Artist Daily : Art

Discover How to Use an Extensive Painting Palette

Courtney Jordan — Wed, 19 Jun 2013 03:30:00 GMT

There is nothing that defines an artist quite like his or her palette. Some consist of premixed colors and others are developed in the moment, determined by the needs of each painting. Some artists are meticulously organized, with paints arranged by color temperature, while other artists arrange colors based on their dominance in the specific work.


Brett, oil on linen, 18 x 28. All works by Kerry Dunn.

Another defining characteristic of an artist’s palette is the sheer number of paints he or she chooses to work with. Kerry Dunn, an artist and instructor at Studio Incamminati, in Philadelphia, employs an extensive palette and has a highly developed use of color. “I have 22 colors on my palette, and some of my colleagues have even more, around 30,” Dunn says. “There’s a reason I use as many as I do—it is the way I was trained. The palette was passed down to me by my mentor, Nelson Shanks, and is a part of a lineage that goes back to his mentor, Henry Hensche, who had a very expansive color theory, as well as to the color theory developed by the Impressionists.”

Color Trials


	Kerry Dunn's palette is fairly extensive, consisting of 22 colors. His colleagues' palettes feature as many as 30 colors.

The tutelage Dunn received under Shanks revolved around developing an enhanced ability to perceive color. Basic color theory studies were a common practice in the studio, and they lasted anywhere from 20 minutes to three hours. The purpose was for students to learn how to paint by exaggerating each and every color they were seeing. “When my fellow students and I started out, it was challenging because we were so used to thinking and seeing browns and grays,” Dunn recalls. “We were retraining our perception to see everything as a color. See it and exaggerate it. Some people rebel against it, saying it is too much. And, yes, the color studies can be garish. Some call them ‘candy paintings.’ But it as an exercise with a purpose, which is to ‘mess up’ your way of thinking.”

The result is a art colors palette that looks like a rainbow, incorporating strong, prismatic colors with very few earth colors and no black. When applied to the canvas, these colors make bold statements that the artist can then go back and neutralize. Essentially, it is the opposite of developing a tonal painting and then adding color.

Pros and Cons of an Extensive Palette
The high-octane nature of Dunn’s palette does bring with it certain difficulties. Every color mix makes a strong statement, but as a painting develops colors must eventually become more muted, and neutralizing potent colors can be difficult. “The struggle is to make every color, even a neutral brown or gray, interesting,” he says. “But in the end, we are all setting up a range of color and value relationships. Some color palettes are saturated, others less so, but establishing that range is what every painter strives to do.” According to Dunn, the only difference in his approach is that he establishes those relationships with a greater color range.


Still Life with Gray Kettle, oil on linen, 16 x 20.		Eastern State Penitentiary, oil on linen, 16 x 16.

The artist has found that the number of colors in his palette has decreased over the years, as he eliminates the ones he doesn’t use. Even if he only utilizes a fraction of the paints at his disposal, having a wide-ranging palette allows Dunn to paint anything, no matter the locale or subject matter he is working in, and that freedom has definite appeal. “Whether I’m doing a still life, portrait, or landscape, the palette is broad enough that I can mix anything I need in any situation,” the artist says. “It is like a pianist practicing their scales. You use the instrument or palette no matter what you are playing or painting.”

Dunn’s approach to color and the development of his palette are the result of intense study and training, and his willingness to share his experience is valuable to both beginning painters, who may be deciding what kind of color theory they want to adopt, and practicing artists interested in seeing how fellow painters work. At Artist Daily, we are equally devoted to just this kind of painting instruction—valuable information direct from master teachers. Painting Light: The Cape School Method is available now on DVD and offers an inside look at yet another approach to color with insights and advice on how to make the most of any palette you put before you. Enjoy!

Painting palette choices are endlessly interesting to me. Let me know how your palette came to be and why it works for you by leaving a comment below.

Is Grandma Holding a Moose Leg?

Courtney Jordan — Mon, 17 Jun 2013 03:36:00 GMT

Brooklyn-based artist Allison Maletz doesn't want to use watercolor in a traditional way. Although her work is representational and often figure-based, exploring themes of human connection and the quirky, often dysfunctional, "average American family," she refuses to be bound by any rules about how to handle the paint.


Nana Holding Purse & Leg, 39" x 27.5", 2009, watercolor painting. All works by Allison Maletz.

