Artist Daily

Only 1 Week Left to Deadline

Courtney Jordan — Thu, 23 May 2013 22:29:00 GMT

There's really nothing quite like a deadline to get us in gear, am I right? I mean, when art is your passion but real life is your reality, sometimes it is hard to find ways to integrate studio time into our lives on a consistent basis.

But that struggle is completely worth the effort! The work that we (well, mostly you!) create is incredibly inspirational and certainly fuels my love of contemporary painting and drawing each and every day. And when you reflect back or look around at your recently finished pieces, you'll realize that you have produced much more art than you give yourself credit for!

Well, now is the time to shine a light on that effort and I wanted to take this opportunity to encourage you to not simply let dust sit on the work that you have completed. There are avenues to present your artwork that can bring you the credit and attention all your hard work and results deserve.

Right now, there's a week until the World of Art Showcase submission deadline. The show's opening reception is on October 31 in Raleigh, North Carolina, at the heart of the city's thriving art scene, and is open through November 3. Buyers, collectors, and art aficionados from all over the world will be in and out of the exhibition doors. It is a unique opportunity for exhibiting artists to gain worldwide exposure, sell work, and connect and network with members of the art world and their audience.

So seriously consider taking this opportunity! Your artwork deserves to be seen and I know I would be thrilled on your behalf if you take the next steps in submitting your work! It's what we should all be doing sooner rather than later!

To find out more about WOAS RALEIGH 2013 and how to become an exhibiting artist, email info@worldofartshowcase.com.

If you are ready to apply (yay!), you can simply download and submit your application at the World of Art Showcase website.

Remember, June 1st is the last day to submit your application!

Good luck!

Caption Contest: What Does This Photo Say to You?

Courtney Jordan — Thu, 23 May 2013 15:21:00 GMT

This cutie is wielding a paintbrush like a pro, right? When you look at the photo, what caption would you give it? Leave your caption in the comments section below and you could win an art resources bundle from Artist Daily. It's as simple as that. Entries will be taken until the contest is over on May 26, 11.59 EST.

Three members will be randomly selected to win. It could be you so get your thinking cap on and enjoy!

Attack of the Masses

Robert Stollar — Thu, 23 May 2013 03:14:00 GMT

I want to say a few things about massing. There are a few basic rules in figure drawing that will deliver results, but underlying them all is massing. If you cannot master massing, no matter how much you know of all the other elements of drawing, there will always be something missing. Somehow it just will not be quite right. So if you're not already versed in massing, give it your best and results will follow almost immediately. Drawings by Albrecht Durer. What is massing? To force images into...(read more)

How to Avoid the Pitfalls of Painting from Photographs

Courtney Jordan — Wed, 22 May 2013 03:18:00 GMT

I’ve spent way too much time in murky classrooms looking at slides, slides, and more slides. I’m convinced that the entire academic field of art history would grind to a halt without projectors, carousels, and slides. But what is weird about looking at so many images is that I find myself thinking that I know exactly what a sculpture or a painting really looks like because I’ve seen a photograph of it. Photographs can never tell you the full story of an object, landscape, or person’s face, but they are convenient references for artists. The reality is that most artists use source photos in some capacity when they work, whether to jog their memory of a particular place and time or to record specific visual details to incorporate in later pieces.


El Mercado by Mark Haworth, 2006, oil painting, 16 x 20.

But to produce a successful piece of art, an artist has to be wary and attentive to what he or she is seeing—and not seeing—in a photograph. That starts with understanding the limitations of reference photos. Artist Mark Haworth puts it this way: “The camera cannot see like the eye can when it comes to color accuracy, depth of field, and the warms and cools of highlights and shadows. There’s a lot of distortion that comes along with photographs.”

Pastel artist and instructor Denise LaRue Mahlke agrees. “Following a photo to a ‘T’ is a big mistake, because the camera lies,” she says. “Photos can be indispensible as a jumping off point, but even if the photo is an excellent one, you want to reinvent the scene for a painting to work.”

Haworth, for one, puts decidedly less emphasis on reference photos than on preliminary sketches made on-site or notes written in the field. “When I’m traveling through an area, I write what I am seeing,” he says. “My notes often give me what I can’t get in a picture. Photos don’t give the subtleties I look for to capture the look and feel of a place.”

When Mahlke is on-site and doesn’t have time to paint, she’ll often do the same—sketch and take notes. But she acknowledges that sometimes she takes as many photos as she can. “Having that multitude of photos can give you a lot to work with,” she says. “When I’m ready to start a piece, I’ll pull from many different photos for inspiration and do thumbnail sketches to familiarize myself with the subject and composition I’m working toward.”

I asked Haworth and Mahlke if constantly referring back to photos can lead to overworking or to a painting filled with a bunch of little details instead of a cohesive composition. Both artists knew just what I meant. “It can go from painting to documenting,” says Haworth. “You can take in all the details and go crazy.”


	Winter Stream by Denise LaRue Mahlke, 2008, pastel, 14 x 18.

Another point both artists stressed is the importance of working from photos they’ve taken themselves. “When using someone else’s photos, you aren’t painting your own concepts, just copying,” says Mahlke. “I tell my students, ‘Work from your own photos—your ideas are there.’”

What’s more, a reference photo, no matter who clicked the shutter, shouldn’t lead to a sense of obligation to show exactly what is depicted in the shot. Instead, an artist should feel free and inspired to manipulate or leave behind a reference any way he or she chooses. That assures there’s vitality in a piece of art and means you won’t miss seeing—and hopefully recapturing—the moments that will make a painting great.

With the Photo Reference for Artists: Landscapes, you'll be able to hone your skill with using reference photos, coming away with creative and technical food for thought on the advantages and potential pitfalls of working with photographs. Enjoy!

