Artist Daily : Painting

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!

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!

Tie Your Hands Behind Your Back

Courtney Jordan — Wed, 17 Apr 2013 03:29:00 GMT

You can go the less extreme route, of course, but there is something to be said about a studio painting session in which you don't pick up a brush. You don't make any sketches. You just observe. I find myself doing this again and again when I discover a new artist or a body of work from a painter or draftsman that I thought I knew plenty about.

A watercolor painting by Ella Du Cane.

The work of Victorian-era watercolor artist Ella Du Cane came as a surprise to me when I came across it recently. These watercolor paintings allowed me to step back in time and see Japan and the West Indies through the eyes of someone who lived more than a century ago. When I sat in front of the images I was surprised and pleased at how I was able to give myself a watercolor tutorial in a sense.


A watercolor painting by Ella Du Cane.

By looking alone, I see how Du Cane put a lot of prominence on two or three major shapes in each painting; that the shape and color of cast shadows were a subtle but essential part of her works; and that the lines the artist used to map her scenes were created with deft perspective. And that was just what I observed in the first few minutes of looking.

When I continued studying Du Cane's watercolors, I found a delicate but relatively tight color palette and large though delicately tinted expanses of white. She was also able to situate figures in the landscapes without having them overwhelm or dominate the scene. About this time, I had an epiphany looking at the paintings--Du Cane was an observer just as I was now, studying the exotic (at least, to me) places she visited and making these beautiful visual memoirs of them.

All that, and I never did more than study the works with my eyes alone! If you are committed to enhancing your watercolor-painting techniques, not to mention your observational skills, the most one-of-a-kind resource that I can recommend is Mary Whyte's Essential Lessons in Watercolor Painting. Just looking at her watercolor-painting works is a workshop in itself. And hearing directly from the artist about her watercolor art is incredibly inspiring. Enjoy!

A Color Vortex

Courtney Jordan — Mon, 25 Mar 2013 03:48:00 GMT

Looking at Mark Messersmith's artwork is like being sucked into a kaleidoscope. The colors are bold, varied, and everywhere. It seems odd to say this. I mean, of course, there is color everywhere--it's a painting. But what stands out about Messersmith's work is that the colors, more than anything else, lead you through the painting. A certain color will appear in the sky, then on a bird's wing, then in the sheen of light reflected off a bear's fur. As a result, your eye follows the path and, in many cases, reads the work through the interwoven color schemes.

Wayfarers by Mark Messersmith, 2005, oil on canvas with
carved wooden top parts and mixed media predella box,
72 x 75.

It's an interesting approach and one that must have taken a great deal of trial and error when it comes to color mixing in order for the artist to get the right color against the right background. If he hadn't honed his color skills through extensive practice, the colors mixing around and swirling across his fine art oil paintings just wouldn't be effective.


May Blooming by Mark Messersmith, 2009, oil on canvas with carved wooden top parts and mixed media predella box, 65 x 82.

Messersmith's works are incredibly busy and filled edge to edge with visual content and very little negative space. He obviously chooses his colors--bright hues foremost-with care so that they can stand up to such busy compositions. In other situations the colors might be considered garish, but the way Messersmith uses them works. The colors seem the perfect complement to their busy surroundings.

If you are interested in plumbing the depths of basic color theory and learning how to mix colors in a ridiculously large quantity, then 600 Watercolor Mixes and 500 Acrylic Mixes are the resources you may want to start with. With literally hundreds of color-mixing formulas and easy-to-understand tables, you'll be ready to take on any color combination you can think of for your next painting. Enjoy!

When a Photo Can Do It Right

Courtney Jordan — Fri, 22 Mar 2013 03:43:00 GMT

Certainly, there are pitfalls to making paintings from photos. One problem occurs when an artist thinks that a photo is magic and that he or she can turn a photo into a painting with a snap of the fingers. It isn't that easy, of course. And even if it were possible to easily reproduce photos as paintings, we wouldn't be too happy with the results, because in most cases the things we love about paintings are not the qualities photos can provide, and vice versa.