"I adore the medium itself because it is so hard to control," Maletz says. "You mix it with water and it goes where it wants to. You constantly try to gather it all and control it, but you can only do so much. There's an incredible metaphor there--striving for control and thinking you know where you want it to go, but it never happens exactly that way." The headstrong fluidity of watercolor is the perfect companion for Maletz, who approaches her process in an equally independent, non-traditional manner.


	Mom Learning to Float, watercolor, 24" x 40.5", 2006.


	Picking Oranges in Grandpa’s Yard, watercolor, 59" x 48", 2008.

The artist typically paints on a large scale. One of her earliest watercolors is 15' x 5', and took her nine months to complete. She does not stretch her paper, letting it wrinkle and react naturally to the applied washes. Maletz also paints horizontally, allowing the water to pool and collect where it will. White does not have a place on her palette, as she finds it can turn colors milky and sometimes muddy.

The artist prefers "painting from the past" and instead of painting on location (as many watercolorists often do), she uses old photos of family members and close friends as references. She also contradicts the traditional watercolor practice of working with washes and starting with lighter watered-down pigments and building up successive layers, as well as approaching the entire page at once with no amount of detail built up in a particular area.

"I start with a basic pencil drawing, and then I paint step by step, breaking the composition into sections—clothing, skin, and background. I will complete the background entirely and will have white, untouched areas that make the piece look a bit 'paint by numbers.' I do the skin of my figures last and add lots of detail, which is not particularly encouraged in the style."

But for all her rule-breaking choices when it comes to her own work, Maletz stresses that you have to know the rules in order to break them effectively. "I've had an extensive art education, but my style is my own. I choose to paint a different way. For my students, I give them all the traditional approaches and basic knowledge. I want them to know what the paint is capable of doing. It isn't about me teaching them my philosophy, but for them to find something in the medium that they love and that works for them."


Cheerleaders, 11.6" x8.7", watercolor, 2008.

Maletz is doing what all great artists have done—she has set her own expectations for a given medium and separated her process from any kind of historical obligation or traditional commitment. Instead, she pursues her art as a bit of a rebel, being true to her artistic eye and seeing where it takes her.

For more watercolor painting inspiration and unique techniques from contemporary artists, check out Splash 14: The Best of Watercolor. You'll discover the methods of top contemporary watercolor painters with tips and techniques that you'll be able to apply again and again in your practice, so that you know all you need about watercolor painting and can take it where you want to, just like Maletz does.

For more information on Allison Maletz's work and upcoming workshops, visit her website.

Draw on Tradition to Create Lasting Art

Courtney Jordan — Wed, 12 Jun 2013 03:16:00 GMT

I'm always surprised—and, okay, a little peeved—when my mention of an arts background is often met with a puzzled look followed by the somewhat skeptical question, "What do you do with that?" The truth is there's a lot to do with that, especially now—at a time when images are all around us, where a website can so easily turn into an artist's own gallery and exhibition space, and because collectors, gallerists, publishers, and fans can easily find and follow artists whose work they respond to and respect.


Distlefink Girl by Christina Hess, digital.

This sense of opportunity can be especially true for artists with a strong foundation in illustration and drawing. When I recently spoke with Richard Harrington, the chair of the Phillustration, The Philadelphia Sketch Club's annual juried illustration exhibition, he pointed out that those who submit to the show work in a variety of creative fields. "We get a lot of children's book illustrators, artists working in the fantasy realm, ones doing concept work for video games, magazine cover illustrators, those who do album cover designs, cartoonists, comic artists, accomplished painters," he said. "People cross over and work on many different projects—children's books to postage stamps to calendars." Harrington also mentioned that his former illustration students from Moore College of Art and Design, in Pennsylvania, have worked in as diverse fields as the film industry and prop houses, to the advertising and branding departments of companies such as Target.

What seems to be a common denominator for such successful draftsmen and illustrators is a strong grounding in the traditional arts. "Our students want to understand how to paint in oils; how to do life drawings, compositions; understand negative and positive space, and value structures," Harrington explained. If students are working with modern technology, time-honored artistic practices still hold a lot of appeal. "Even in the digital realm there's crossover to a lot of different mediums, which probably was not done so readily 10 or 15 years ago," Harrington said.


	1027 by Dominic Saponaro, digital.