Join the Controversial Conversation

MaureenSharon — Tue, 21 May 2013 04:43:00 GMT

The moment the June issue of The Artist's Magazine hit the newsstands we started to receive a deluge of letters of protest and of praise. The cause of controversy was an article I’d written on the work of social realist Max Ginsburg, whose beautiful Swing graces the cover. Ginsburg’s immediate subject is the city of New York but the incendiary work in question shows the horrors—both physical (on the enemy/victim) and moral (on the warrior/perpetrator)—of war.

I invite you to join the conversation, as our September issue will feature our readers’ letters and Max Ginsburg’s response. Also in the June issue are articles on nocturnes in pastel (Stan Sperlak), improvisations in acrylic (Robert Burridge) and still lifes in both oil and pastel (Claudia Seymour), plus answers to your questions on using water as a medium for acrylic, advice on entering art fairs, and, as always, much more.

--Maureen

Paint Every Figure With the Power of a Portrait

Courtney Jordan — Mon, 20 May 2013 03:26:00 GMT


First Bite, 17 x 16, 2009, oil painting. All works by Michael de Brito. Courtesy Eleanor Ettinger Gallery.

Painting the people and places one sees every day can be either a mind-numbing trial or an impetus for creativity that just happens to be homeward bound. For New Jersey-based artist Michael de Brito—who has spent the last several years painting family members and friends in familiar surroundings, such as his grandmother's kitchen—it is the latter.

In De Brito's work, domesticity is not the stuff of clichéd gender roles or snapshot tedium. Instead, his scenes show the family matriarch caught in moments of arrested action or sitters sinking into introspection in the midst of a chattering group. Meals are readied or consumed, and conversations meander over a bottle of wine. The occasions are simple, but De Brito's portrayals linger in the viewer's mind as if they are our own memories, producing a rapport between us and the figures.

The artist's ability to invest his paintings with such immediacy comes from his deep-seated connection to the figures he depicts. "The paintings are almost like a diary," he says. "Each day is different—people age, and the place ages, too. I'm capturing them in the moment, so I won't forget how they are. In some ways this allows me to know them better." This personal connection also dovetails with the artist's relish for the technical aspects of painting—drawing, composition, and the materiality of oil paint.


	Sunday Guests, 17 x 21, 2009, oil painting.


	The Gathering, 29 x 39, 2006, oil painting.

"I have my sketchbook with me all the time," De Brito explains. "A good painting comes from a good drawing, so I make a small drawing to get a grasp of the composition before I do the actual painting." From there, the artist creates a full-size charcoal sketch of the painting directly on the canvas. Once he's satisfied with it, he sprays it with fixative. "Then I can focus on applying the paint as opposed to dealing with a figure's hand that doesn't look quite right," he says.

Delving into the feel and look of the paint is an integral part of the painting process for De Brito. "The application of the paint and the way it feels is a major part of my process-and definitely the most appealing part," he says. "I just love the lusciousness of the paint on the canvas." The artist works wet-in-wet and doesn't use glazes: "With wet-in-wet, you can create soft edges almost by accident, and subtle mistakes can still be used to create what you want. For me, glazing takes too long. I want to see it done quickly, and working wet-in-wet helps get me there."


Conversation After Lunch, 12 x 16, 2005, oil painting.

The immediacy and "in the moment" atmosphere of De Brito's works can also be attributed to the fact that each figure is depicted with a level of detail that is usually reserved for a painted portrait. A grimace, searching glance, or slouching stance individualizes each figure and gives the viewer an inkling of who these people are. The depictions are not idealized, but they are honest, and there's a dignity to them that makes the viewer feel like another guest instead of an intruder or voyeur.

De Brito doesn't describe himself as a portraitist, but the figures in his paintings possess the poise and individuality that mark successfully painted portraits. To enhance your ability to capture a likeness and better understand the nuances of painting figures realistically, consider any and all art resources on sale now at the North Light Shop. Enjoy!

New Free eBook on the Color Wheel and Color Schemes!

Courtney Jordan — Fri, 17 May 2013 03:35:00 GMT

It feels right to talk about color and art during this time of the year, when flowers are blooming, trees are budding, and skies are (mostly) blue. After months of dull-colored scenery, everything seems to be flourishing wherever I look, which makes me want to do whatever I can to capture that beauty and vibrancy in my art.


Cafe Terrace at Night by Vincent van Gogh, oil on canvas, 1888.

In our latest Artist Daily eBook, The Color Wheel and Beyond: Color Theory, Mixing Colors, and How to Create Complementary Color Schemes, the groundwork is set so that you can focus on color whether you are painting an indoor still life, an outdoor painting, or hoping to spend studio sessions looking at masterworks by famous artists and being able to visually understand what you see and why it evokes certain reactions in you.

To start, you'll find an introduction to color theory and the basic tenets behind how we interpret the spectrum of colors in The Color Wheel and Beyond: Color Theory, Mixing Colors, and How to Create Complementary Color Schemes. Then there is a whole chapter focused on color mixing and how to create and use a complementary color palette, a foundational part of any color-mixing lessons.

There is also a chapter devoted entirely to color mixing for the landscape painter or plein air artist, including how to mix colors with correct values and how to create harmonious color relationships in your work.

Whether we are viewing or creating works of art, understanding the basics of color-from color schemes and contrasts to basic color theory and mixing color for varied effects-means giving yourself the opportunity to see how artworks are created stroke by stroke, layer by layer. With this information you can start to explore your subject matter in new ways and articulate your own ideas about color. So download your free copy of The Color Wheel and Beyond: Color Theory, Mixing Colors, and How to Create Complementary Color Schemes now, and enjoy!

