Tips on drawing and Painting

The importance of drawing

If you have three hours to do a painting, spend two hours drawing it.

Before you paint, learn how to draw. Start by sketching everything in sight and practise every day. Use a soft lead pencil sharpened to a chisel point on sketching paper. The same applies to charcoal. Use a soft eraser and don't worry about mistakes. You learn by making mistakes.

If you want to draw people, study anatomy. Get a friend to pose for you. Visualize the bones under the skin. Get a book on anatomy. Draw the human figure in the nude, then the clothing over top. The figure is drawn from the inside out.

Learn how to draw first if your aim is to do classical fine art, the kind the old masters did. We will never reach their level, but we can learn a lot by studying them, even copying their work. Never sell copied work and it's best not to sign it. In short, never copy and call it your own unless it's from your own photographs. 

Go into nature and make sketches there. All you need is a board to put your paper on and away you go. Nature is the best teacher regardless of subject matter.

Or you can easily find any subject online too. Careful what you copy. Some are protected by copyright. So don't copy. Just use them for inspiration and change to suit what you like. 

Pinterest is a great source of information for artists. They will send you emails of your favorite subjects if you opt in. Ask for art and painting after opting in.

Once you have done enough sketches and are pleased, it's time to start painting. But roughly draw it first either on the canvas or paper to be traced onto the canvas. Blacken one side of the paper with a soft pencil and trace it. That way you don’t have to draw it twice.

Materials needed for Oils and Acrylics

Materials needed for Oil Painting

• Palette
• Palette knife
• Small, medium and large artists' bristle brushes from art supply stores
• A two inch wide brush from the hardware store
• A one inch round brush from the hardware store
• Two tin cans, one large for cleaning brushes and one small for medium
• Artists' linseed oil and pure turpentine. Turpenoid in place of turpentine is better and is non toxic.
• Paper towels
• Easel or equal facility such as the wall * 1
• Charcoal and soft lead pencils
• Soft eraser 
• Maulstick * 2
• Canvas or panel * 3
• At least four colours. Large tube of white and smaller tubes of yellow, red and blue. * 4 Get more if you like. Purple and burnt sienna are good to have on board also.

*1 Painting in oils with canvas resting on the wall under a 40 watt daylight fluorescent tube together with LED lighting is ideal if painting at night. I don't use incandescent lamps as they produce glare and I cannot see the true colour of my work. A simple wooden ledge screwed to the wall is all I use to support my canvas.

*2 Maulsticks are used for the fine detailed work to keep your hand steady. They need not be elaborate. All you need is a pole such as a half inch tent pole with the rubber end on it. Perfect. Or you can make one from a 36 inch long half inch diameter hardwood dowel and put a rubber end on it.

*3 Stretched canvas is the generally accepted material for a painting if it is to be sold through agents or the galleries. However hardboard, or Masonite as it is called in the lumber trade, is also very suitable and better withstands bumping, wear and tear. Hardboard should be treated with at least three coats of non gloss paint or artists' Gesso and allowed to dry thoroughly before starting your picture. I have done many paintings using hardboard and gesso and sometimes just paint as a preparation for the surface.

If you use the back or rough side of Masonite the finished painting will look like high grade canvas. Hardboard or Masonite can be used behind canvas for larger paintings. The stretcher frame under the canvas on larger paintings tends to telegraph through to the painting surface. Using a panel between the stretcher frame and the canvas will solve the problem. Remove the canvas, install the panel using carpenter’s glue, then re-install the canvas.

* 4 The primary colours which are yellow, red and blue are all you need to paint a picture. Due to the impurities of the pigment in paint you will also need white. Mix them and see the colours, any colour from these four. Using a smaller number of colours makes your work easier because it is easier to blend all your colours in harmony as you do the painting.

The same materials are needed if you paint in acrylics except use water instead of oil and turpentine.

A few tips

⦁ Why should I make straight lines instead of curved or irregular lines?

Straight lines show character and form objects better than curved lines especially in the beginning stages of a drawing or painting.

⦁ How should I go from one edge or plane to another?

Always soften your edges. Never leave a hard line between two planes. Dry brush the edges smooth. In other words, feather the edges

.

⦁ What does dry brush mean?

Just what the term suggests. Brush with little or no paint on the brush.

⦁ Do you have to know how to draw in order to paint?

It depends upon what you are painting. If you paint portraits or mechanical subjects such as buildings, cars, ships or trains, drawing is very important. If you are doing landscapes, drawing is helpful but not necessary. If you have the ability it is always best to learn how to draw before you paint. However that doesn't mean you shouldn't paint. Many fine works of art have been done without drawing.

What does value mean?

Any landscape has to have values. This gives it depth. Values are not colors. Values are various color strengths as you proceed to the background of your painting. Adding white to a color changes its value. You can also do the same by adding its complement, but it's easier to just add white. Usually the colors get lighter the farther back they are. These are what are called value changes. Most objects have value changes. At least three are required to make the object stand out.