Another change that was also not so apparent with illustration a decade or two ago is the changing status of the field. "There's a new respect for illustration and a renewed interest level," Harrington explained. "Not because of any kind of nostalgia, but because with illustrations, people know what it is about and because illustrations give viewers information they need, and no one needs to explain to them what it means. There's a certain comfort level there—not a 'fuzzy bunny' comfort, but a comfort in being entertained and stimulated."


Man Sleeping in the Temple by John Thompson, acrylic on wood panel.

That stimulation isn't always easy to evoke. As a society, we are pretty savvy viewers, inundated by images all day long. Most don't make any kind of lasting impression, but, obviously, some images stick with us. They evoke a response and we enjoy seeing them. Think of the last book you picked up from the shelf for no other reason than the cover appealed to you, or a billboard advertisement that made you pause mid-stride or slow down as you drove by.

"I was once told that the best painters are former illustrators," Harrington quipped. By that, he meant that an inherent part of an illustrator's training is learning to harness the communicative possibilities of visual media. Knowing that you can tell a story, create a mood, and make people react with images. All artists should be so lucky to have this kind of awareness. Coupled with honed traditional artistic abilities, this understanding allows art of any kind—created in oil paints or acrylics, mixed media or watercolor, sculpture or comic-book storyboards—to stay relevant and memorable.

To put your work well on the road to being relevant and memorable, a solid foundation in drawing is crucial. Drawing Nature for the Absolute Beginner is like taking a fundamental drawing class that leaves nothing out. You'll come away knowing how to create images of nature that capture the attention and stimulate the imagination of your viewer. Developing this skill set can allow you to communicate effectively with your work, sending out your own message for the world to see.

Please Read, Artist Daily E-Newsletters Subscribers

Courtney Jordan — Tue, 11 Jun 2013 18:40:00 GMT

Hi All,

We are doing a bit of reorganizing and revamping here at Artist Daily, and that includes making a few changes to our E-Newsletters. For those of you who get the Artist Daily E-Newsletter, nothing will be changing. You'll be getting the same great articles and resources--and my smiling face!

If you have receive the Artist Daily Week in Review, you will start to receive the Artists Network Week in Review, which will feature all the unique inspirations, techniques and tips from Artist Daily under our mother-company's title.

If you receive the Artist Daily Special Offers, you will now start receiving messages from Artists Network Partners.

If you receive emails from the Artist Daily Shop, you will receive messages from the North Light Shop, where all Artist Daily resources are now available.

For all email subscribers, you will see a new and improved email preference center with a streamlined list of all of our email newsletter offerings in one convenient location. You will be able to modify your email preferences via the "Manage Subscriptions" link found in the footer of each email you receive. Please note that emails from before June 7, 2013 will not link to the new email preference center.

To make sure you don't miss a thing as we make this transition, you may want to add the following email addresses to your safe sender list:

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Week in Review: arn-wir@artists-hub.com

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Let me know if you have any questions because I'm always here to help!!

Discover a Powerful Painting Method

Courtney Jordan — Mon, 10 Jun 2013 03:29:00 GMT


	Half Dome, Yosemite 1920, 15 1/4 x 13 1/4, watercolor and pencil on paper. All works by William Zorach. Images courtesy Michael Rosenfeld Gallery.

William Zorach is a well-known 20th-century sculptor who participated in the Armory Show of 1913 and whose work is held in numerous public collections. But as his career unfolded and he found his way as a sculptor, watercolor painting was always part of his practice.

"I have continued to paint watercolors all my life," Zorach wrote in his 1967 autobiography, Art Is My Life. "Their spontaneity gives me a certain release and satisfies my love of color. After all, painting was my training and my world for all my early years, and I will always see the world in color as well as form. ... All art is correlated; all stems from the great creative impulse. There is no reason why sculptors shouldn't paint and painters sculpt."

Zorach's watercolor paintings bear no resemblance to his sculptural subject matter or style. Instead, the paintings allowed him to explore an entirely separate avenue of expression. During the summer the artist spent in Yosemite National Park, in California, the cliffs and peaks of the Sierra Nevada mountains were his subject matter, and his watercolor art show how just a few strokes of paint on paper can create a sense of atmosphere and place.

The painting Half Dome, Yosemite, for example, comes together in what looks to be less than a few dozen strokes. There's a spontaneous sense of movement and a seeming understanding that the pigment itself can do a lot without much fussing and force from the artist's brush. The bright yellow that glints off the edges of the mountains gives a sense of the sun hitting the form, but it doesn't appear everywhere the sun would reflect. By applying the pigment in just a few places, the artist creates more impact and infuses the painting with warmth and shine.


