WEEK ONE - THE BEETLE
WEEK TWO - THE LILY
WEEK THREE - FIR TREE IN SNOW
- Outline:
- Black (+green) hue = (blue-um + green)
- Zig-Zag strokes (flat or round brush) down the trunk
- Black (+green) hue = (blue-um + green)
- Branch Skeleton:
- Black (+green) hue
- Add 2nd coat over the outline; zig-zag brush strokes down the trunk.
- Black (+green) hue
- Textures:
- (Black + green) hue
- Add more detail on ends of branches (light strokes/dry-ish brush)
- (Black + green) hue
- Dimensions:
- Mix yellow + green to add highlights on tips of branches
- Mix yellow + green to add highlights on tips of branches
- Blue Snow Highlight:
- Prussian Blue (+ small amount of dark green) / white
- Add to ends of branches
- Prussian Blue (+ small amount of dark green) / white
- White Highlights:
- (Over blue highlights) apply neat white paint over tips of blue-snow shadows
- (Over blue highlights) apply neat white paint over tips of blue-snow shadows
WEEK FOUR - ROBIN BROOKS INSPIRED LANDSCAPE COLLAGE
- Select landscape (photo, painting or observation) - look for a range of interesting textures and harmonious colours in the image. Observe the key areas of the landscape (e.g. sky, foliage, water, rocks,...) rather than small detail.
- Use acrylic paints to cover areas of white cartridge paper, using the key landscape colours as a guide. Apply the paint in varying thicknesses and use a variety of brush marks to allow texture to show through. Be creative with application.
- Allow paint to dry.
- Once dry cut painted paper sections into small shapes to create the collage
- Arrange pieces on dry paper without gluing down
- Once happy, start gluing from the background of the image to the foreground (i.e. from the top of the page to the bottom.
WEEK 5 - WATERCOLOUR AND COLOURED PEN LEAF
WEEK 6 - URBAN SKETCHING
- Choose an appealing urban scene
- Try to work on location and at speed. Don't worry about preciseness; it's more of a response to the surrounding scene and atmosphere than a photographic-like copy
- In sketchbook, choose the layout (e.g. landscape/portrait/square)
- Using a HB pencil or a pen/fineliner, quickly start sketching the main foreground elements and shapes that you see
- Fill out a selection of a few of the background elements
- Use foreground elements to try to get the right proportions
- Focus on the shapes, draw what’s actually there, not what you think objects look like. Don't worry about precise details
- Squint to see large shapes and not focus on details
- Add loose washes of colour to the drawing to create emphasis. Be creative
- Add darks and drop shadows using a variety of marks – it's important to add contrast and visual weight to objects
WEEK 7 - SCRUFFY SOFT TOY
WEEK 8 - EVERLASTING FOOD
Intro:
Hennie Haworth is an illustrator who works with a mixture of materials such as, chalk, pencils, tipex, crayons, watercolour and felt-tip pens.
She focuses on colour, patterns and details with some decorative elements mixed in. She tends to use watercolour first to build up blocks of colour, then once it's dry, draws on top of it.
Our focus is on illustrations for food using rich colour to make the image look more appealing. Play with imperfections and perspectives.
1. Practise composition ideas in sketchbook
2. Looking at your reference material (both Hennie Haworth food illustrations and real-life foods), practice a few samples of watercolour. Once dried, test some coloured pencils and/or felt pens to add more detail over the top of the dried watercolour.
3. On A4 watercolor paper draw your images of tinned/ bottled foods with HB pencil
4. Paint washes of colour to set the main areas of colour and allow to dry
5. Add a second glaze of watercolour to intensify the initial wash. Add more glazes as you see fit.
6. Leave watercolour to dry
7. Use either/or both coloured pencil and felt pens to add depth and detail to the image.
Hennie Haworth is an illustrator who works with a mixture of materials such as, chalk, pencils, tipex, crayons, watercolour and felt-tip pens.
She focuses on colour, patterns and details with some decorative elements mixed in. She tends to use watercolour first to build up blocks of colour, then once it's dry, draws on top of it.
Our focus is on illustrations for food using rich colour to make the image look more appealing. Play with imperfections and perspectives.
1. Practise composition ideas in sketchbook
2. Looking at your reference material (both Hennie Haworth food illustrations and real-life foods), practice a few samples of watercolour. Once dried, test some coloured pencils and/or felt pens to add more detail over the top of the dried watercolour.
