Continue the exploration of painting truths and visual relationships in the study of light and how it determines the shadows in every painting composition you attempt. Learn the so-called rules; then learn when and why to break them.
Filmed over a period of weeks, this video explores the Flemish method of Old Master Painting, a technique Bouguereau is known to have practiced. Also included is an illustration of how to prepare the canvas in advance of painting to create a ground that makes the final surface more painterly.
This project explores the 19th century painting techniques of master painter John W. Waterhouse. It examines old painting techniques such as the imprimatura tonal wash, combined with Pre-Raphaelite, brilliant underpainting glazes, opaque overpainting brushwork, drybrush, glazing and scumbling. Particular attention is paid to the use of transparent vs. opaque paint in the creation of the intense coloration in the girl's dress.
This video addresses not only the Flemish Old Master's Method, but also the concept of narrative painting, where contemporary, costumed models are placed in a historical setting—all created to tell a visual story. All the references for this painting will be shown, with examples of how to integrate compositional elements from varying sources into a harmonious composition.
After the painting by John W. Waterhouse. If you have ever wanted to study with Johnnie Liliedahl but circumstances prevented it, this video is the answer to that desire. This film is equal to a week-long seminar in Johnnie's studio. It was filmed as she worked out the painting for the very first time and is the culmination of a year's work in preparation, painting, filming and editing. Weeks of painting hours have been seamlessly woven into 4-1/2 hours of this information-packed video.
This video explores not only the theory and measurements to determine likenesses of the model in three views, but also how to control the medium of oil paint during the drawing process.
The two new programs, The Pink Scarf and Sarah address the drawing and painting issues that are unique to the full-face and profile portraits, respectively. Johnnie instructs how to create the illusion of soft hair, atmosphere surrounding the subjects, and the choice of color scheme that makes each new painting unique. Also, each program uses a different canvas tone to paint the portraits, and the content of all three programsÂ explore the effects this first decision has on the overall appearance of the final portrait.