Painting Waves - John Slivjak art

Rising Tide: Advice for Painting Waves

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.
Plein Air Painting Events

Must-Have List: Crucial Outerwear and Art Supplies to Pack for Plein Air Painting Events

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!
How to paint dog portraits - Johanne Mangi - Georgie

Three Quick Tips on How to Paint Dog Portraits

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.
A New Way of Seeing and Painting (For Studio and Plein Air Applications) by John Hughes | OutdoorPainter.com

A New Way of Seeing and Painting (For Studio and Plein Air Applications)

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.

What’s in My Bag?

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.

Three Important Skills Every Landscape Painter Needs

Simply stated, when these three divisions are understood and put into practice, competent landscape paintings can happen.

Go Big or Go Home: Advice For Painting on Large Canvases en Plein Air

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.

Five Questions to Ask Yourself Before Painting a Landscape

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...

Acrylics and the Allergic Artist

It has been an exhausting and convoluted journey finding art materials that I am not allergic to.

Step-by-Step with Ken Karlic’s Sophisticated Chaos

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.

Acrylic and Plein Air

Here are some more of my thoughts about the advantages of acrylic and plein air.

How Important is Contrast in a Painting’s Overall Design?

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.

Avoiding That ‘Cartoon Look’ in Your Paintings

The ideas presented here are reproduced from a paper I did for my painting class a few years back.

What Do Tertiary, Monochromatic, and Analogous Have in Common?

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?

Is Plein Air in Moonlight Possible?

Moonlight has fascinated artists for centuries. Writers have composed about its romance, artists have painted its mystery, musicians and composers have been moved to produce beautiful passages that evoke those ideas. But while moonlight has been depicted by many painters, it was often done from memory — out of necessity, because it’s hard to see and paint in the dark.

Brushwork

Brushwork is the last of the five tools in the “Painters Toolbox of Expression,” and this tool deals with texture. Because textural technique is very personal to the individual artist, no one approach is considered to be correct. Like edges, special brushwork is not even necessary, but more an enhancement to a well-designed painting. It’s generally true that brushwork is rarely spoken of by art teachers, and therefore seldom taught, especially on the university level.

Packing with Pastels

Our hard-working sales superstar Tracey Norvell recently posed this question to prolific artist Jude Tolar: “Do you know of a great, light pochade box for pastel painters?” Tolar’s response was worth quoting in full.

Edge Control (For a more nuanced painting approach)

One of the tools in the “Artist’s Toolbox of Expression” is edge control. Think of edges and brushwork as icing on the cake, because they are not altogether necessary, but are enhancements to an otherwise well constructed painting.

Designing Your Paintings with Values (Along with some tips on scene selection)

Can anyone imagine doing a painting without using a number of values? Well, as an abstract design possibly, but it would be a weak design, depending solely on color for its strength. So strong are values in the painting process that the old adage is true that says: “In painting, values do all the work, but color takes all the credit.”

How to Mix Color and Get Good Harmony (Without the Frustration)

"When mixing colors for the landscape, artists need to be quick on their feet," says John Hughes. "Outdoors, where the light and shadows are in constant motion, it’s important to be able to mix a color intuitively."

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  1. PleinAir Art Podcast Episode 81: Liz Haywood-Sullivan Liz Haywood-Sullivan