Part 5: Creating a Critter from My Mind

Painting from your imagination provides opportunities to experiment with different techniques. Most experiments are a dismal failure, but some result in happy accidents. When you are happy with an experiment, you have learned a new technique to add to your repertoire of skills.

My favorite brush for painting fur/feathers is a script liner – especially for simultaneously painting both texture and form. The critter’s forehead appears to be both furry and three dimensional. An under-painting of the beak establishes form with several values of pink/red.

Tip: Never place a script liner brush (or other soft brush) sitting on its hairs in a container of water. If the hairs become permanently curved, the brush is ruined. Also, avoid soap that contains oil or moisturizer – oil and acrylics don’t mix (just as oil and water don’t mix).

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Part 2: Creating a Critter from My Mind

Using oils to paint a smoothly-blended, multi-colored background is relatively easy because of their lengthy drying time. On the down side, additional layers can’t be added to the background for a few days. Conversely, acrylics dry within minutes and therefore entail a different painting approach.

Thin layers of acrylic paint can be added over one another as soon as the paint dries (15-30 minutes). You can even “erase” (paint over) mistakes and sections you don’t like.

If you want to slow down the drying process, mix a little “retarder” (manufactured by Golden) into each paint color. However, make sure you thoroughly mix the retarder into the paint or you’ll end up with lumps (paint that didn’t get any thinner).

By working the background with layers of thinned paint, I can simply play with values and colors. The background colors are similar to those I plan to use for the emu’s fur/feathers (yellows and browns).  I begin with a few thin base coats to establish preliminary values and colors (which will no doubt change as I work).

My chosen light source is from the upper frontal right. I plan to paint the background’s darker values behind the emu’s lightest values (on the upper right and right side). Conversely, the lighter values need to be behind the darkest values (on the lower left and left side).

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Lessons are categorized into 8 modules (and 18 topics).

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Module 6: People and Animals

Module 7: The Lighter Side of Art

Module 8: Creating Art in Color

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Portraits of Babies are Easy to Draw!

Check Out a Few Guidelines and Get Started!

In three lessons, you examine realistically-proportioned baby faces; shade the forms of a baby’s mouth; and draw a baby named Grace. You are then ready to practice drawing portraits of babies.

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6.1.R5: Facial Proportions of Babies (by Brenda Hoddinott)

Beginner to Intermediate: Guidelines to help draw realistically-proportioned babies’ faces and heads, from newborn to toddler

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6.1.A2: Sketch and Shade a Baby’s Mouth (by Brenda Hoddinott)

Beginner to Intermediate: Outline shapes and then add shading to draw a baby’s mouth that appears three-dimensional

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6.1.A9: Profile View of Baby Grace (by Brenda Hoddinott)

Beginner to Intermediate: Draw a realistic facial profile of a baby by first outlining accurate proportions and then shading textures and forms with hatching

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YEAH! My Newest Book is Launched!

My life has been crazy busy over the past few months, so this book has taken longer than usual to finish. For me, the most difficult part of writing a book is declaring it finished. The temptation to check everything one last time is addictive. However, there comes a point where I just have to let it go! :o)

Drawing on Your Brain (Second Edition)

10 Week Drawing Course-in-a-Book

Strengthen your visual intelligence, creativity, memory, and drawing skills with richly-illustrated activities and exercises. This workbook also includes current and insightful research that helps demystify the amazing relationship between drawing and your brain.

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Love and hugs to my partner John (Percy) and editors Giselle Melanson Tattrie and Cailin Green for making this book a reality. :o)

Draw Animals with Stripes and Spots!

Now everyone can draw zebras and giraffes!

Richly illustrated, step-by-step drawing exercises and projects for artists from beginner to intermediate

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Adobe Images Licence Numbers: 1411682 and  124963123

Beginner: 6.2.A7 Shade Simple Furry Stripes (4 Pages and 6 Illustrations)

Use curved hatching lines to practice drawing a striped pattern with a furry texture.

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Beginner to Intermediate: 6.2.A20 A Zebra Named Spot (16 Pages and 33 Illustrations)

Draw the striped pattern, furry texture, and exterior anatomical forms of a baby zebra’s face, head, and neck.

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Beginner: 6.2.A8 Shade Spotted Furry Textures (6 Pages and 16 Illustrations)

Use hatching lines to practice drawing the texture and pattern of realistic, spotted fur.

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Beginner to Intermediate: 6.2.A17 Dandy the Baby Giraffe (14 Pages and 41 Illustrations)

Outline proportions and shapes and then add shading to create the forms, textures, and patterns of an adorable young giraffe

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FREE! Drawspace Pro Lesson 11

The techniques employed in this tutorial probably helped you learn to print when you were a child. However – these four, printable worksheets are specifically designed to improve your visual intelligence and drawing skills! Enjoy! :o)

Draw Shapes Inside Squares: Strengthen your skills for rendering accurate proportions by practicing skills on four worksheets in which you draw diverse lines and shapes inside squares

Here’s three of the 64 mini projects including in this free lesson. Please feel free to share this link with your artistic friends!

http://www.drawspace.com/module/viewFile/id/120

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Free until Jan 28, 2014!

FREE! Drawspace Pro Lesson 8!

Illustrative and Traditional Realism

Examine drawings to compare the techniques used for rendering two substyles of realism.

Free until Dec 9!

http://www.drawspace.com/module/viewFile/id/294

Illustrative realism is a style of art often used by commercial artists such as illustrators, designers, and graphic artists. Subjects are often rendered with techniques to help the images stand out strongly in digital and printed documents.

Traditional realism employs a variety of different drawing techniques, most of which attempt to represent living beings and objects as they appear in real life without stylization or distortion. Traditional realists are more likely to “suggest” contours through shading rather than render actual contour lines.

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