And if you know a fellow artist who would appreciate The Color Wheel and Beyond: Color Theory, Mixing Colors, and How to Create Complementary Color Schemes, feel free to forward this to them!

Versions, Variations & Copies

SABennett — Thu, 16 May 2013 20:10:00 GMT

A Collector's Decision to Commission a Reinterpretation of an Existing Work of Art

Patricia Watwood has explored her decision to paint a second version of one of her most well received works, Pandora. She described her thinking about doing the second work as well as her discussions with the commissioning collector. As that collector, I had my own concerns.


The variations in the detritus around Pandora, both the 2011 and 2012 versions.

The starting place for any later version is, of course, the first work. When I saw Pandora on "Women Painting Women" (a great site), I could tell it was extraordinary. This led to a phone call with the disappointing news that Pandora had been sold. I now had a choice: walk away, pick another work, watch Patricia's inventory for something that appealed to my sensibilities, or commission a variant.

In our conversations, Patricia and I were both intrigued with the idea of a "second version" but, at the same time, wary of it. So, we talked about "variations." How many times did Pearlstein render the same scene or Munch paint The Scream? (Munch made four variants, none identical). In any case, we agreed that painting an idea for the first time is wholly different from painting it again.

In the end, we agreed to a reinterpretation: use the second time as an opportunity to see it anew, correct anything not liked, experiment with prior ideas not implemented. We also discussed ways in which the first painting could change: rearranged or different "junk" around the figure, different dimensions, a new model. Patricia rejected this suggestion as she had a rapport with the first model, so we agreed that she would work from life a second time. Everything else, esp. how closely to follow the original composition, was left to Patricia. I didn't need to see the work in progress nor did I ask for sketches. I wanted Patricia to follow her own instincts.


The variations in the feet of Pandora, both the 2011 and 2012 versions.

If you have read Patricia's comments, clearly painting the second work was a learning experience and a metaphysical journey. In the end, I was surprised at how much the two paintings resemble one another. Indeed, had Patricia asked me about tracing version one as a starting place for version two, I would have discouraged her. Nevertheless, for me as a collector, I found the result to be the gratifying outcome of a trusting collaboration that resulted in another extraordinary work of art.

Undoubtedly, viewers and artists will want to place the two variants side by side for comparison. For me, however, I think the two works stand alone and together quite nicely. I wouldn't change a thing.

--Steven

Seeing Double?

Patricia Watwood — Thu, 16 May 2013 03:34:00 GMT

I just finished a very interesting commission. I've shared my oil painting, Pandora, on Artist Daily before. It was one of the central paintings from my 2012 exhibit at Forbes Gallery. I got a lot of positive feedback on that painting--and then got an inquiry from a collector, "Is Pandora still available?" Happily I had already sold it, but the collector and I started talking about doing a second version, and the historic tradition of multiple versions of successful paintings. We both agreed that a commission of a second version would be a great project.


These two images are so similar, you could do a search and find for small details. I even have to look twice to figure out whether they are the same or different. Pandora by Patricia Watwood, 2011, oil on linen, 30 x 26.

I'd never done an autograph copy of a fine art oil painting before, and I did not want to just make a copy of the first painting. How could I make another one and create the same level of quality and freshness, rather than a technical repeat that wouldn't have the verve of the first? I think we've all seen 2^nd and 3^rd versions of famous works by artists in museum exhibits, and there's often a sense that the first is the best one and the others are derivative. So, my challenge was to make a second version that was every bit as "first rate" as the original.

The collector and I agreed upon some basic working strategies. For one thing, I would not copy the original oil painting, but re-create the painting from life--particularly by doing the figure work again from the live model. I would also re-set the "still-life" objects that create Pandora's seat--the pile of junk around her in the foreground. I recreated the set-up and placed the objects so that the composition would be an improvisation on a theme, rather than a rote repetition of the details. Lastly, I made the picture at a slightly different size--two inches larger in each direction.

To proceed, the first thing I did was make a full-size black and white copy of the original painting (from a photograph of the artwork), and transfer that to the new canvas. I rubbed soft pastel on the back of the paper copy, and scribed the lines on the front with a pencil to transfer the drawing. Next, I did my underpainting (in my usual limited palette) by copying the original painting. After that was mapped out on the new canvas, I set the original aside and began to finish the second painting on it's own, referring to the first only to check general color and value consistency and design.


		Pandora 2012 by Patricia Watwood, 2012, oil on linen, 32 x 28.

In the end, I was very pleased with both the process and the result of the second work. Repeating the composition caused me to reflect on how a personal visual language has been developing through this work, and others I'm making in this vein. I was no longer asking myself: "How should I do this?" and "Where should this hand go?" I could dwell on larger questions like: "What is personal and meaningful about these things I'm painting?" and "How can I give this more deftness and grace?" I'm learning that this is one of the great boons of working on a series--that you can dig deeper into the "why," and explore variations rather than building the machine from scratch each time. I made the figure just a bit bigger--and learned how just a small change in scale can change the impact and technical handling in the figure. There were a few passages that I kept almost exactly the same, and that gave me confidence that "Yes, I did like how I solved that problem last time." Like anything we repeat, practice makes perfect. The second painting went very smoothly, and I felt increased confidence in the execution and result.

I'll leave you with a word of praise for the art collectors out there, who play a crucial role in the development of an artist. I have been lucky enough to work with a few collectors who are deeply committed to cultivating art and talent. When you have a patron who is both setting a high expectation, and trusting you to be your best self, the outcome can be optimal for both parties. Collectors who buy the work of living artists get to go to "Art Heaven," and this direct support of artists makes the world a better place for all of us who strive for the continuance of excellence in the arts. So, thank you, dear collector.