Yosemite Trees, c.1920, 15 1/2 x 13 1/4 watercolor on paper.

The darkest shadow in the center of the painting—created using what looks like a drybrush technique—establishes the mass of the form and gives a sense of texture and depth. That, plus the blots and washes of purple and dusky pink, give an indication of the mountains' profile in a way that seems loose and free, a celebration of the moment, much as the artist intended.

"I spent five months in the Yosemite Valley sketching, drawing, painting, and doing watercolors," wrote Zorach. "Every now and then in life we have an experience that moves us so deeply, that holds us with such sheer, transcendent beauty, that it takes us completely out of this world. It is this feeling that only an artist can convey in his art. It is a journey into infinity."

The artist likened watercolor painting to writing poetry because there is fluidity and looseness that comes when artists allow the medium to guide them as opposed to steering it along at every step in a composition. To better understand the movement and freedom of watercolors, and to see how artists explore this medium both in and of itself and as a gateway to work with other tools and materials, the Expert Approaches to Watercolor Painting Kit is available and full of resources that practicing artists shouldn't do without.

3 Tips for Summertime Sketching

Courtney Jordan — Fri, 07 Jun 2013 03:47:00 GMT

I love summer because I’m always on the go. It’s the best time of year to travel, and I just can’t seem to say no to any outing or adventure that comes my way. Want to take a road trip through the Carolinas, Court? I’m there. A holiday to Chicago? Sign me up. A vacation in California’s wine country? I wish, but yes!


Pastels, like the ones used to create Convict Lake by Colleen Howe, have such rich color and are easy to transport.

But with all this moving around, I want to make sure that my sketchbook doesn’t get ignored, so I’ve come up with a few on-the-go sketching and painting strategies that I want to share with you.

A Part, Not the Whole: Even with pastel, I find that I still work pretty slowly. When it comes time for me to set out on my travels, I know that time is going to be of the essence, so my plan is to target one part of the scene instead of hurriedly sketching everything in.



	Pencil sketches and color notes can allowyou to create art while traveling. Artwork by Colleen Howe.

For instance, at a roadside fruit stand, I may see bunches of people and dozens of inspiring compositions, but I’m going to focus on just a corner of the action. This way I can make the most of my limited drawing time.

Color Notes: I love sketching with color, so pastel drawing is a great travel option. One of the ways I like to work best is to abstract a scene and just focus on color. This can be a great way to make a sketch for something you might paint later in the studio. It can also stand alone as a fun memento of a time and place that meant something to you.

Different Strokes: Paring down what I work with when I travel means using versatile tools and getting creative about the different strokes I use. I really give my implement a workout. The few tools I bring must allow me to create fine lines and broad strokes, hatching or dotting on my surface, or incorporating wet brush techniques that I only need a single brush and some water to do. For example, wet brushing pastel softens my lines and disperses color in a really subtle way.

Thinking this way has gotten me even more excited about the sights I will see this summer because I’ll have a way to take a little piece of them with me when I leave. But to get ready for this, I want to sharpen my technical abilities so I feel confident about the way I work when I’m on the road. That’s where The Pastel Emag came in for me. As a resource guide it covers all media and gives instruction for techniques that work great whether you are practicing pastel drawing on vacation or in your studio. And do you have any summer sketch tips to share? Leave a comment and help me add to my list.

Meeting Your Artistic Match

Courtney Jordan — Wed, 05 Jun 2013 03:30:00 GMT


Bottle Collection by Sadie J. Valeri, oil on panel, 18 x 24, 2009.

Not too many years ago, San Francisco based artist Sadie J. Valeri was an aspiring figure painter stuck in a still life studio. She had a good deal of time on her hands to hone her painting and drawing skills, but her workspace was less than 100 square feet. The space constraints, plus the costs of hiring a model, meant that figure studies were not a viable option. But Valeri wanted to make the most of her studio time and strongly test her abilities, so she set her sights on creating the most challenging still life composition she could come up with. Because she wanted to produce highly detailed paintings that would take anywhere from 60 hours to three months or more to complete, the artist steered away from still life paintings using flowers, fruit, and other perishables. “I wanted to work with objects that would stay still. I was searching for really dynamic and interesting compositions that were stable,” she says.