3. On A4 watercolor paper draw your images of tinned/ bottled foods with HB pencil
4. Paint washes of colour to set the main areas of colour and allow to dry
5. Add a second glaze of watercolour to intensify the initial wash. Add more glazes as you see fit.
6. Leave watercolour to dry
7. Use either/or both coloured pencil and felt pens to add depth and detail to the image.
WEEK 9 - MATISSE OPEN WINDOW
Find a photo (or a real-life) of a view through a window as a reference
Using the Matisse images look closely at the window shapes and details in the painting
Take note of how Matisse uses energetic marks and complementary colours in the windows and on the walls. These are colours that are opposite to each other on the standard colour wheel-reds/greens, blues/oranges, yellows/purples used to create extra vibrancy
Using a neutral (grey or brown) oil pastel draw ot the matisse painting on A4 or A3 pastel (or any heavy-duty paper)
Replace the image through the window in the Matisse painting with a view of your own
Test your colours in your sketchbook before using and try practising blending colours together and also mixing whites into your colours to create tints
Apply the colours in light layers, applying more pressure as you build up the surface. As a rule of thumb, use lighter colours first, adding depth and tonal value as you go on.
Roughly blend with fingers, kitchen towel or blending stick
Using the Matisse images look closely at the window shapes and details in the painting
Take note of how Matisse uses energetic marks and complementary colours in the windows and on the walls. These are colours that are opposite to each other on the standard colour wheel-reds/greens, blues/oranges, yellows/purples used to create extra vibrancy
Using a neutral (grey or brown) oil pastel draw ot the matisse painting on A4 or A3 pastel (or any heavy-duty paper)
Replace the image through the window in the Matisse painting with a view of your own
Test your colours in your sketchbook before using and try practising blending colours together and also mixing whites into your colours to create tints
Apply the colours in light layers, applying more pressure as you build up the surface. As a rule of thumb, use lighter colours first, adding depth and tonal value as you go on.
Roughly blend with fingers, kitchen towel or blending stick
WEEK 10 - URBAN MAP
Find a photo (or a real-life) of a view of some Shrewsbury landmarks
On A4 cartridge paper draw 4 boxes of no more than A6 size (i.e.1/4 of the A4 sheet).
Using HB pencil, draw a small sketch of a landmark within each box.
Develop the drawings using a medium(s) of your choice (e.g pencil, watercolour, pen (or pen and wash)
Test your technique and chosen colour scheme (if using colour), in your sketchbook before applying
Each box, once completed can be cut out and glued down on black paper, to create a thin black border around each image
Next, glue down the black-bordered drawings onto a map of Shrewsbury. Consider where to place each box adjacent to it's positioning on the map
On A4 cartridge paper draw 4 boxes of no more than A6 size (i.e.1/4 of the A4 sheet).
Using HB pencil, draw a small sketch of a landmark within each box.
Develop the drawings using a medium(s) of your choice (e.g pencil, watercolour, pen (or pen and wash)
Test your technique and chosen colour scheme (if using colour), in your sketchbook before applying
Each box, once completed can be cut out and glued down on black paper, to create a thin black border around each image
Next, glue down the black-bordered drawings onto a map of Shrewsbury. Consider where to place each box adjacent to it's positioning on the map
WEEK 11 - TEACAKES
A. Print the page attached below, which shows an example of the food art of Nicola McBride. She specialises in closely observed drawings of locally produced food and drink. She works in biro pens carefully building up the depth of colour and detail (and using a brown pen to darken the tones of colours where necessary). Once printed use the gridded side of the page to build up your close up image. Use coloured pencils.
OR,
B. Draw your own grid on A4 paper, with each square measuring 3cm x 3cm. Draw your outline in HB. Once drawn, rub out the grid. Use colour pencil in pinks and reds and with brown layered onto the red to darken shadowed areas. Look carefully at the white areas of the packaging and gently add the reflected colours of blues, greys and yellow ochres. Use contoured hatching marks to build up the tones.
N.B. this exercise is quite time consuming and therefore you might wish to concentrate on a few squares only, to colour in.
OR,
B. Draw your own grid on A4 paper, with each square measuring 3cm x 3cm. Draw your outline in HB. Once drawn, rub out the grid. Use colour pencil in pinks and reds and with brown layered onto the red to darken shadowed areas. Look carefully at the white areas of the packaging and gently add the reflected colours of blues, greys and yellow ochres. Use contoured hatching marks to build up the tones.
N.B. this exercise is quite time consuming and therefore you might wish to concentrate on a few squares only, to colour in.