--Patricia

Proven Steps of Watercolor Painting Mastery

Courtney Jordan — Wed, 15 May 2013 03:19:00 GMT


Procida, Italy IV by Keiko Tanabe, watercolor, 14 x 21, 2008.

One of the best things about being at Artist Daily is seeing incredible artwork on a daily basis. This is especially true in the area of watercolor painting. I wasn't too familiar with many contemporary artists working in the medium before I started working here, but I've become quite the watercolor fan in the last few years with quite a few watercolor artists on my "watch" list.

In the spirit of supporting the watercolorists out there and in a desire to highlight how evocative a medium it can be, here's a top-five list of watercolor tips for those just starting out, and those who could use a little help along the way.

Load your brush. When starting out, and to avoid creating a piece that looks overworked, paint with a sure stroke and don't shirk on color.

Go abstract. To understand what watercolor can do, give up control to gain insight. See how the paint and water move, and what kind of effects you can achieve by playing with the water-to-pigment ratio, surface and surface tilt, and color layering.


	Living on the Streets by Dean Mitchell, watercolor, 15 x 11, 2009.

Don't forget to sketch. Like any performer or musician, an artist should explore his or her chosen medium by experimenting in a loose, pressure-free manner. Using larger brushes when sketching in watercolor helps you to concentrate on overarching compositional shapes that every good painting needs.

Find the light. Watercolorists typically work from light to dark, which means that hoarding and protecting those segments of paper where highlights will appear is crucial. Using masking fluid and tape are options but be mindful of the distinct edges these can leave.


Seattle Newsstand by John Salminen, watercolor painting, 22 x 30, 2007.

Consider a limited palette. When just starting out, a select group of colors helps simplify the painting process and helps you develop your color-mixing skills. Avoid dark browns and opaque colors, as they tend to appear somewhat muddy and dull. Try a warm and cool of each color you want.

There are as many techniques and skills to master within watercolor painting as there are in any other. To help you accelerate your process and produce the best watercolor paintings you can, consider Soon Warren's new DVD, Watercolor Crystal. You'll find instruction on composition, subject matter, and formal execution. To share your own hard-won tips and skill, as well as the kind of challenges you are addressing in your work, leave a comment.

Just What Is a Consultation, Anyway?

Carolyn Henderson — Tue, 14 May 2013 03:47:00 GMT

When my Norwegian Artist, Steve Henderson, gives an oil painting workshop, one of his favorite aspects -- as well as that of his students -- is when participants bring in their artwork for Steve to look at and make comments about.

"I could spend an entire workshop doing this," he's told me. "We both get so much out of it."


		It's a balancing act -- asking for feedback and accepting it. But if you do the dance right, you'll learn some valuable new moves. Grace by Steve Henderson.

When you find a fine art oil painting artist and arrange a consultation concerning your artwork, you are essentially looking for what Steve does in the workshop: you show the artist your work and he tells you where it's good, where it's not so good, what your strengths are, and where you could use some improvement.

This isn't necessarily easy to listen to -- and even as you listen to it you must be aware that it is the opinion of one person -- but if you check your ego in at the door and you've done your homework in choosing the artist to review your work, you can find incredible benefit in a consultation that analyzes your oil painting technique and narrative approach.

Thanks to modern technology, you and the artist do not have to be in the same town. You simply e-mail images to the artist (do, do, do take good photos), and he or she gets back to you via e-mail, instant messaging, phone, or Skype. The latter three can be in "real time," but even e-mail can be done on the spot if the two of you make an appointment to write back and forth.

One session of reviewing two to 10 of your works will give you a different perspective, some ideas on where to go next, and an outsider's dispassionate view. Not a bad return on the investment.

--Carolyn

An All-Or-Nothing Proposition?

Courtney Jordan — Mon, 13 May 2013 03:15:00 GMT

One of the best conversations I’ve had about art wasn’t with an artist. It wasn’t with an art historian, curator, or gallery owner, either. It was with a mechanical engineer. We went from discussing his latest design project to the artfulness of historical blueprints to Leonardo’s notebooks—and I think we may have even touched on Umberto Boccioni and Futurism.

The City Rises by Umberto Boccioni, oil painting, 1910.

Looking back on it, I’m not too surprised that someone with a scientific mind would be so knowledgeable about art. It’s become quite clear that art and technology share quite a few commonalities. Both are driven by innovation, experimentation, and observation. Trial-and-error is a cornerstone in both fields. Neither stands still for long; they are both ever-changing frontiers. So it seems natural that technology can lead artists in interesting directions, whether by making what they already do a little easier or by introducing new tools that help transform their process.


Artist Jove Wang uses a source photo to transfer his composition to canvas.

For example, digital photography means no more lugging around film, having the ability to see photos as they are shot, and being able to make adjustments in the moment. Computer programs of 3-D human poses allow artists to practice the fundamentals of rendering even if they don’t have a mannequin or aren’t yet ready to work from a live model. Software such as Photoshop allows one to manipulate photos, make color corrections, and play around with compositions.

It seems that technology, from the first metal oil painting tubes to climate-controlled studios, has a useful place in the art world, regardless of your medium or style. Allowing technology to play a part in your process is not an all-or-nothing proposition. Regardless of the source, artistic innovation always comes back to the artist—after all, a tool is only as useful as the hand that wields it. Taking advantage of technological innovations doesn’t elevate or delegitimize an artist, or make his or her execution more or less skillful. It is just another example of how an artist chooses how to paint or draw, and that choice is a deeply individual and creative right.

