i) a few co*ors "sing the gre%

i)ture and pure co*ors I #egin the drape on our 2nd e)ap*e

painting I wanted to show %ou here in the drape that the over a**

co*or contrast of the painting has a*read% #een esta#*ished9 and %ou

are iproving it fro here on out

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A *ighter shade of white

ne)t to a gre% i)ture

App*%ing paint to the #rush

App*%ing the paint to

the canvas

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The paint has ver% *itt*e co*or as this is white drape

!ut don7t #e is*ed #%

the photos There is

#urnt u#er


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Paint #eing app*ied

!*ending in the

transition fro *ight to

shadows

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Co*or #eing app*ied

within the

shadowed areas

(ore co*or #eing added

This co*or is ref*ections found in

the drape of the pears

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After correcting9 and fina* #*ending of the co*ors to the gre%s

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ow on to i)ing co*ors for

the pears ote that I on*%

use two Prussian !*ue and

Cadiu Fe**ow *ight

The ain green

A *itt*e red #eing added for the

#*ushing rose co*ors on the

pear

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This is the #otto of the pear

After soe #*ending9 note the u#er sti** showing through in the

edges on the shadow side

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A view fro further

#ac

Paint app*ied to the pear

After soe correcting and

#*ending

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Tie to tae a #rea9 I *et this painting dr% for a whi*e at this stage

.hen I return the ne)t da%9 areas of the co*or in the pear are sti** wet9

#ut I need to oi* out the grape area9 so I #rush in the oi*

I pour a *itt*e oi* into a cup

"sing an o*d #rush9 I

app*% oi* to Bust the

area I want to wor

toda%

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Then ver% carefu**% reove e)cess oi* and #uff out

I7ve even reoves a *itt*e co*or fro the pear9 which I wor #ac in as

I go a*ong

Co*or i)tures read% for

the ne)t set of grapes

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Co*or #eing app*ied

ote the sa** aount of gre% *a%er showing through

Initia* correcting and #*ending

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ote on the *eft9 the initia* co*ors are fina* #*ending9 and on the right

%ou sti** have #*end to do9 on*% initia* correction@#*ending has #een

done on the right P*ease note a*so the aount of gra%s showing

through the co*or

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-ina* #*ending throughout the grapes

A#ove9 co*or preparation for the other grape painting

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This is a ore purp*e grape

Co*or app*ied

Soe correction

-ina* #*ending

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Paint app*ied

Correction

-ina* #*ending ote9 I

a*so go ahead and

noc out the dew drops

at this point a*so


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Paint app*ied

Correction

-ina* #*ending

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Paint app*ied

Correcting

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Paint app*ied to #otto right

Corrected with the dew drops done I wi** e)p*ain ore on the dew

drops in the fina* notes The% rea**% are eas% to do

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Paint app*ied

Correcting

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-ina* #*ending of the grapes

A ver% thin wash of #urnt u#er over the gre% *a%er on the ta#*e top

cop*etes the initia* co*or *a%er Soeties it is necessar% to do a

second *a%er


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ow we start the oi*ing out for the fina* *a%er

.e tae the nife and *ight*% scrape across the oi*ed canvas to

reove dust9 #rush hairs and e)cess paint !e carefu* as to not

scratch the surface or gouge out an% areas This is a *ight scraping

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Ker% *itt*e

ateria* is on the

nife

Then a wipe down

and #uffing with the

c*oth or TP

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ow here7s a c*ose up of the grapes And here7s the #eaut% of the

seven *a%er techniue Fou now e)act*% when to uit9 and this

painting isn7t finished %et/ I now can add % secondar% *ight source

and high*ights nowing I can7t ess up this #eautifu* #unch of grapes/

!ecause attepting to put this go*den *ight co*or in with the purp*e in

as ear*ier stage wou*d have *eft e with ud9 I7 now a#*e to put it

on9 then wipe it off if I7 not happ%/ I cou*d have waited and added

the dew drops at this point a*so

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See the %e**ow high*ights fro the firep*ace in the *ower right of each