A pastel painting by Marie-Elise Larene.

But going from photos to paintings can be useful. When drawing portraits from photos, even if you only look at a reference photo occasionally, it helps to remind you of your sitter's facial features and bearing. That's useful. Also, when looking at photos of constantly changing subjects--like oceans or sunsets--you are able to hold in your hand something that is finite and temporary. Yes, it is only a photographed image of the phenomenon, but such images can, again, be useful as sources of reference about color, shape, and perspective.


		A pastel painting by Marie-Elise Larene.

I've recently discovered the work of pastelist Marie-Elise Larene, which has made me realize that when I'm looking at a finished painting, I don't really care if the artist is painting from photographs. Her colors are so bold and right-on, and the texture of the pastels gives such an atmospheric appearance to her flat surface. The results are as if she put me in front of a fiery sunset or glowing day on the water and froze time. I could care less about whether she is working from photo to painting or not. So when you are deciding your working method, don't be dismissive of the tools you have at your disposal. Think of how to use them to paint something inspiring and lovely that achieves your vision. That is the only thing that matters and the highest standard you can hold yourself to.

If you want to paint seascapes and visions of the sea but you are nowhere near a coast or large body of water, you can still capture the beauty and inspiration that comes with the right combination of light, sea, and sky. The downloadable Photo Reference for Artists: Nautical Scenes with Gary Greene provides almost 500 images to ignite your seafaring imagination and puts you in the right mindset to paint the convincing nautical scenes that may not be as close as your backyard but are within your grasp. Enjoy!

How Strong Are They?

Courtney Jordan — Mon, 04 Mar 2013 04:59:00 GMT

I was always taught that effective color mixing starts with discovering the tinting strength of each color on your palette. For me, that is the basis of understanding how to mix colors, because it tells me how they will react when combined.

A Breath Away by Joseph McGurl, oil on canvas, 24 x 36.

I'm a bit embarrassed to say that until a professor pointed this out to me in school, I was oblivious to it. I assumed all colors would tint similarly when lightened with the same amount of white. But, as I am sure many of you know, that couldn't be further from the truth. For example, Prussian blue and alizarin crimson have very strong tinting strengths—just a small amount of either color added to white makes a vivid tint. On the other hand, terre verte and raw umber have weaker tinting strength and turn pale when mixed with just a little bit of white.

Once I understood this, I went a little crazy with my art colors to better understand how each color has its own quirks and personality. At the end of all my experiments, I came away with a color-mixing guide—more like a chart, really. I painted a dab of each color on my palette and mixed it with different colors to see the result. I started by adding the same amount of white to each color on my palette to see how each pigment was affected, and I went on from there.

Camelback Twilight by Joseph McGurl, oil on canvas, 22 x 34.

That chart now is more like a free-form color-mixing guide. It's more disorganized than a formal color wheel, but it works for me, and I refer back to it often when I can't remember quite how a color will mix with another. If you've made a similar "cheat sheet" marking your color schemes, you'll know how useful they can be—especially when you are trying to eke out the delicate nuances of color.

A great way to apply what you know about your own art colors and learn more from an expert is with Brian Keeler's new art instruction DVDs, Skies and Light. The artist shows you how to achieve clean color, adjust color values, and add dimension all in one sitting, which you'll be able to apply to every painting you create from here on out. Enjoy!

Painting With No Holds Barred--Plus Our Best Resources Are On Sale!!!

Courtney Jordan — Fri, 25 Jan 2013 04:39:00 GMT

Going "no holds barred" sounds tough, and slightly scary, but I'm feeling particularly intense about not wasting time learning how to paint like I want to paint. The clock is ticking, but that really doesn't mean much. The clock is going to tick no matter if we spend the time working on our painting art and learning from serious painting artists or just sitting around thinking and talking about it.

