Teachers of a Self-Guided Artist: Richard Schmid

This is the second in a series of portraits called Teachers of a Self-Guided Artist. Check out the intro post The Self-Taught Myth to read more about it.

I recently started talking to a fellow painter about Richard Schmid, and was surprised to find they had never heard of him. I had started to think he was somehow known to all painters, but I realise there has to be a first time you heard of anyone, and I started trying to remember when I had first come across him.

Turns out it was actually when I was studying with Jon Hardesty in 2011/2012. As I mentioned, he had me create a series of colour charts, and he mentioned that this was an exercise recommended by Richard Schmid in his book Alla Prima: Everything I Know About Painting. Needless to say, it wasn’t long before I purchased a copy, and fell in love with the work of Richard Schmid.

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Teachers of a Self-Guided Artist: Jonathan Hardesty

This is the first in a series of portraits called Teachers of a Self-Guided Artist. Check out the intro post The Self-Taught Myth to read more about it.

At the end of 2011, I was feeling pretty stuck with painting. I’d been doing it on and off for maybe 5 years, mostly using acrylics, and mostly learning by trial and error, having never had any painting lessons. I was frustrated, and wanted to learn how to paint properly. I considered moving to London to go to an art school there, but it was expensive, and I didn’t even have a job at the time.

So I started looking at what options were available online, and after a bit of searching, I found a website called Classical Art Online, run by Jonathan Hardesty.

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Painting of a pug by Dan Johnson. Click to bid.
Sean Cheetham painting workshop Menorca Pulsar

100 Heads Later

People, and specifically faces, have always been one of my favourite things to draw, ever since I first attempted to reproduce Beatles album covers in oil pastels in my high school art classes. I became fascinated by caricature in my teenage years and throughout my twenties, then gravitated back toward realistic portraits, but the challenge of capturing someone’s likeness in a convincing way has always drawn me in. Continue reading