The artist found the perfect composition mainstay in the form of a commonplace sandwich wrap—wax paper. Previously, Valeri used this unlikely still life painting material to protect painted panels when they were leaning against each other. “That actually didn’t work too well, but I had the wax paper on hand and just grabbed a piece of it, crumpled it up, and tossed it behind the still life objects I already had in place. It created a nice composition and filled the space in an interesting way,” she says.


	Wrapped Silver Goblet by Sadie J. Valeri, oil on panel, 11 x 24, 2009.


	Wax Paper II by Sadie J. Valeri, oil on panel, 11 x 14, 2009.

Since that time, wax paper has been a good match for Valeri and she’s pitted her skills against it in numerous paintings. What’s kept her engaged is the paper’s unpredictability. When it is creased, crinkled, and folded, the resulting shapes and angles are always unique, and provide an interesting challenge. “It is really hard to paint,” she says. “The wax paper tended to look flat and not at all like itself when I generalized and simplified all the little details.” Instead, Valeri approached the wax paper as if she was painting a portrait, with each detail of the paper given as much attention as the features of a human face. “When we draw, we tend to center and straighten and organize, but when you commit yourself to seeing accurately, you have to resist the temptation to simplify, and instead show the actual weird and unique shapes in front of you,” she says. The artist trained herself to paint just that way, which has led to a series of virtuosic wax paper still lifes, including Bottle Collection, which won first prize in the still life category at this year’s International Art Renewal Center Salon.

Valeri did not start painting still lifes because she was a particular fan of the genre. “My goal has been to be a figurative painter,” she says, “but all the best artists who work in that genre also do landscapes, portraits, and still lifes. Each exercise allows an artist to become a better painter.” Luckily, still lifes can create endless challenges. From the incorporation of different objects, surfaces, and the ever-changing appearance of each new piece of wax paper, to the reflections, diffused light, and shadows that make up the composition of any still life composition, Valeri considers her time with still life well spent. “You can’t write off still lifes,” she says. “When you put a form in space, there’s just so much to challenge you, and if you come away with one problem solved, you’ve done a lot.”

If you’re looking for a new challenge, or just want to learn more about still life painting, Sadie Valeri is about to release her own still life painting DVD. Catch a sneak preview here. Enjoy!

Accessing Universal Emotions Makes a Successful Portrait

Courtney Jordan — Mon, 03 Jun 2013 03:26:00 GMT

When I went away to college I took a token from each of my loved ones. There was a Frankie Laine CD from my dad, a grungy Pearl Jam T-shirt from my brother, and a charcoal portrait of my mom that was made on the boardwalk of Virginia Beach when she was 14 years old. I lost the CD, and the T-shirt was relegated to the rag bin, but I still have the portrait.


Models With Japanese Screen by Malcolm T. Liepke, 1986, oil painting, 26 x 20. Courtesy Arcadia Fine Arts, New York, New York

The power of a portrait painting often lies in the emotional connection it forges with the viewer. It can be a visceral, close connection shared by the few who know the subject, or the likeness can have universal appeal. Artist Malcolm T. Liepke is a leader in the genre of contemporary figure painting. When painting portraits, he works to establish a connection with viewers by letting his emotional response guide his painting process. “Everyone goes through life with their own problems, but we live in a pretty universal world,” he says. “I’ve found that the more personal the piece, the more people connect with it.”

Liepke attests that the power of his portrait paintings is largely due to the way in which he works. He allows his natural inclinations free reign and never takes on a subject that doesn’t hold his attention. He also has upwards of 30 paintings in progress at once, which not only prevents him from overworking a piece but also allows him to paint spontaneously, moving from one canvas to another at his own pace.

When executing a likeness, Liepke strives to retain a few distinctive features of a model, even if variables like hair and clothing change during the painting process. “You can’t make up features because the people will look cartoonish,” he says. This picking and choosing also applies to the settings in which he places his figures, as they often lack visual cues that would attach the subject to a specific time period or location. This gives the resulting painting a sense of being timeless, but there are enough details to unify the composition and evoke a response from the viewer.

Executing a successful portrait is often a matter of finding the right balance between literal and general. Liepke does this by seeking out intriguing subjects and capturing moments of universal human emotion. You can find more information on the unique art practices of some of the best artist-instructors out there in the latest art resource DVDs available at the North Light Shop. Take a look for the valuable instruction you are after and enjoy!

