Artist Daily : Portrait Painting

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!

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!

I Think I Pulled a Muscle...Artistically Speaking

Courtney Jordan — Wed, 24 Apr 2013 03:06:00 GMT

Sustain Your Art Business With a Sound Studio Practice, Starting with Warm-Ups

When I think of a warm-up, it is usually a sweaty business in which you raise your heart rate, get your muscles loosened up, and stretch a bit. Warm-up exercises for artists are a little different but not that different, and they can really help us artistic "athletes" get the most of our time in front of the easel, focusing our attention and making sure our hands and eyes are in sync. Warm-ups for artists can last a few minutes or go for lengthier spans of exercises that continue for an hour or so.


Warm-ups for artists often involve being spontaneous, loosening up your muscles, and letting go. But jogging might work too! Adapted from an article by Daniel Grant.

For example, in some workshops where students are not professional artists, instructors find it helpful to conduct one-day, seven-hour portraiture and figure-painting sessions that start with two hours of quick drawings on paper before students tackle the canvas. With students who work in a field that has nothing to do with art, this gives them the opportunity to narrow their focus, warm up the eye to what's in front of them, and get the clutter out of their minds.

The process of getting grounded, or being present, involves warming up both the artists' senses (of tone, texture, composition) and their ability to translate what they see to the paper or canvas. Simply making the first mark can be a struggle. But all students need to remember is that there's not a lot invested in these quick studies and that can help us free up our minds and let go.

Debbie Cannatella, a Texas painter and art teacher, tries to break through students' worries about making mistakes and maintaining control with warm-up exercises that treat ordinary household objects (such as a fork or a wrench) as abstract images. "I find that people get hung up if they draw something and it doesn't come out looking like the object," she notes. "If they're not worried about making a carbon copy of that object on the paper, they can let go of their fear of drawing."

According to Robert Burridge, a California painter who teaches numerous workshops, many students are overly focused on the final product. "I tell people that it doesn't have to look like something and be ready to sell," Burridge says. "You can just have fun." He says he hands out 6"-x-9" pieces of paper—"so they don't feel they've wasted a good piece of watercolor paper"—and asks students to paint action words taken from a thesaurus. There may be five or six words, and for each word they get one minute to communicate the concept visually in a painterly or graphic way. Between each one the students show what they did and talk about it. "There's a lot of laughing. I'll be ready to move on, and they'll say, 'Give us more of these,'" the artist points out. He also says his workshop participants cherish these little drawings, and that the exercise adds to the camaraderie of the class.

For Burridge, the warm-ups are an opportunity to be spontaneous and noncerebral. "It quickly gets students into the creative side of their brains," he explains. On the occasions when he hasn't done these exercises, he has found that students are scared of doing something wrong. "I just have a harder time getting them into the painting mode," he says.

Proper warm-up exercises are just one aspect of a healthy, productive studio session. For more guidance on how to hone your skills toward displaying art you are proud of and selling art to a wider audience, zero-in on Workshop for Professional Practices, which is full of resources that will show you where art and business meet and where you stand in relation to both. Enjoy!

White Roses Dripping Red

Courtney Jordan — Fri, 19 Apr 2013 03:53:00 GMT

The Oil Paintings of Margaret Bowland

I was first introduced to the paintings of Margaret Bowland in 2009, when one of her portrait paintings won the People's Choice Award in the Outwin Boochever Portrait Competition at the Smithsonian National Portrait Gallery, in Washington, DC. I was uncomfortable and inspired all at once, and have followed her work ever since.

Painting the Roses Red by Margaret Bowland, 2012, oil on linen, 55 ½ x 51.

On one hand, Bowland's work is controversial. She took as her artistic muse a young African American girl and has painted her numerous times, often with white paint on her face and in situations that provoke questions about race, beauty, sexuality, gender roles, and power. The reactions to the work are positive for the most part, but critics do question the artist's intent and whether her work is somewhat opportunistic.

