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?
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 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.
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.
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.
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.”
"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."