Advent of the Muses by Scott Noel, oil on linen, 56 x 72.

To that end, I've come up with a few reminders and tips about why we can create fine art paintings right now. If they are true for me, they might be true for you.

One sitting is enough. I sometimes stop myself from even starting a painting because I get overwhelmed by the time I think I need to invest. But it is good to remember that one sitting or studio session can reap a lot if I stay focused and give myself a manageable goal.
Scrape it away. Like trying to ride a bike with a bent wheel, continuing to work on a fine-art painting when I know something is wrong is a complete waste of energy. So I am committed to the idea of scraping it away and attempting passages again or working through painting techniques differently in order to get a different (hopefully better!) result.
Don't waste time mixing paint. I always feel like I am forced to get out of the groove to mix more paint, so from now on I am going to mix big batches of paint with a knife and save myself time.

Octavia and Antonia Divide the Empire by Scott Noel, oil on linen (two panels), 72 x 108.

For the sake of you and your art, don't flinch away from getting intense about your work. Go after what you want! Learn how to paint with the skills you know you want to have! Conquer the painting techniques that have tripped you up in the past! That's certainly my plan, and I'm starting with the bestselling resources we have available for learning how to paint. And right now, the Resolve to Save Sale at the North Light Shop has just started. You can get all the instructional guides you need to take your art where you want to go, at a great price. Enjoy!

What You Really Want in a Winter Landscape Painting

Courtney Jordan — Fri, 07 Dec 2012 04:48:00 GMT

Around this time of year we are inundated with wintry scenes and beautiful snowy landscapes--on greeting cards, products, advertisements, calendars and more. But these winter landscapes aren't necessarily all created equal, and the same goes for the fine art paintings of the same subject. One of the most important elements that separates works of quality from those that are less appealing often comes down to color schemes.

Late Winter Afternoon by Birge Harrison, 1908, oil on canvas.

Landscape paintings of winter can get boring really fast because artists sometimes make the big mistake of stopping at "white." I put it in quotes because, as many of us know, it's never really just white. Just like the darks in a painting, the lights or whites must be created through dynamic color mixing to grab a viewer's attention.


Sunrise in Winter by Birge Harrison.

I remind myself that an artist should take every opportunity to mix colors and emphasize them, especially in a winter landscape where a blah whitewash effect is so easy to create. One artist that is worth considering when it comes to mixing colors for winter landscapes is the late nineteenth-century painter Birge Harrison. Just look at any one of his winter scenes and you'll see incredible color usage: shadows on snow are richly colored in blue and gray-violet, and the winter skies that can often seem one-dimensional are subtly prismatic. Harrison pulls in pinks and greens and yellows, but combines his colors so deftly that you really have to spend time looking closely to see all of the undertones.

Mixing colors is all about pulling off our blinders and looking closely at the subject before us--and this is especially true when landscape painting in winter and any other season of the year. In the Step by Step Landscape Painting Instruction and Strong Design: The Key to Dynamic Painting eBooks, you'll find strategies for color choices, mixing colors, and ways to improve your knowledge of color in the landscape. And right now all of our eBooks are 50% off! So see what resources you gravitate toward that just may help you take the next step in your art. Enjoy!

Santa, Here’s My Art Wish List

Courtney Jordan — Mon, 26 Nov 2012 04:59:00 GMT

My dad is a little manic about asking our family to get our holiday wish lists to him waaaaaaay before he has to fight the crowds and wait in long lines. As usual, I'm procrastinating, but if I were to give him my art wish list, I could have it ready and waiting for him at a moment's notice.


The Red Bow by Charles Webster Hawthorne, circa 1902, oil on canvas.

I'd start with a catalog of Charles Hawthorne. Lately, I've been interested in all his work--the genre paintings, landscapes, and portraits. I can't get enough of the latter, especially, because they seem so abstract and distinct at the same time.