On the other hand, Bowland's imagery is incredibly stunning and unique. Her latest works play on the idea of the Red Queen from Alice in Wonderland among others, with white roses splattered red, and young African American girls adorned with tar, cotton, and diamonds. The end results are disturbing but incredibly compelling. Her chosen visual tropes are unlike any I've seen before. It's exciting to know that there are places painting can go that are still undiscovered country. That ideas and presentations are not all just rehashed references to paintings of the past.

White Fives by Margaret Bowland, 2012, oil on linen, 84 x 70.

Overall I think Bowland would be an excellent artist to learn painting from. She has such a strong sense of composition and has really plumbed the depths to discover a visual language that is hers alone. That, above all, is what draws me to her work and keeps me coming back.

For more painting lessons and resources about the painting techniques of your choice, look at all the offerings on sale at the North Light Shop. Beginners painting for the first time and advanced artists fine-tuning their efforts will all find the unique resource they need to advance their artistry. Enjoy!

Pose for Yourself

Courtney Jordan — Fri, 29 Mar 2013 04:55:00 GMT

In one of her recent blogs on Artist Daily, Marion Boddy-Evans observed that it is a good idea for portraiture artists who are trying to achieve a sense of naturalness in their work to pose for themselves. When I read this, I felt like I had been poleaxed...not that I really know what that means. But seriously--pose for ourselves! What a genius idea.


		Self-Portrait by Ben Fenske, 2010.

Portrait artists so often struggle with the subtle nuances of the figure in their paintings because it is those almost imperceptible details of the body that make a portrait painting look so real. The differences between a beginner portrait artist and a professional aren't really color choice or how well the portrait painter can paint features. It is that the professional who has painted portraits before knows the subtleties of the body. When done right, these details make a figure look real...or not so real.

That's where posing for ourselves comes in. In portrait art, the way a person sits or holds their shoulders back or positions their hands is what an artist really needs to focus on. And if you are in the position of developing portrait art and you find yourself struggling with these areas, look to yourself.


Portrait of an Artist by Kate Lehman, oil on panel, 27 x 27, 2005.

Get in front of a mirror and re-create the pose of your figure. You'll find that your body position has much in common with your sitter. The shadows indicating the bones in your hands or the folds of skin around the bend in your wrist are the same ones your sitter has. Get these details right, and your portrait paintings will come together again and again.

Also look to invest in resources that can teach you more about how to enhance your portraits with an added sense of realism, like Art as Self-Portrait. In this portrait-painting download, you'll learn how to imbue your portrait paintings with a sense of the personality of your subject, which can make all the difference in the believability of your painting. Enjoy!

A League of Extraordinary Gentlemen

Courtney Jordan — Wed, 06 Feb 2013 04:50:00 GMT

In a lot of ways the art world can be a little like a trend-crazed teenybopper. What's new and exciting gets the most attention, while art and artistic movements and groups that have been around for decades or centuries fall out of favor. But I think anyone artistically minded would be hard pressed not to agree that when it comes to portrait artists, Rembrandt, Velázquez, and Sargent (among others) are the true and undisputed godfathers of the genre.

An Old Man in Military Costume by Rembrandt, oil on panel, 26 x 20.

Their works defined classic portrait painting and made it an enterprise that kings and politicians, dignitaries and the well-to-do had to be part of. It was their work and vision that could take a humble servant or dirty urchin off the street and turn him into the subject of a sensitive and intensely human piece of portraiture that could rival just about any other artwork ever made.

A Spanish Gentleman by Diego Velázquez, 1634, oil on canvas.

Wow--even as I write this, I get impressed all over again, because these artists weren't given superpowers or anything extraordinary beyond their motive to make portrait art that truly plumbs the depths of the human experience. That, I would argue, is what you have to do every time you pick up the brush to create a portrait painting. To capture a likeness is one thing, but if you want to join the ranks of Van Dyck and Caravaggio, you have to envision something more in you art. I honestly think this can entail putting a little bit of yourself into the work to make it really stand out--establishing empathy and painting that connection between you and your subject. It's the only way to make it really come alive.

