New Mexico artist Albert Handell uses pastels to respond both to the specifics of what he observes and to his emotional response: “I will eventually frame the painting, not the location I observe, so the image has to be more than an exact replica of the landscape.”
Christine Lashley gets a wide variety of responses — everything from rude negativity to nods from those in the know — when people discover that she paints with both traditional and water-mixable oils. Here are the benefits and the drawbacks as she has experienced them.
Believe it or not, value is actually more important than even this element to the design and success of a painting.
What makes a Sorolla a Sorolla? Any time two or more outdoor painters get together to talk about this master artist, they always agree on this one thing.
In this preview of “Urban Pastel Paintings,” Nancie King Mertz shows us how she approaches cityscapes. See why she says you can use the same approach with both oil and pastel paintings (and why she has become a devotee of pastel).
See how this outdoor painter considered her options for capturing a “Joyful Day” on paper at Acadia National Park.
Water as a featured element in painting has been used by artists throughout history. Here, John Slivjak explains four things artists need to consider when painting waves.
From pants to paint tubes, you’ll want to refer to this list for your next plein air painting trip. Bonus: It includes tips for flying with art supplies!
This advice from Johanne Mangi, one of the world’s top painters of dog portraits, will get you going in the right direction toward painting our canine counterparts.
John Hughes explains how this new way of seeing is key to your success, and the development of this skill will do more to further your advancement as a painter than anything else.
If you follow Lori Putnam at all, you probably realize she spends a fair amount of time on the road and in the air. That requires making sure she arrives with everything she needs safe and secure. Here are her top five preparedness tips for artists.
Simply stated, when these three divisions are understood and put into practice, competent landscape paintings can happen.
Painting on large canvases out of doors is not for the faint of heart, as it requires a great deal of bravery and tenacity to get started. Curt Walters explains more in this guest blog post.
Ultimately, when you paint a landscape, you’re painting movement. The air moves, the light changes; it’s never static. Light and atmospheric forces act upon the components of the landscape to create a story, and it’s up to you as the artist to pick the story you want to tell...
It has been an exhausting and convoluted journey finding art materials that I am not allergic to.
Prolific artist Ken Karlic recently teamed up with Daniel Smith Watercolors to offer a comprehensive step-by-step look into his creative process. There’s lots to learn here.
Here are some more of my thoughts about the advantages of acrylic and plein air.
Today’s subject deals with the principle of contrast in the formulation of an effective design. So often, painting students are given a set of rules to live by and at the same time, not told why these so called “rules” exist.
The ideas presented here are reproduced from a paper I did for my painting class a few years back.
Because I’ve been painting so long, I use color intuitively. I just “feel” my color. I choose colors automatically and know which ones harmonize or contrast with each other depending on the effect I want. I have long since stored by paint-splattered color wheel deep in a drawer in my studio, ignoring the wealth of information hidden within it. I’m sure I learned all there was to know about color in high school or college, so what is the point?