“Unless you try to do something beyond what you have already mastered, you will never grow.“

Ralph Waldo Emerson

BRIATA

• Painting as a whole, not in parts

• see masses, contours/forms, shadows

• the colds embracing the central warms, push them forward

• always the contrasts in borders of parts

• the verticals and horizontals can give depth

• do not dirty the colours on your palette, take them with a knife

• do not dirty the colours on painting too ( wait to correct the mistakes), clean 2-3 times with essense

• use pure coulours – pure bleu prusse, emeraude underline and push forward

  shadows – always blue colours

• analyse the colour gamma of successful paintings/painters ( Briata, Goddard, Nicola de Stal, Medvedev)

• make the subject 3D, and the rest of the painting flat ( also, subject warm and around cold)

Scott Burdick

• compare everything to shadow on 10 value scale – find right place for every shadow and light

• if working from foto- first vector guides and light movement

Leffel:

• best and final stroke to describe the form and move on ( stroke of a genius vs stroke of disaster)

• correlate values: shadows, lights and highlights until it becomes unconscious

• when in doubt, make the colour stronger

• check: weight, delicacy, variety, form, moement, gesture for a good painting

• drawing!

• Background – lighter shade of shadow

• everything you do should lead the viewer’s eye

Gerhartz

• establish darkest darks and lightest lights

• define every particular shadow: closer to darkest dark or light – use just values

• edges soft and hard to a different degree

Artpapa

• Imprimatura olive hue transparent coat equal to the middle tone of largest lightest object in painting. Red Ochre+Yel Ochre Light+ Ivory Black

De Heem

• Background ( flowers ) – loosen, forground flowers – precisely and well lit
• Underpainting – rough grey in dead colour
• Blue grapes and plums should consist of a reddish-brown underpainting covered by a dull bluish haze