My Friend Chadwick by Sargent, 1880, oil on canvas.

If you are determined to understand classic portrait painting like our revered "godfathers" did, consider the Painting Classic Portraits Kit, which include Mastering Oil Portrait Painting with Ron Hicks and Classic Portrait Painting in Oils, so that your portrait art is created with the same mindset and media as the greats. Enjoy!

Our Free & Brand New eBook on Figure Painting

Courtney Jordan — Fri, 11 Jan 2013 04:44:00 GMT

When I paint figures the work seems to matter more--I find that I'm more focused on the process than when I am just drawing fancifully from my head or creating a still life. And by "matter" I mean that the intensity is ratcheted up just a bit and I just feel really invested in what I am doing. The flipside to all the enthusiasm and focus I bring to the table is that I can be tough on myself when figure painting.


		Model in a Hat by Leonid Gervits, 1998, oil on cardboard, 22 x 20.

I can easily get into a negative mindset when I think about all the figure painting artists I know who are waaaaay better than me, and I will slow down or sometimes stop painting entirely. Never mind that these individuals are experts at figure painting because they are professionals full-time artists!


Pink Lady by Alex Powers.

My greatest strategy for fighting off any negative vibes is to really focus on painting figures like my role models would, which is why our new, free ebook Human Figure Painting Tutorial: Painting Figures Like the Old Masters and Using Figure Paintings to Express Your Feelings, is great. You'll find strategies from portrait artist Leonid Gervits on techniques that go all the way back to Velazquez, plus how to paint figures and faces to express feelings and opinions, and how to capture the essence of an individual and not just a likeness. There's also tons of artwork to inspire you, and you'll hear directly from the artists about what works and doesn't work for them when they are painting figures.

All in all, if figure painting inspires you, but you are like me and need a little help to get over any nerves, Human Figure Painting Tutorial: Painting Figures Like the Old Masters and Using Figure Paintings to Express Your Feelings is a resource from which you can glean tips and painting strategies to use every time you pick up the brush. Download your copy now and enjoy!

P.S. If you have any art-minded friends or family who might find our eBook useful, be sure to forward this link to them. Thanks!

When In Doubt, Go For the Weird

Courtney Jordan — Wed, 05 Dec 2012 04:53:00 GMT

A few weeks ago I attended a young artist's solo exhibition. Although he was technically skilled, the subject matter (mostly oil portraits with the models nude or semi-nude) didn't really inspire me. So why am I still thinking about his work--and telling you about it? Well, I keep coming back to the parts in his paintings that were slightly off--a pair of feet that were really red for some unknown reason, an eyebrow that arched a bit too much on the model's face. I've found that the weird--the details of a face that aren't symmetrical, quirks that make a person's look unique--is what I remember when looking at portraiture.


		Femme aux Bras Croisés (Woman with Folded Arms) by Pablo Picasso, 1902.

I know I've said this before but I think it's worth repeating. The 'weird' or uniqueness of a person is what makes for moving and memorable portrait art. If an artist can't find those qualities in a sitter, then it might be necessary to work with a different model or change how we look at him or her.


Garçon à la Pipe (Boy with a Pipe) by Pablo Picasso, 1905.

So when you sit down in front of a person as a portrait painter, first ask yourself: if I were going to describe this person with just three words, what would they be? Take your answers seriously as you figure out how to paint your sitter. And spend time, even just a few minutes, talking to your model before you begin your painting. The way they talk, their subtle mannerisms, as well as the information they choose to share--these are the inroads of painting portraits successfully.

And who has more personality, quirks, and funniness than children? It might be worthwhile to experiment with portraiture painting by depicting a child in your life. Children are often fearless and they have personality to spare, and in Wende Caporale's Children's Pastel Portraits DVD you'll find a portrait artist who sees her models as individuals and tries her best to pull out their unique characteristics so that the finished painting is more than just an accurate likeness. And today's special coupon code is TAKE20. Use it to get 20% off the DVD. 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!