grape This now puts the pu:aaaa::::/6 factor into the painting

Conteporar% artists toda% Bust don7t thin a#out this9 and when %ou

*oo at c*assica* renaissance paintings9 %ou see cand*e *ight9 or

fire*ight used as a secondar% *ight source that gives each o#Bect

within the sti** *ife a ver% specia* g*ow that soe fo*s see it9 #ut don7t

see it Sort of *ie not seeing the forest for the trees inda thingI a*so go #ac and add a touch of this %e**ow orange to the #eading of

the ta#*etop design on the right #otto side This ust not however9

over power %our sun*ight fro the *eft

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Soe additiona* c*ose ups of

our grapes

ote the difference in

high*ight co*ors of the

drops depending which

*ight source the drop is

facing

Soe of the dead

*a%er showing

through/

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ello, !ig!lig!t

!ite !ig!lig!t


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I was unhapp% with % #acground9 so I spiced it up with additiona*

high*ights around the shadows and added a window frae shadow

I now want to push the vase up a notch9 so I added soe high*ights

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C*oseups of paint

app*ied It is an open

white with a touch of

#urnt u#er and pa*e

%e**ow to atch

sun*ight

Eigh*ights

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Then ver% *ight touches with the fina* #*ending #rush to soften these

up Bust a #it

A** high*ights and

#acground areas fina*

#*ending and softening

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I a*so went #ac in and added Bust a touch of the %e**ow high*ight

paint to ost of the water drops facing to the *eft Then the signature

in the #otto The piece is now cop*ete/ ow we await for a fu**

dr%ing and then a varnish coat

This painting now hangs in a private co**ection as it so*d #efore % e

#oo went pu#*ic

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of chroe nough to catch %our e%e and pu** %ou into the painting

for a c*oser *oo Then %ou #egin to adire the e)tras9 the detai*s9

the te)ture9 the shadow p*a%

"nder c*ose e)aination of a water drop9 %ou wi** note a few

characteristics that the% a** ho*d9 #ut ree#er9 each drop is not a

irror of its cousin9 #ut c*ose enough for %ou to te** the% are fai*%

Eere I give severa* e)ap*es

This is how I #egin the process I i) a co*or that is c*ose to a near#%

shadow The drop has a dar area towards the direction of *ight9 then

a cast shadow These are now put in

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!a$o, #olor

a$$e$& T!is is a

%ie, o t!epearsgrape

painting& T!is is

t!e let pear in

t!e painting&

ront o $rop

a#/ o $rop


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A few c*ose ups of our drops

And how the% *oo further #ac

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Another start for a dew drop

The shadow co*ors added

The high*ights then added

A few ore e)ap*es of water drops #eing added These are usua**%

done in the finishing *a%er Soe are done in the 2ndco*or *a%er

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A c*ose up of where I

wi** put a few ore

drops

Dar co*ors start the

process again The

front and #ac of the

drop

The shadows are #*ended

and then the high*ights are

added

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Another c*ose up of the

drop near the top of the

pear

The cop*eted

pears

ther detai*s on the pear were p*aced during the second co*or *a%er

This is another e)ap*e of the #eaut% in this techniue Shou*d %ou

dis*ie soething at this stage A** is not *ost Fou wipe off %our

istae and do over The origina* painting underneath is preserved

Eere are soe additiona* c*oseups of dew drops on the grapes Tae

note of the high*ights9 cast shadow9 and drops interior #*ending

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ote that two are

never e)act*% a*ie

That soe have

ref*ections passing

through their cast

shadows

C*ose o#servation of %our sti** *ife wi** show an% e)citing attri#utes

Eow do the drops actua**% get to %our sti** *ife> Fou can spra% the

on the sti** *ife Put soe in %our hand and dri##*e the on r *ie

e9 I have a paint #rush that I dip in water and *ight*% touch the grape

where I want a drop Soeties it sta%s9 soeties it runs off !ut

%ou get the picture9 the% are not ade up9 #ut rather strategica**%

p*aced to capture the viewers e%e

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The cop*eted painting

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Soe additiona* tips for the ver% #eginning artists