Hybrid Method of Painting and Drawing

Courtney Jordan — Fri, 31 May 2013 03:52:00 GMT

When I'm hiking or walking on the beach, my attention span is really short. I flit from activity to activity, sight to sight, just trying to take it all in. That's why pastel painting is a perfect fit for me when I want to create art outdoors. I can work quickly and see results equally fast, creating a pastel landscape painting in a short span of time. And I'm by no means an expert in pastel drawing, but it is great for painting outdoors, and I have a few tips for getting the most out of the medium and the experience if you decide to sketch outside with them too.


Magnificent Malibu by Gerald Rahm, 2005, pastel painting, 16 x 20.

Pastel painting is sort of a hybrid, blending methods of drawing and painting. One of the drawing aspects of pastels that I have really glommed on to is using all the available surface edges of the stick, just as if it was charcoal. I start with the broad side, covering the expanse of my surface with broad shapes and adding definition with the sharp edge or blunt tip of the pastel.

When making a pastel drawing, I want to give myself options when I'm in the midst of working. Techniques, like dusting, are best done with my drawing surface in a horizontal position, so before I plant myself down to work I try to think ahead about how I'll manage that if I decide I want to do it. Though sometimes dusting is an effort in futility on a breezy day out by the water!


	Hazy Sunset by Peter Adams, pastel painting, 12 x 16.

The most important of all the pastel painting lessons I've learned or, let's face it, stumbled upon after much trial and error, is to use a testing strip. What I do to keep values true on any work is to start with a larger piece of paper than I intend to use and mark off an area on one edge to test my pastels before I use them. This is crucial because you don't use a palette with pastels, so the testing strip is the only place you can play around before putting color and marks down right on your final surface. The rule with the testing strip is to put colors side by side—if there is a distinct edge, you've got colors of different value, so try again. It's a rule of thumb I've found has helped me a lot. Later on, I just cut the testing strip away.

Really thinking on it, I realize that I enjoy pastels so much because they combine vivid color and drawing—two of my favorite things when I am creating art outdoors. They will always be what I reach for first, and that's why I've tried so hard to work on my compositional skills and pastel techniques of late. The Pastel Journal has helped me on that road. It is beautifully illustrated with tons of examples and the artists featured are ones I respect and hope to learn from in person eventually. That's how much I've grown from their instruction. I hope you decide to do the same with a subscription to The Pastel Journal. Enjoy!

Telling a Story on Canvas

Courtney Jordan — Wed, 29 May 2013 03:26:00 GMT




Works by J.P. Peer.

Storytelling often comes naturally to artists. Sometimes the story starts on a single canvas or sheet of paper and doesn’t end until there is a gallery full of paintings, a suite of drawings, a set of illustrations, a series of fantasy art comic strips, or an entire graphic novel. Certain subject matters compel an artist to revisit them again and again, building on a concept or pushing it in different directions. The narrative can be a visible part of the artwork, in the form of a written story, but oftentimes it acts as an invisible framework that guides an artist through the creative process.

“Narrative is like an infrastructure that you can come back to and get more and more out of it each time. Each work turns out rich by itself, but there’s also something to reach for,” says artist David Sandlin, who is also an adviser for second-year graduate students in the Illustration as Visual Essay program at the School of Visual Arts, in New York City. Students in the program work toward discovering what is integral for all artists to discover—the kind of artists they want to be and what form their work will take, whether fantasy pictures of other worlds or realistic views of the places and people around them. Along their journey they also develop an understanding of the possible uses of narrative in their work.

“Telling a story visually seems poignant and resonates strongly with me,” says Laura Peyton, an artist, bookmaker, and illustrator who is graduating from the program this year. “There is something about communicating visually that is incredibly powerful, but sometimes the words seem overwhelming. I often start with images, building the story from the images I create. That way, the viewer can have their own personal interpretation.”




		Works by Laura Peyton.

Even if they are not aware of it, visual artists often develop some sort of narrative in their work. Storytelling takes many forms and at its root is about communicating and connecting with the viewer, which many artists aspire to do. “Michelangelo is one of the greatest artists in history, and every work he produced was informed by a story. Working in an unclear manner with no effort to reach your audience can be problematic,” says J.P. Peer, an oil and acrylic painting artist and draftsman who is also a recent graduate of the Illustration as Visual Narrative program and the creator of many fantasy images that speak to the worlds available to an artist with an open mind. “I used to think of each piece I did as a standalone work, but stepping up to a blank canvas can be intimidating. But if you have a story—or a world of stories—in mind, it’s like painting an entire world, one that’s created in your own style and by your own hand. It’s liberating, and if you do it correctly, people respond and they escape thoroughly into your work.”

