The story starts with a demo I did for the Society of Western Artists in San Bruno, California, last Saturday. I never thought that in a few hours I would discover a new painting technique not heard of before.
I paint with both water-mixable oils and traditional oils, and I get a wide variety of responses when people discover this. Everything from rude negativity (“what crap is that?”) to nods from those in the know (“I use them too, aren’t they great?”). It’s rather funny, as most art supplies don’t have groupies or naysayers like this … the lovers and the haters of water-mixables.
PleinAir magazine has set up a temporary website for artists, galleries, museums, and auction houses to register and tell their stories about Hurricanes Harvey & Irma (but hopefully not Maria!). In addition, we’re offering them a chance to participate in a free ad spread that we hope will get spaces reopened and collectors buying.
Recent Paint the Peninsula Quick Draw winner and acclaimed painter Ned Mueller has some fascinating thoughts about the origins of this popular practice we think you’ll enjoy.
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.
This August, while at the Adirondack Plein Air Festival, I was invited along with several local artists to paint at Eagle Island Camp on a private island in Upper Saranac Lake.
The ideas presented here are reproduced from a paper I did for my painting class a few years back.
It was just about a year ago that painter Donald Neff traveled to Japan for Thanksgiving to visit his son, Justin, and to paint. He returned home with paintings, memories, and a valuable lesson.
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.
Several artists of the Missouri Valley Impressionist Society embarked on their own adventure while in attendance at the Door County Plein Air Festival two weekends ago. What they found was extraordinary and beautiful.
Streamline Publishing’s newest endeavor, Artists on Art, is a digital-only, bi-monthly magazine that features articles written by top artists, connoisseurs, and collectors. This rapidly growing community combines traditional articles with video, audio, high-resolution imagery, and exquisite design. Want your voice heard? Here’s a fantastic opportunity.
Probably the same thing that challenged my progress as an aspiring artist many years ago, and the same thing that holds a lot of art students back: preconceived notions about the painting process. That was the short answer. Now for the long answer. I am going to attempt to tackle that question in a circuitous route, but one that hopefully will connect with the reader.
I was recently invited to be a guest artist at Bryce Canyon National Park during the annual Geology Festival. It is the first time an artist has been invited to present at the event, which is sponsored by the Park Service and the Bryce Canyon Natural History Association. It was my hope that my visit might kick-start a permanent artist-in-residence program there. I think we may have succeeded.
It’s not surprising that Venice, Italy, is renowned for much more than its unique geographic location, food, and iconic gondolas. Indeed, for centuries scholars, aristocrats, royalty, and — of course — artists have all become enamored with the jewel-like colors that dance off the city’s canals and pastel-colored buildings.
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.
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.”
There are many plein air artists who simply don’t have the luxury of painting full-time and, as a result, keep other employment to make ends meet. Be that as it may, I would venture to guess that there are also many who find themselves in a situation where painting and profession aren’t necessarily mutually exclusive. Details here.
This week’s article delves further into the “Painter’s Tool Box of Expression.” Last week I highlighted drawing, and this week we will look at color.
For the very adventurous outdoor painter, room — and weight — are crucial things to consider. PleinAir Today recently visited with artist Gary Geraths, who offered up some sage suggestions.