Soe things were not ta*ed a#out in the ain #od% of the #oo as it

is assued ost a*read% now this !ut Bust in case9 I add this

section for the #eginning artist as an% and a** inforation can #e

#eneficia*

I wi** ta* a *itt*e a#out hard *ines9 soft *ines9 and how to #*end for

round surfaces

A#ove is a ver% c*ose up of a dais% peta* ote the% are sip*% #asic

shapes with ost*% hard *ines !ecause this is a *ight co*ored portion

of the wor9 it is app*ied thic*%

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Soe edges %ou want soft9 to for or ode* the curvature of the

surface !e*ow9 I tae a #*ending@correcting #rush and with Ba##ing

otions push the #rush into the paint and #*end a*ong the so*id *ine of

dar gra% and

*ight

Eere I continue to the right with the sae oveent of Ba##ing with

the #rush I wipe e)cess paint when it #ecoes *oaded I do not use

an% side to side otion

as this wou*d sear

the paint .hat I want

is to #*end the paint in

a sa** area

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Another view of the ne)t contour or fo*d of the peta* otice I *eave

the hard edge #e*ow where the #rush is *ocated as this depicts the

hard #eginning of the ne)t fo*d

Another c*ose

up view Fou can see the paint #ui*d up on the #rush This is wiped

off to eep the #rush dr% as possi#*e for what this is ca**ed dr% #rush

#*ending6

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A#ove %ou see the correcting #rush wor cop*eted

!e*ow %ou see after %ou have used the *arge9 soft fina* #*ending

#rush This soft #*ending soothes awa% a** rough edges9 and hides

the #rush stroes

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Eow e)act*% do I do this fina* soft #*ending> Eere are soe

e)ap*es

Starting at the top of the section %ou are woring (ove the #rush in

an up and down otion with the #rush tips on*% touching or feather

*ight stroes against the canvas

Starting high

nding *ow

;epeat

coing #ac

fro #otto

to top

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oti#e t!e brus! !as pulle$ soe

paint $o,n lea%ing sall tra#/s&


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Then repeat on*% going fro side to side now

This side to side otion e*iinated the #rush fi#er trac ars as

seen in the previous photos

This softened ost of a** the hard edges

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"pper photo shows the shadow I a atching in the water drop

$ower photo show the co*or a*read% added

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(ore dar shadow co*ors added to additiona* drops

The% a situated a** across the peta* "sua**% an odd nu#er of drops

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Correcting of a** the drops is ne)t in which the dar co*or is

#*ended@corrected for its soft edges and hard edges

ow the high*ights are to #e added across a** the drops on this peta*

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Eow it *oos further #ac

Soe correcting@#*ending has #egun on the drops on the right The

high*ight areas are now #eing soothed out

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The cop*eted piece prior to varnishing

The peta* and drops used in our e)ap*es are on the *ower right at

a#out 4 o7c*oc

Eopefu**% this additiona* ateria* was he*pfu* in e)p*aining in greaterdetai* e)act*% how #*ending for soft and hard edges is accop*ished

In c*assica* painting9 as opposed to photo rea*is9 the area of ost

interest wi** have the ost hard edges and portra% the ost focused

attri#utes Areas outside the area of focus wi** #e *eft with an% soft

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and ver% soft edges !*urr% or out of focus parts In soe of our