Building on solid technique allows artists to take their work in any direction they choose. Capturing the gesture and form of the human body is one such essential technique and if you are looking for resources in acrylic painting, drawing and sketching, or colored pencil, Lee Hammond's DVDs can help you, whether you are just starting out or want to enhance your skills.

What Artists Reveal with Self-Portraits

Courtney Jordan — Fri, 10 May 2013 03:25:00 GMT

When I walk through a museum or gallery, there are certain paintings that I breeze past and others that always draw me in. Self-portraits definitely fall into the latter category. I’m always intrigued by how artists choose to represent themselves and perpetuate their own personal mythologies.


My World by Daniel Graves oil on linen, 59 x 49 3/8, 2010. Images courtesy Eleanor Ettinger Gallery.


Homage to Gretchen Rogers by Gabriela Gonzalez Dellosso, oil on linen, 16 x 12, 2010.

True, a self-portrait at its most basic is a simple likeness. Historically, in fact, artists used self-portraits as a kind of calling card, attesting to their ability to capture a likeness and giving a sense of their capabilities. And, yes, self-portraits are convenient exercises because the model is always available and works for free. But a self-portrait can evoke and reveal much more when taken beyond the bounds of straightforward exercise.


	Mertz Self-Portrait by John Morra oil on canvas, 28 x 40, 2010.

In many self-portraits, the artist’s status can come into play. Centuries ago, Diego Velázquez famously depicted himself as an accomplished, courtly, and knighted painter situated among royalty in Las Meninas, raising both his status and the status of the practice of art. Contemporary artist Daniel Graves riffs on the theme in a more subdued way in his self-portrait titled My World. Graves stares confidently out at the viewer, gesturing emphatically with brush in hand. His surroundings are presumably his personal studio, where objects seem to signify the artist’s interest in classicism and his focus on the study of the human form and anatomy.


	My Father's Son by Frank Arcuri, oil on linen, 14 x 12, 2010.

John Morra’s Mertz Self-Portrait shows the artist as something of a humble tinkerer. The artist, dressed in a worn pullover sweatshirt, stands in the center of the composition, the ostensible focus of the painting. But on further study, it is the quirky objects surrounding Morra (many of which often appear in the artist’s signature still life paintings) that steal the show—quite possibly the artist’s intention.

Then there are those artists who use self-portraiture as a chance to take on a silly, somewhat self-deprecating persona, as Frank Arcuri does in his painting, My Father’s Son, in which the artist plays a bit of a class clown by pinching a paintbrush between his nose and upper lip. Or the artist can use the self-portrait as a way to honor and acknowledge a fellow artist. Gabriela Gonzalez Dellosso’s Homage to Gretchen Rogers, the early-20th-century American artist, does just that.

In Hunter Eddy’s Self-Portrait, a darker set of emotions is explored. The artist positions himself directly in the foreground of the painting, bare-chested and starkly gazing out at the viewer. Self-doubt, uncertainty, and stoicism all seem to reside in his gaze. In much the same way, Dana Levin’s Max and Me shows Levin holding a small child (her firstborn) so close to her face that his head partially blocks our view of the artist, though her distant, somewhat vacant expression is still apparent.


Self-Portrait by Hunter Eddy oil on linen, 19 3/4 x 15 3/4, 2010.

Max and Me by Dana Levin,
oil on panel, 10 x 8, 2010.

Obviously, self-portraiture is an expressive outlet that can lead an artist down many different roads. But a successful self-portrait, like any other piece of art, starts with a meaningful, sincere idea from the artist. Self-expression isn’t any one thing. It can be geared toward a realistic depiction of your face and physicality, or less so. Most of all, artists need to push to design and imagine without limits, strengthening their own creative points of view.

For inspiration and portrait painting tips from contemporary and past masters alike, take a look at the 2012 CD Collection of The Artist's Magazine. Enjoy!

Summer Wind Patterns

Robert Reynolds — Thu, 09 May 2013 03:43:00 GMT

As we all start getting ready to step outside our studios and paint outdoors or create studio landscape painting based on our experiences in nature, I wanted to explain the design elements that I put together for this particular painting, Summer Wind Patterns . Summer Wind Patterns by Robert Reynolds, transparent watercolor painting on rag paper. The location for the painting is the California High Sierra and the lake is known as Silver Lake. Over the years, I conducted many, many outdoor watercolor...(read more)

How Do You Paint on the Go?

Courtney Jordan — Wed, 08 May 2013 04:20:00 GMT

It’s only May, and already I’m fantasizing about summer road trips and exotic jaunts. But then I remember that almost every time I go on vacation my glow wears off once the artists show up. Inevitably, I see a traveler who is painting landscapes or sketching, creating significant and personal mementos while I am left envious and grumpy because all I have to take home are cheesy postcards and tacky magnets. This can’t go on!

Ville Franche, France
by Eric Wiegardt, 2009, watercolor painting, 22 x 30.

I sleuthed around to find an art medium that is a facile traveler, and almost immediately my pity party was over. Landscape painting in watercolor! The supplies are minimal, there’s nothing heavy or cumbersome to lug around, pieces dry quickly so you can paint and move on with your journey, and storage can be as simple as closing a sketchbook. Watercolors can also be used to enhance and complement graphite and pen-and-ink sketches, which opens up even more options. But for those who really love oils, if you carry a small pack and use a condensed palette, painting on the go is totally doable as well.

The approach to painting on the go is more a mindset than what you are painting with. Painting quickly is the goal, but that’s not about time management as much as working intuitively. Therefore it helps that loose yet controlled brushwork often shows watercolors and oils to their best advantage. Painting quickly also provides good practice in not getting bogged down in details of the landscape artwork you create and, instead, using broad swathes of color to build a sense of atmosphere.