Definitely, I must, must, must get a pastel painting kit. I've waited too long for this and I feel like all the vibrant color I see in pastel drawings that come across my desk or that I see on gallery walls are mocking me. It will be a brand new foray for me--I've never had any pastel instruction--but I'm excited to learn more by actually creating a pastel-painting work. We'll see if I change my tune once I'm actually doing it, but I'm hopeful.

I'd love to get a copy of The Art Spirit by Robert Henri. I feel like I don't read enough art treatises from the artists I admire so much, and there are many to choose from. But I'm especially taken with how Henri viewed the artist's place in society.


		"An artist's job is to surprise himself. Use all means possible." -- Robert Henri. Henri's painting, Francine, above.

I also am hoping someone special will spring for my copy of Rose Frantzen's instructional DVD, Alla Prima Portraiture. It offers so many insights on painting in the moment and using 'bravura' brushstrokes that make every inch of a painting's surface interesting and eye appealing.

I hope you make your art wish list a reality this holiday season too. You deserve it! So take a look and see what resources would be a welcome gift in your artistic world. Enjoy!

And now is the time to buy with the Artist Daily Shop Bargains and Blowouts Sale going on now!

The Quest to Paint the Arctic

Courtney Jordan — Wed, 26 Sep 2012 03:14:00 GMT

Yes, you read that right! I've heard of extreme sports and extreme makeovers, but extreme outdoor painting? This is a first for me. But when plein air artist Cory Trepanier told me that he had made a trek to paint the far reaches of the Canadian Arctic--a land of icebergs and permafrost and tundra!--I wanted to know more.

Trepanier had an amazing view of Arctic--and chose to record those sights
in photos, film, and numerous plein air paintings.

Trepanier is an artist and filmmaker who has a keen passion for the wilderness. He has gone on three excursions to the Canadian Arctic and documented his expedition in two films and more than 1,000 photographs, but what's most intriguing is that he managed to create a collection of plein-air oil paintings while there. That's amazingly inspirational to me! To travel to the edge of the world into unknown territory and have enough presence of mind to take out his plein air easel and get to work? I'd be too busy shaking like a leaf from excitement (and cold!). Trepanier harnessed the energy of his environment and the power of this once-in-a-lifetime event into works of art that bring the Arctic--a place so awe-inspiring and, for most of us, out of reach--up close.

Trepanier based several large studio paintings on the plein air sketches he created while on his treks.
Above, Great Glacier, study by Cory Trepanier, 16 x 6, oil on linen, painted at Coronation Fiord,
Baff in Island, Nunavut, Eastern Canadian Arctic.


Trepanier plans to create a collection of 50 fine art oil paintings based on his Arctic plein air paintings.

Be sure to follow Cory's progress as he shares every step of his arctic painting journey on Artist Daily. Here's the first installment about how this plein air painting quest began! And whether you are ready to take on extreme outdoor painting, or you're like me and want to start with a nearby park or backyard, Plein Air Painting with Watercolor is a key resource for you. This eBook provides detailed information on mastering the medium in the great outdoors, and includes three step-by-step painting demonstrations, and tips on how to go from a painting sketch to finished work. Enjoy!

These Paintings Don't Have to Be Cheesy

Courtney Jordan — Wed, 29 Aug 2012 03:48:00 GMT

Because learning about color complements on the color wheel is often one of the first lessons we are taught in art class, complementary color paintings--those contrasting blue and orange, yellow and violet, and red and green--are often thought of as for beginners.


	A painting by Leonard Rosoman that shows how subtle complements can be.

It doesn't help that these color schemes are sometimes illustrated in a really heavy-handed way. That is especially off-putting to me because I know that oil paintings showing colors mixed in this way can be quite subtle, and not cheesy or elementary in appearance at all. It's really just all in the way the complementary art colors are used by the artist.