There seems to be an undeniable affinity between figurative and representational artwork and the presence of a narrative, whether it be one where fantasy images come to the forefront or steeped in representational realism. How do you find yourself using narrative and storytelling in your work? Is it in the forefront of your process or a more like a well of inspiration? Let us know by leaving a comment.

If you'd like to explore the process of painting and the accompanying techniques of a visual artist that can communicate your story, consider Linda Kemp's Negative Painting Techniques - Acrylic, a unique and highly useful resource-and possible source of inspiration as well. Enjoy!

Go For Awesome

Courtney Jordan — Fri, 24 May 2013 04:38:00 GMT


Looks Like Heaven by John Budicin, 2002, oil painting, 32 x 40.

Almost any artist will tell you that there's a certain appeal to working outdoors that can't be found anywhere else. With spring in full swing, many of us have left our studios for our porches, backyards, and beyond. To celebrate the season and all of the landscape art being made, here are 10 ways you can make the most of your next outdoor painting session.

Start with a good, long look. Painting landscapes lets you create work that can take the viewer on a journey into a new environment. To create a truly expressive work of art, it helps to take more than a cursory look around and quickly set up shop. Walk around, sit a spell, and really soak in the landscape around you.

Focus your eye. Whether's it a rocky cliff or a busy urban street, outdoor settings can offer a myriad of potential subjects. Sometimes, however, it can be too much to take in, leading to a painting that feels busy, cluttered, and lacking a center of interest. Massachusetts-based artist Nancy Colella starts every composition based on what she's visually drawn to. She makes those elements the focal point of her painting, and tones down everything else so that they come to the fore.

It's all about the light. Light changes throughout the day, which makes accurately capturing it one of the biggest challenges of painting outdoors. The flip side, of course, is that when one is able to do this correctly, a painting is instantly elevated. Observe the quality of light, aiming for a spontaneous interpretation that still takes observation skills into consideration.


	Birds Wading by Stephanie Sanchez, 1989, oil on panel, 32 x 46, private collection.


	Marble Cascades by Jane Bertram Miluski, 2003, watercolor, 14 x 21.

Don't paint a blue sky. They rarely exist! California watercolorist Dick Cole acknowledges that landscape painting has enhanced his skills as a colorist and helped him to realize that the sky, along with many elements in nature, are made up of a variety of colors and not just one pure hue.

Strike a balance. Spend as much time observing as you do painting. For artist Glenn Rudderow, this is a crucial part of his plein air practice. "Nothing can take the place of direct observation—of being there, seeing, communicating, and expressing the spirit of one's subject," he says.

Go for awesome. Albert Bierstadt and Thomas Moran of the Hudson River School produced paintings of the American landscape that were technically masterful, but most of all they were awe-inspiring. They created luminous paintings that seemed too bright to be true. They amplified the elements of the landscape that inspired them most, leaving the viewer with the same sentiments.

Don't bring your studio outdoors. The thrill of working en plein air is that you can shake up your routine and work differently than you might usually. Use the change in location to try new techniques, such as working on a smaller scale or focusing predominantly on light and other atmospheric qualities.

Colors contribute to a sense of space. When creating her landscape paintings, Kansas artist Kim Casebeer adjusts her palette in order to accurately render atmospheric changes and a sense of space. For example, there is usually more red, orange, and yellow running through objects in the foreground, and blue, indigo, and violet for shapes that recede in the distance.

Go with the flow—of air. Air moves objects. It ripples water, curls leaves, and sways limbs of trees. Use brush strokes and shading to create movement in your work.

Perfection isn't everything. You can spend all day looking for a "perfect" composition that just doesn't exist. Embrace the reality around you—smog, power lines, even debris—and open yourself up to telling interesting stories with new subjects.

How have you been taking advantage of spring in your work? Leave a comment and let us know. If you want to learn more about painting landscapes—including how to paint mountainous vistas accurately, avoid compositions that lack cohesion, and more—Donna Dewberry's Essential Guide to Flower and Landscape Painting gives you all the one-on-one instruction you'll want to successfully paint landscapes and all the elements you'll find there. Enjoy!

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!

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!

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!