e)ap*es9 the front of the grape and a *eading side cou*d #e in sharp

focus with ephasis to hard edges and high contrast of co*or n the

other side of the grape9 the edge wou*d #e fu::%9 out of focus9 soft

and uted in co*or This rea**% he*ps to create the i**usion of rea*is

to %our e%e and ind

I use a ru*e of thu# that states -ro the idd*e of an average si:e

roo9 4 to ' feet9 the picture wi** *oo c*ose to a photo or rea* *ife As

%ou approach it however at a#out 2 to 3 feet9 %ou shou*d distinguish

soe #rush wor and rea*i:e this is a painting At c*oser than 2 feet

%ou shou*d notice uch of the #rush wor and even see soe

under*%ing paint *a%ers Fou wi** a*so notice the raised paint areas

within the high*ights These9 #ecause the% are raised wi** capture

even ore *ight than the rest of the *ighted areas within the painting

Then9 as %ou step #ac fro %our wor9 %ou again see the optica*

i**usion of these


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About the Artist

"sing traditiona* techniues of the *d (asters9 rich oi* co*ors9 strong

coposition9 and si**fu* #rushwor9 Delmus Phelpsproduces paintings of

universa* appea*

!eing inf*uenced #% his fai*%9 De*us has studied art since high schoo* Eis

teachers introduced hi to this ethod of painting an% %ears ago (rs

.i**ias and (rs Thopson were fir #e*ievers in the *a%ered techniues of oi*

painting and in having strong drawing si**s6 De*us continued his training

under the tute*age of the *ate Eoward Co*ean9 stud%ing at the studios of the

$%nch#urg Art C*u# on ;iveront Ave9 $%nch#urg9 Ka .hi*e serving in the

"nited States Air -orce9 he continued his art studies through the "niversit% of

(ar%*and Eowever9 his Air -orce career put his painting on ho*d unti* returning to

$%nch#urg Se*f stud% has inc*uded a particu*ar interest in sharpfocus rea*is of

en Davies A few %ears *ater9 a #etter understanding of the -*eish *a%ered

Techniue as taught #% A*e)ei Antonov has he*ped #ring De*us7s wor to a

who*e new *eve* of e)ce**ence Eis wor can now #e found with individua* andcorporate co**ections .oring fu** tie at his craft now9 De*us e)p*ains?

OArt has a*wa%s #een a focus within % *ife It has #een a great passion that has

never fadedO De*us e)p*ains further9 Oin the words of this countr%s greatest

scu*ptor9 -rederic Eart9 art has a ora* responsi#i*it%9 that it ust pursue

soething higher than itse*f Art ust #e a part of *ife It ust e)ist in the

doain of ever% person It ust #e an enriching9 ena#*ing and vita* partner in the

pu#*ic pursuit of civi*i:ation It shou*d #e a aBestic presence in ever%da% *ife Bust

as it was in the pastO

.ithin De*uss f*owers9 there is a softness9 warth and g*ow that e)ude a

peace and serenit% uch needed in our hectic *ifest%*es of toda% OThe Bo% of *ife

is one of the things I *ie to depict in % wor $ife is so ver% fragi*e9 *ie the

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f*ower #*osso9 it is short *ived and #eautifu*O Eis sti** *ifes are sip*% a re*a)ing

p*easure of #a*ance and #eaut% A e*od% of shades9 co*ors9 and design "pon

c*oser inspection there are p*ent% of detai*s9 shadow p*a% and draatic *ighting

effects to eep the viewers interest De*us uses a 1+th Centur% -*eish (aster

techniue as taught #% A*e)ei Antonov9 a C*assica* ;ussian (aster It is this

optica* i)ture of seven *a%ers that gives De*uss paintings a particu*ar

freshness

After 30 %ears in the industria* wor*d using his creative pro#*e so*ving si**s to

repair production euipent and *ater as a anager for the aintenance

departent9 De*us changed careers to pursue his drea of creating #eautifu*

pieces of art OMust *ie a now faous coercia*9 I rea**% wanted to chase adrea #efore I was to tired to do it Producing art is soething Ive done a** %

*ife Eaving entered the Air -orce right after Eigh Schoo*9 going to art schoo* was

set aside $ife too e down a road that was wonderfu*9 it provided for % fai*%

for a ver% *ong tie I new however9 that % path wou*d a*wa%s *ead e #ac to

using % ta*ent with the #rushO .ith the support of his wife and their seven

chi*dren9 he #egan the process of #ui*ding his art career soetie #ac OI too

a few wees off one suer and % #o%s he*ped e #ui*d a sa** studio The%

*earned soe e)ce**ent carpentr% si**s


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fi* is prett% tough9 especia**% with this ethod and he had #een afraid to as It

a** wored out though9 and the piece too 2ndin show6

Eopefu**% this e #oo wi** guide %ou towards a successfu* career or at *east a

pasttie that pa%s for itse*f I7ve rea**% enBo%ed #eing a#*e to put down in soe

p*ace soe of the things I7ve *earned in the process of oi* painting6

(a% God !*ess

De*us

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The Real Art Lesson Rv2