No Crisis Here, Look Elsewhere

Courtney Jordan — Wed, 17 Oct 2012 03:28:00 GMT

I roll my eyes every time I hear about representational art and realism being "imperiled," because there are so many important representational artists painting right now. It's almost offensive how people think legitimacy comes with the passage of time. History can be a great equalizer, but art that is meaningful will always have--and never lose--its power.



	J.F.H. with Four Doors  by Alex Kanevsky, oil on wood, 36 x 58, 2011.

Established artists who are perpetuating representational practice abound. Alex Kanevsky, Lisa Yuskavage, Stuart Shils, and Julie Heffernan all work in highly individualized ways. They have signature styles, and their work would never be mistaken for anyone else's. What unites them is that they all have a technically interesting approach and consistently come up with compelling narratives.

There are plenty of young artists working right now who are getting significant lifts in their careers as they become known to more people. Jennifer Presant's figurative realism is complicated by her use of unusual perspective and object-figure repetition. Ben Fenske doesn't settle for the conventional in his landscape paintings, I'm absolutely in love with his interiors, and his brushwork and color sensibility are also worth noting.


Bedroom II by Ben Fenske, oil painting, 35.4 x 43.

And I have to give a shout out to several amazing artists showing their work on Artist Daily. Fergus A. Ryan produces a wide range of work--landscape paintings, portraiture, still life--and every single piece shows a unique perspective and subtle color palette. Lee Stockdale's works always deliver a psychological impact, and her brushwork is visually interesting from a technical perspective. Mike Barr's cityscapes and seascapes both have an atmospheric quality that draws the eye, and he's found the perfect balance when it comes to the level of detail to include in his works.

And it will come as no shock that Daniel Greene contributes heavily to the reason why I am confident about art-making--and portrait art in particular--going forward. I was lucky to attend a Daniel Greene demonstration and workshop, and I was struck again and again by how articulate and quietly focused the artist is and how his students produce work that is heads and shoulders above the rest. In his Portrait Painting DVD series, I hope you'll find all that and more. Enjoy!

American Kids Growin’ Up In the Heartland

Courtney Jordan — Fri, 28 Sep 2012 03:42:00 GMT

I love that John Cougar Mellencamp song! Mostly because it reminds me of being young, and that life is full of possibilities and change. It's also a great reminder that the "small" stories of our everyday lives are the ones that matter most!


		Roanoke by Mary Whyte, watercolor on paper, 2007.

Mary Whyte extols these same ideas in her watercolor art, especially in her latest series Working South. These beautiful watercolor paintings show people of humble means--like mill workers, fishermen, farmers, and even a shoeshine man--going about their daily work. They are surrounded by the objects of their trade or painted on site at their places of work. Looking at any one of the Working South paintings, I get a sense of human connection to a real person--with a history, hopes, dreams, stresses, and pains--not just an anonymous figure the watercolor artist chose to portray.


Obediah by Mary Whyte, watercolor painting.

And my "art" eye is engaged with the works as well. As we all know, Whyte is practically a virtuoso when it comes to watercolor painting. She is adept with color and composition alike, and has so many tricks when it comes to patterning, texture, and transparency. Her paintings are like watercolor lessons in themselves.

Mary Whyte's DVD, Watercolor Portraits of the South is, in a way, a continuation of the Working South series. It is one-part excellent instruction in which Whyte shows you how she goes from inspiration to sketchbook to finished painting. It is also one-part up-close documentary on the artist as she works with models, visits friends, and shares her expertise in her own hometown and studio. Plus there are exclusive interviews with one of the artist's collectors, a framer, and a museum curator. Enjoy!

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!

3 Tips So You Don't Wipe Out on Smooth Washes

Courtney Jordan — Mon, 20 Aug 2012 03:46:00 GMT

I am rolling my eyes with embarrassment when I tell you that when I first saw watercolor paintings with wide expanses of color I assumed that these were applied and then wiped out and smoothed over after they were laid down. I had no idea that there were watercolor painting techniques that you could use to get that effect with the stroke of the brush (and a lot of practice). Mea culpa--I'm a novice!