Let me know how you paint when you are on the go—leave a comment and let me know. And for more tried and true tips to improve your landscape art skills when you are on the go, consider Painting on Location. Whether you are planning your next trip abroad or refining sketches you do on location in the studio, the technical demonstrations, artist tips, and painting tutorials in the book will help you learn how to become a better artist.

And to see more of Eric Wiegardt's watercolors like the one above (which put me in a decidedly vacation state of mind!), visit his website. Enjoy,

Art Consultations -- Jump Starting Your Next Painting

Carolyn Henderson — Tue, 07 May 2013 03:38:00 GMT

Taking private lessons to learn how to paint is a wonderful thing, but if you feel you cannot afford them, an art consultation, in which you show another artist, a dealer, or an art appraiser your work and ask for their opinion -- which you agree to pay for, naturally -- is a valid means of moving ahead in your painting career.

Sometimes, when you feel that you're stuck going nowhere, a little jump is all it takes
to make the next big splash. Reflection by Steve Henderson.

As I mentioned in Affording Private Art Lessons, both consultations and painting technique lessons can fit into your budget if you recognize that there are lots of great artists out there, and not all of them have big, big names. Those smaller names, who can still be quite good, are worth approaching for advice and consultation, and if they don't offer the service already, they may consider doing so because you ask them.

They will also probably offer the consultation for a reasonable price.

And what is a reasonable price? Think "contractor" or "auto mechanic," whose hourly rates are in the $40 to $80 range, and you're in a price range that's fair for the both of you. If you talk to an artist, you will get information on technique; if you make an appointment with a gallery director or appraiser (be aware, however, that you will be unlikely to get the services of an appraiser for that contractor or mechanic rate), you'll get more on marketing. Determine what it is you're looking for and you'll know the direction in which to go.

What you do not want to expect, however, are "secrets" or supposed "secret" knowledge of how the artist in question produces what he paints. In the first place because there are no such things as "secrets," and in the second place, if there were, it would be remarkably rude to ask another person to impart them.

Next time -- just what is a consultation, anyway?

--Carolyn

Discover the Enduring Appeal of Sketching

Courtney Jordan — Mon, 06 May 2013 03:33:00 GMT


Attitude by Patricia Hannaway, 2006, pastel sketch drawing, 21 x 12.

Human figure sketching, especially learning how to sketch from a model, is one of the most rewarding ways of practicing art because it can enhance your abilities in ways that are both practical and inspirational. It's practical in that creating figure sketch drawings develops skills that will serve you again and again as an artist—contour, shading, line, and the relationship of parts to a whole. It's inspirational in that the landscape of the human body contains almost every form, texture, shape, and curve that an artist could possibly want to recreate, and there is an endless array of ways to do so.

Sketch drawing figures is not just about drawing anatomy, though that knowledge certainly helps me recognize why the body looks the way it does and the reasons for its movements. But drawing figures is often about finding an emphatic action or gesture that animates and energizes the rendering. For artist and animator Patricia Hannaway, that means finding and accentuating the action line of a figure. “My thought process as I’m drawing is, The model is sort of doing this and kind of doing that," she says. "I become engaged with what the model is doing and mentally take the pose myself, feeling the movement in my own body. This is transferred to the page via an energized line; the drawing proceeds outward from an inward feeling."

Using a model as the stepping off point, Hannaway creates sketch drawings that emphasize pivotal moments of action where the figure is about to move or is in the act of doing so. Perfecting your ability to render the human form means practicing doing the same thing. As you get stronger in identifying the angles of motion in a figure, your skill in sketching that motion will likely increase as well, making for more productive and dynamic sketching sessions.

Drawing magazine is our top resource to help solidify your drawing skills with articles in every issue that give you insights on figure drawing, sketching, and so much more. You'll see in every issue how rendering well and seeing dynamically are two essentials every artist needs to have in order to capture the essence of his or her subject, so enjoy your subscription!

Step by Step to a Virtuosic Figure Drawing

Courtney Jordan — Fri, 03 May 2013 03:30:00 GMT

Seeing a painting or figure drawing progress from beginning to end allows the finished artwork to be understood as a series of discrete steps leading to a virtuosic whole. During a recent tour of the Grand Central Academy (GCA), in New York City, I observed instructor Joshua LaRock developing a drawing of Michelangelo's marble sculpture Dying Slave, based on a cast bust of the master's sculpture.

LaRock approached the human figure drawing as if he were sculpting on the page, striving for a trompe-l'oeil sense of form in space. He documented his progress along the way and shared his approach with us.

		When preparing the figure sketch setup of the bust, it was critical to have one isolated light source on the cast. LaRock's rule of thumb is to position the light source at a distance from the subject that is approximately two to three times the length of the subject's largest dimension. The artist sat eye level with the bust and positioned it to emphasize strong, clean lines. He also took note of the exact placement of the bust and his position in relation to it, to prevent even the slightest change in perspective from sitting to sitting.
		The artist began his figure drawing very loosely to get the general proportions of the bust and develop points of stability-the height and width of the subject and any comparative measurements that could act as visual points of reference throughout the process. LaRock then produced the "block-in," in which every element is defined, from the thin and crisp contours, form shadows and cast shadows, to loose and lightly valued plane changes.
		Once the block-in was complete, the artist stepped back to evaluate the overall hierarchy of light and dark over the form, asking himself what the brightest and darkest regions were, the second brightest and darkest regions, and so forth. LaRock points out that assigning these demarcations while drawing figures isn't guesswork but is done in direct relation to how perpendicular a particular feature of the object is to the light source, with the brightest piece being the most perpendicular to the light.
		Once the darkest and lightest areas were established, the illusion of three-dimensionality was created, and it became possible to see the full arc of light over the face of the figure. In this stage of the figure sketch, LaRock focused on preserving the spectrum between the two extremes with minute changes made with pencil and eraser.
		In the final stage of the drawing, LaRock wanted to answer one crucial question: Does this two-dimensional drawing seem to sit in space and suggest the gesture of the figure? Are the figure drawing proportions correct? He went back to his initial rationale for the drawing-a desire to accentuate the long arc of the right side of the figure's neck as it leads to the ear and continues around where the hairline meets the forehead. To accomplish this successfully without creating unnecessary distractions, LaRock went back in and played with the left side of the face, darkening certain areas so that they seemed to sit back farther in space and lightening other areas so that the right balance of volume was created. All of this involved very minor touches of graphite and also making a point on the eraser and using it as a drawing tool, hatching as you would with a pencil.