For example, sets of complements can be used together but their visual power can be balanced or mitigated by white or black. Another way to make complementary color schemes successful is by using different proportions of each color. Equal amounts of color can cause eyestrain, but a limited use of blue in a largely yellow oil painting, for example, creates an enjoyable viewing experience.

One can also use complements in a painting that is mostly made up of neutral colors, so that the pops of color don't dominate, but enhance the whole painting and give it a center of interest.


Green Silk on Chair by Desmond Haughton, oil on canvas.

And there's always the possibility of using split complementaries, which means pulling in colors that are on either side of a complementary color on the color wheel like red-violet (I love this one!) or blue-violet.

Basic color theory is such a fascinating subject because it can be both elementary and complex in fascinating ways. We just published a batch of great eBooks, and the one that is inspiring me right now is Color Theory for Oil and Watercolor. It is informative, straightforward, and has a lot of great images, and speaks to the vast permutations of color that are available to painters. Enjoy!

Art on the Square

Courtney Jordan — Thu, 16 Aug 2012 17:28:00 GMT

I was reminded that art grows in the most unlikely places and conditions when I recently heard about the art scene that is showing distinct signs of life in Fayette County, Georgia.


Wildlife watercolorist Dylan Scott Pierce teaches students about layering color.

Three years ago, Fayette County was a place without a single art center or art gallery. The Chamber of Commerce didn't even have an "arts" category. But Kathaleen Brewer is trying to change all that with ArtWorks on the Square, a hardworking art school that is bringing art classes, painting workshops, quality art shows, art studios, and an art supplies store to the Southeast Metro Atlanta area.

ArtWorks on the Square is in the historic square of the city of Fayetteville and surrounded by a budding downtown scene with locally-owned restaurants and a hotel within walking distance to the collective. It is an art school for students of all ages, and a place where cartooning, fine art painting, sculpture, jewelry making, photography, pottery, and crafts of all kinds are all being taught. Kathleen is bringing her community together through the power of art and I have no doubt she'll succeed. Where art is, good energy has to follow. Am I right?

Kathleen calls ArtWorks on the Square a "creative village" and while I haven't been down there to see for myself, I can believe it, mostly because I know and have witnessed the power and allure of art so many times in my life. As I'm sure all of you have!

So please join me in congratulating Kathleen on what she has accomplished with ArtWorks on the Square! Spread the word if you know of anyone in the area or go take a look for yourself if you are nearby. And lastly, what kind of great art happenings, big or small, are going on in your hometown or local art community. Leave a comment and let me know!

Don’t Be Camera Shy! Here’s Your Free eBook on Using a Photo Reference in Your Art

Courtney Jordan — Fri, 10 Aug 2012 03:56:00 GMT

Almost every artist I know who depicts people or creates portraits has spent time painting from photographs or drawing from them. It may not be how they develop a work foremost, but it is a useful method, especially when you want to capture a likeness and don't have the luxury of having your model available at all times.

But using the camera to create a photo reference doesn't magically translate a photo to a painting. There is a lot to assess in the process of painting from photographs, and plenty of pitfalls. That's why it can often make sense to start drawing from photos first, so you get a handle on how to use photos without the time commitment of a major painting. The Artist Daily Guide to Using a Photo Reference: Art Tips for Drawing from Photographs and Turning Photos to Paintings gives you the lay of the land in a really accessible way.

Artist and instructor Sandra Angelo discusses how she uses a photo reference in her own work, often beginning by taking many photos of a sitter and then creating a contour drawing pencil sketch of the major shapes she sees. This allows Angelo to use a photo reference as a stepping-off point, interpreting the image early on in the process so that she establishes her own vision and is not constantly referring back to the photo reference as her be-all guide.

Before completing an artwork, Angelo often creates a contour drawing from the photo references she takes of her model.