Kind of Blue by Amy Arntson, watercolor painting, 32 x 32.

But after I found that out, I did my watercolor art research and found several great tips for laying washes that are soft, diffuse, and flowing:

No stinginess. I'm always trying to hoard paint and that is a big mistake. To lay a wash, you've got to do it in one go, and to be on the safe side you should mix more pigment than you think you will need.

Spinner by Mary Whyte, watercolor painting, 2007.

Go off-kilter. Angling your watercolor painting surface forces a wash to flow downward and there won't be any drips. If you want to stop or reverse the direction that the paint flows, hold the surface so that you can quickly reverse the angle.

Don't turn back. This is the hardest one for me! You can't fix a wash by going back into it. In fact, usually it becomes more of a mess. Because of this, I keep scratch paper nearby to do a few practice strokes before I lay down the wash that I hope will be "the one."

If you want to see more incredible washes--plus luscious color and light effects--expert watercolor artist Mary Whyte's DVD, Watercolor Portraits of the South, is just the thing. It'll be sent right to your door or you can get the video as an HD digital download. Either way—enjoy!

What's in a Nose?

Courtney Jordan — Wed, 15 Aug 2012 03:21:00 GMT

I'm not telling you anything you don't already know when I say that successful portraiture is successful when the portrait artist, foremost, captures a likeness. Yes, I ardently believe that there has to be something more to the story—a sense of the subject's spirit or personality, or something interesting about the composition—but if you can't recognize the person in the portrait painting...that's an issue!


	Portrait de Therese by Balthus, oil painting, 1939.

Portrait artists start with the building blocks of the face and gain the skill to depict those features, and then add their own artistic flavor. One anatomical feature of the face that has always intimidated me is the nose. How to do it justice?! Here are a few tips I've learned on how to depict the nose with a little more nose-how. I mean know-how! (Pure cheese, that one!)

Soft parts and a few strong lines. We all know that the nose has no bone to it, just hardened cartilage and fatty tissue. But that doesn't mean that there aren't strong lines to be found in this feature. The creases where the nostril meets the cheek; perhaps the dip where the nostrils meet at the tip of the nose; and the bridge of the nose can all be defined with stronger shadow or firmer lines. The nostrils themselves and the tip of the nose are where you'll typically go softer.

Think round. When drawing the underlying structure of the nose, artists often use straight lines and angles, and that makes absolute sense to me. But in subsequent stages of a portrait painting don't forget the ball on the tip of the nose. Big or small, broad or narrow, this sphere shape needs to be made distinct with highlights and shadow, and should not be left to the straight lines and edges one starts with.


Portrait of a Man by Titian, oil painting, 1510-12.

A cliff that casts a shadow. I know no one wants to think of their nose as a cliff side, but the underside of the nose is usually cast in shadow, just like a jutting cliff casts a shadow on itself. Put that shadow in. It will immediately give a sense of mass to the nose.

Getting to the point where you can confidently paint a person—eyes, ears, mouth, and especially nose!—means dedication and, sure, a bit of trial and error. But we have a series of DVDs on portrait painting that are here to help you avoid many missteps and get right to the heart of skillfully painted portraits. These are practically full-length portraits in themselves! Learn alongside Burton Silverman with his Portrait of a Young Girl; with David Leffel as he guides us in all of his tried and true methods of Painting the Portrait in Oil; and with Judith Carducci as she showcases her skills in her DVD, Portrait Painting in Pastel, and teaches us what she knows. Enjoy!

P.S. The deadline for one of my favorite art competitions is fast approaching! Southwest Art's 2012 Artistic Excellence Competition is accepting entries until August 17th, and the competition is a great way for artists to gain visibility for their art...plus cash prizes and more! Sweetness!

And right now Artist Daily members get 10% off your entry fee. Sign up now and good luck!