LaRock's expert drawing is based on sound understanding of light and form and skilled execution of those principles. His willingness to break down his approach to every eye-deceiving "curve" is similar to the "real life" exploration and instruction you can receive with a copy of Life Drawing: How to Portray the Figure with Accuracy and Expression. You'll gain access to thoughtful instruction on the basics of figure anatomy, proportion, and design that puts you on the road to being your artistic best. Enjoy!

From Nature's Tinest Creatures to Her Broadest Feats

johnandann@theartistsroad — Thu, 02 May 2013 03:04:00 GMT

The patterns of nature inspire our artwork. One of the most fascinating recent discoveries is the intimate relationship between the patterns found in nature's tiniest creations to the patterns found in her broadest, most sweeping productions. The apparent chaos of nature can now be understood in terms of repeating patterns which can be mathematically described. There seems to be an interconnectedness in the patterns and rhythms of all of nature. A photograph of frost. Scientists have applied...(read more)

A Great Way to Greet May: The Artist Daily Facebook Painting of the Month

Courtney Jordan — Wed, 01 May 2013 16:12:00 GMT

The May Facebook Painting of the Month has been selected. Take a look, congratulate the winner, and enjoy this (hopefully) gorgeous first day of May!

Dark Tidings

Courtney Jordan — Wed, 01 May 2013 03:24:00 GMT

Sounds mysterious and threatening, right? No worries! It's just that when Liz Haywood-Sullivan began to create pastel drawings, she was dismayed with the range of dark colors available. "Rich, dark pastels were hard to find," she says. "Most of the time the darks just weren't dark enough. Now, fortunately, times have changed and colorful, dark pastels are easier to come by."

Fanfare by Liz Haywood-Sullivan, pastel painting, 24 x 24.

But Haywood-Sullivan also uses two approaches for painting pastels that achieve powerful and intriguing dark effects--working on black paper and layering colors with alcohol washes. The result is that the dark areas in her pastel paintings command attention and enhance the glow of the highlights and give the paintings a solid, grounded appearance where the eye can rest. Here's a rundown of these two valuable pastel-painting techniques.

Pastel Painting Using Black Paper


Roadtrip by Liz Haywood-Sullivan, pastel painting, 36 x 24. Adapted from an article by Christopher Willard.

Although Haywood-Sullivan never uses pure-black pastel, she does not shy away from using black paper for her ground. "This allows me to get more light into a work," she says. "If I took a light-yellow pastel and put it onto a white paper, the yellow and white would look very similar. I would therefore try to compensate and make the yellow stand out by using a more highly pigmented yellow. On black paper, however, the difference is clearer, and I end up using more color. Such a dark ground also keeps me honest as an artist: It's more challenging to work on, it's not as forgiving, and it won't take unlimited layers. I have to think and plan more in advance."

Alcohol Washes for Painting Pastels

Haywood-Sullivan takes an entirely different approach when creating darks on lighter papers. She begins with a white pastel paper. "I block in the darks very roughly and then take out a flat 3/4" brush and rubbing alcohol," she says. "This is where the fun begins. I start washing down the dark pastels with the alcohol, delineating major shapes, such as tree trunks. I find it very much like working in watercolor, except that the alcohol dries more quickly. As I work, I'm careful to preserve any areas of light paper I want to shine through."

After Haywood-Sullivan is satisfied with the appearance and placement of the darks in her pastel drawings, she lets the work dry fully. "This takes about 15 minutes," she explains. "At this point I can actually rub my hand over the whole paper, and the pastel won't rub off. The other nice thing about the alcohol method is that it restores the grit to the sanded paper."

Two exciting possibilities for pastel painting that can give you eye-catching passages in your work. For more pastel instruction and pastel lessons that are keyed in to allowing you to grow exponentially in your skills and methods, consider the Essentials of Pastel Landscapes Premium and Deluxe Palettes that include six to eight book, DVD, and digital resources--so you can learn the way you want to. Enjoy!

Getting a Second Opinion That Counts

Carolyn Henderson — Tue, 30 Apr 2013 03:29:00 GMT

Friends and family are wonderful, but when it comes to getting an honest, straightforward statement from them about what your fine art oil painting really, really looks like -- well, they're just so incredibly . . . nice. And nice doesn't help, in this case.


Friends and family are just terrific people, but they're not always the best resources when we want an honest, impartial opinion on our art. Dandelions by Steve Henderson.

If you've read the art instruction books on oil painting techniques and watched the learn how to paint videos and taken the classes and chatted in the forums and you're still wondering where to go with your art technique, maybe it's time to talk to another artist.

In earlier articles we discussed the option of taking lessons from another artist -- one whose work is something that you're reaching for yourselves -- but another option on the table is an art consultation, in which you send a number or works to your artist of choice, he or she reviews them, and then you listen, or read, while he/she gives you feedback.