Angelo also recommends working from a large photo reference and even using a grid kit when starting out. By far the section I found most informative in The Artist Daily Guide to Using a Photo Reference: Art Tips for Drawing from Photographs and Turning Photos to Paintings was the section in which Angelo discusses the three common mistakes that often arise when working from a photo reference and how to avoid them, plus the portrait photography tips she includes so that you know how to get a good photo to work from in the first place. Download The Artist Daily Guide to Using a Photo Reference: Art Tips for Drawing from Photographs and Turning Photos to Paintings now and enjoy!

It's a Sensitive Subject

Courtney Jordan — Mon, 09 Jul 2012 03:39:00 GMT

Topics and ideas that tend to strike a chord and spark debate are often that way because they are so subjective. In art, color is definitely one of those sensitive subjects because no two people see a color in exactly the same way, nor do painters always mix colors identically to create similar end results. Usually, we all go along on our own and arrive at colors independently.

Collange la Rouge by Sherry Zvares Sanabria, acrylic painting on paper, 30 x 60.

Artist Sherry Zvares Sanabria is, however, one of those painters who I'd follow around making notes as she goes about her studio practice because I'd like to know exactly how she gets many of the colors in her acrylic painting work. Painting with acrylic on board, Sanabria creates interiors and old building facades that are very architecturally informed and filled with subtle variations of light, with every surface an understated but beautiful color.


Blue Chamber by Sherry Zvares Sanabria, acrylic painting on paper, 40 x 60.

Painting with acrylics, Sanabria captures the richness of color-and that is usually ascribed as the domain of oil paints. But her skill in making color appear transparent and glowing shows she knows her chosen acrylic painting techniques very well. Her paints are loose, almost like watercolor washes. She doesn't just go from tube to surface. Instead, Sanabria is really forceful when she applies paint, working it into the surface, rubbing it down with a cloth, and then going in again. She also doesn't spend a lot of time building color on her palette away from the actual painting. Instead she does a lot of color mixing right on her surface.

Our newest book, 500 Acrylic Mixes, shows you how vast and varied an acrylic painting palette can be and, more importantly, shows you how to create all those hues for yourself. If you want a skillful use of color to be a predominant part of any painting you create, 500 Acrylic Mixes is definitely worth a look. Enjoy!

Finding Your Way Back

Courtney Jordan — Wed, 27 Jun 2012 03:17:00 GMT

I've always been fascinated by artists who live during incredibly polarizing times, but somehow still seem to go their own way. Elmer Bischoff--ever heard of this oil painting artist? He stands out as an artist in the aftermath of World War II when abstract expressionism was on the rise. He found his way back to figuration, creating works that are quiet, lovely, and surprisingly sumptuous with their color and paint treatment.

Orange Sweater by Elmer Bischoff, 1955, oil on canvas, 48 1/2 x 57.

As part of the Bay Area figurative art movement, Bischoff took on elements of abstraction but found he was drawn to the figure in his oil painting art as well. A couple of my favorite Bischoff oil painting works are Orange Sweater and Red Cliffs. Looking at them side by side I see why I'm equally drawn to them. Both have colors that are somewhat muted but are also subtle and complex. In Orange Sweater, the light shining through the blinds in the background of the work is so beautiful--a mauve-grey with a gorgeous golden tinge.

I'm also drawn to how figures are situated in the landscape of Bischoff's works. They are almost hidden in plain sight. That's how unassuming and well-placed they are. There's a perfect balance between figure and interior or landscape, and that is pretty rare. Usually artists tend to emphasize one or the other. The results are so sensitive and peaceful, a testament to the diverse and complex history of American painting!

Red Cliffs by Elmer Bischoff, 1963, oil on canvas, 78 x 103.

In the upcoming July/August issue of American Artist, there's an in-depth article on Bischoff that puts his career and contributions in context. With a subscription to American Artist, this will be the first issue you receive. After you give it a read let me know what you think about Bischoff, his work, and any of the other featured artists in the magazine. There are certain to be several that catch your interest. Enjoy your subscription!