Dive into our Water Lilies critique round-up from Richard Robinson’s workshop. See student paintings reviewed and learn to design strong compositions, soft edges, rich gradations, and sparkling impasto highlights.
Love the look of oils but paint in acrylics? Over the years I've worked out a system to make acrylics behave just like oils — slow blending, soft edges, glowing glazes and all. Here's exactly how I do it.
Explore captivating critiques of student paintings from Richard Robinson's "Boat Repairs" workshop. Learn tips on bold brushwork, colour harmony, and adding character to your scenes.
Richard Robinson, Scott Hamill, Paul Kratter and Bill Cone paint out together in beautiful Glenorchy New Zealand.
Well I never thought I’d want to paint a city street but San Francisco changed my mind. The subject of the painting is really the light and atmosphere and the interesting shapes found in a street scene.
If you can remember to find each of these differences and enhance them in every scene you paint, you’ll be making paintings with much more variety. Variety, or in other words, contrast, is what holds people’s attention to a painting. In this lesson, we focus on doing just that.
Student critiques for the Rustic Shed Painting Workshop.
The French (and expensive galleries) call this effect ‘Contre-jour’ lighting, or "against the light," which creates a striking and dramatic effect in landscape painting by positioning the primary light source behind the subject.
In this painting lesson, using the majestic Milford Sound as our subject we will learn how to create depth in a painting, among other things and will learn from the experiences of other painters as I critique their paintings.
Critiques for the River Bend painting workshop
Critiques for Point Lobos Painting Workshop
Student critiques for the Mountain Stream Workshop