Thank to the Internet, e-mail, and Skype, you can connect with an artist who lives clear across the country, or even the ocean, from where you do.

The first thing to do when setting up an art consultation with an artist is discovering if he or she offers this service in the first place. If there's a website, check it out; if the artist doesn't mention the service but you really like what he does and want his opinion on what you do, then use the 'contact' form -- most websites have them -- to ask the artist directly.

If the artist is offended by your effrontery, then this is probably not someone you want to work with. But it's highly likely that he or she won't be, and you know, you'll never know whether you ask.

Working Toward a Masterpiece

Courtney Jordan — Mon, 29 Apr 2013 03:09:00 GMT

The very idea of me creating a "masterpiece" is hilarious. I mean, I'm still trying to figure out how to paint! But the fact is that by learning oil-painting techniques and absorbing all of the information and advice from oil-painting artists that I can, with every stroke and every finished painting, I am getting better, so I guess a masterpiece could be in my future.

If you are a little bit farther ahead of the game than I am, you may have started copying works of other master artists. Pursuing your oil-painting instruction directly from the surfaces of the paintings of great artists is a savvy way to strengthen your observational abilities and paint in the footsteps of painters who have inspired generations.

View of Toledo by El Greco, 1596-1600, oil on canvas.

Here are a few tips about copying artworks so that as you paint other masterpieces, you get what you want out of the effort and can eventually turn your attention to a masterpiece of your very own:

Choose wisely. Of course, you should choose a painting to copy that you don't mind looking at...a lot. But also choose a work that is in line with the goals you have for yourself as an artist. Honestly assess where you need to improve and choose a master work that demonstrates strength in those areas.

Do many copies. What you want out of this endeavor is a feel for the way the great master painted it. Your work should be as bold as the original. The exercise is not about making an exact replica; it is about harnessing the skills that created the painting in the first place. So do a few copies, and do them with feeling!

Landscape with Factory Chimney by Wassily Kandinsky, 1910, oil on canvas.

Remember your palette. A copy can certainly be done with the exact palette the master used, but if you don't have that information at hand, don't give up. You can also create a copy using a limited palette or your own palette.

For additional key insights and approaches to the oil painting techniques you want to master, Oil Painter's Solutions is available. It is an oil-painting landscape workshop, cover to cover. Enjoy!

Watercolor Painting Pencils? Sure, Tell Me Another One!

Courtney Jordan — Fri, 26 Apr 2013 03:38:00 GMT

For just a few seconds, I thought that watercolor pencils were some kind of April Fool's come lately prank. I mean, everything I think of and know about watercolor painting is that it is fluid and kind of uncontrollable. In a pencil, how can watercolor art still have that same looseness? But then I thought about the reverse of this-watercolor pencils might mean no more watercolor paintings going off the rails. With a pencil, I would be able to guide the forms more and give them the overall shape that I want, right? Well, I was a little right and a little wrong. Watercolor painting pencils can give you a bit more control, but the fluidity of the medium is still there.

Farmers' Market Peonies by Kristy Ann Kutch,
watercolor painting, 2002, 15 x 20.


Step 1-2. Adapted from Drawing and Painting With Colored Pencils: Basic Techniques for Mastering Traditional and Watersoluble Colored Pencils (Watson-Guptill, New York, New York).

Here's a step-by-step watercolor tutorial on using the wet-in-wet watercolor-pencil technique to create a lovely peony painting from watercolor artist Kristy Ann Kutch, so you can see for yourself!

Step 1 & 2: Prepare a line drawing of a peony blossom using either a light blue, lavender, or HB pencil on hot-pressed watercolor paper. Save the central light-colored stamen area of the peony with masking fluid, and allow it to dry.

Step 3 & 4: Stroke on dry layers of these watercolor pencils, beginning with the lightest values and ending with the darkest: light magenta, pink madder lake, light purple pink, and mauve. Dissolve these layers by stroking from the lightest to the darkest areas with a damp, size 6 round brush. Wet only one petal at a time. The top petal in this illustration has been wetted and the pigment dissolved into a wash.


		Step 3-4.

Step 5: Touch a wet, size 2 rigger brush directly to the lead of a violet or pink carmine watercolor pencil so the entire brush is saturated with pigment. Lightly dab the brush's tip with a tissue. Touch this brush directly to the wet petal area, and drag it through the length of the petal in one continuous stroke. Only brush in one direction. The wetter the petal, the more the color will spread and flow. Repeat this process for each petal, but be sure to wait until adjacent petals are dry to keep each petal distinct.

Step 6: When the entire blossom is dry, peel away the making fluid, and apply strokes of cadmium yellow and cadmium orange to the stamens. Wet them with either the fine tip of a colorless blender marker or a wet size 2 round brush. If desired, enhance the colors with either traditional or watercolor pencils in the appropriate color. Use a Tuscan red Verithin pencil on the stamens and along the petal edges to refine these details.


Step 5-6.

Did this open your mind to the possibilities of how to paint with watercolor pencils? It certainly did with me! For more watercolor painting tips and watercolor lessons from professional artists and skilled watercolor instructors, consider a subscription to Watercolor Artist magazine. It will have all the inspiration and methods you need to keep your art going strong! Enjoy your subscription!

Painting the Brightness of Sunlit Snow

johnandann@theartistsroad — Thu, 25 Apr 2013 03:44:00 GMT

The large snow storms that graced our area this winter gave us opportunities to study the unique light, colors and shadows that only snow cover provides. Painting snow presents many challenges to the plein air painter--the least of which is the cold. The primary difficulty is the intense light reflected by the snow. This causes us to squint down, and in so doing we darken the entire scene before us somewhat. This is fine when painting the lights, but it gets very troublesome as we peer into the shadow...(read more)