How do I make objects stand out?

Contrast makes objects stand out. Contrast is achieved by either using different colors or changing the value of a color. You can't see an object unless it is a different color than the background. Exaggerating an object against its background makes it stand out.

What is a good way of making an object stand out?

Use pure color and dab it on thick. Leave it. Don't play with it after. This is how you make highlights and should only be done in the final stages of the painting.

Do I paint with acrylics in the same way as oils?

For the most part, yes. Acrylics dry fast, in a matter of minutes. Oils can take days or weeks. There are no odors with acrylics, but oils can give off fumes depending on what you are using. Most of the techniques are similar as long as you know how to keep acrylics from drying out before you are ready. I will cover this in detail later.

Masonite panels for painting

Masonite is an excellent panel for painting both in oils and acrylics. It is prefered by many professional artists. It has to be treated first or it will suck up all your paint. You can use gesso or latex wall paint that you can buy in any paint or hardware store. I use white. It must be applied to both sides and all edges. This seals and balances the panel so it is less likely to warp. I give each panel at least two coats each side, sometimes more. Allow to dry overnight before applying the second or third coat. If you apply the second coat in gray or some other color, you will not miss spots. White is hard to cover a second time without missing a spot or two.

If you have previously sanded and covered an old failed painting, as I did, you may have to lightly sand a few rough spots after the final coat of paint. Rough spots do not mix well with your new painting unless you need them there for texture. I like it smooth to start, and sometimes I finish smooth, especially when doing portraits.

Canvas or canvas panels

I received a pile of canvas panels a few years ago. Some artists don't like to use them because they aren't supposed to be permanent. I wonder about that. I have some paintings done on canvas panels that are sixty plus years old and the paintings are the same as they were back then. I destroyed one that was done about thirty years ago because I foolishly stored it in a plastic garbage bag thinking it would preserve it. It turned black in the corners, mold I presume, and I burned it.

That being said, canvas panels are fine at least for sixty years as far as I am concerned. They are good for students to learn on and they are excellent for painting on location. I plan to use mine for planning some pieces and later transfer the work to either canvas or prepared masonite. Some I might even use for the final work. I think it all depends on how well you keep the painting. Hang it on the wall. Never seal it in a garbage bag. We artists like to live forever through our paintings. What we chose to paint on, and how we look after our work determines longevity.

Any world you choose

When you paint you are in the painting. You actually live the scene or subject. This may be why painting is considered good therapy for some. In any case you are in that world. When the painting is finished you automatically share that world with others when they view it. That being said, painting, or drawing, can put you into any world you choose. No wonder art is one of the most popular hobbies in the world today.

Tweaking old paintings

A word about tweaking older works. As we improve and look back at some of our older paintings we have to make a decision. I do anyway. I don't like to keep bad work. So it has to go to the burn barrel or be tweaked.

The main problem with tweaking older work is the paint thickness. You can't paint over thick paint and do a good job. Besides, it will crack eventually. I'm talking about oils here. That limits the amount of work to be tweaked. Only those paintings done on panels or masonite will survive. Forget those done on canvas. 

I remove the old paint that is thick or that forms a hard edge with a sander. You lose a lot but you still keep the basic drawing. The panel becomes smooth and ready for painting. Remember, if it was originally painted in oils, you have to tweak it in oils. Acrylics won't stick to oil paint.

I just worked on a half dozen panels and they are ready for re-working. The paintings done on canvas will go to the burn barrel. No hope for them. But before I do this, I shall trace my drawing so I can do the whole thing again on a fresh panel or canvas.

Hard edges

If you keep your painting smooth, especially if you are painting several objects such as boats, houses, people and certainly portraits, you will have no trouble making changes later, even years later. No hard edges. By that I mean don't leave a ridge of paint at the edge of a subject. Always start at the edge of your subject and pull the brush inward. This eliminates a hard edge. Remember, the subject usually should emerge from the background rather than be planted on it. Go over the lines. It helps. Be loose but also careful. Don't be afraid to merge the subject's color into its background color.

My previous post is a tip on what happens when you have hard edges and want to rework your painting years later. You have to remove the hard edges first by sanding them smooth.

One of my first instructors, who was an English portrait painter, always told me to keep it smooth. Thick paint has its place but make sure you are in the final stages before making it thick. This applies to both oils and acrylics.

White objects

To paint white objects, such as a house or a woman's dress or anything in white, it's advisable to paint the entire object in grey first. Then add your white, but not too white. Keep the brighter white for sub highlights and highlights. Applies to both oils and acrylics.

Showing character in art

Art drawn or painted from the heart and soul is generally a reflection of the artist's character and his or her thoughts at the time. It's a bit like handwriting but more open and easier to read. Some artists are spiritual in showing mystical works, others are religious in painting light, churches, ghostly scenes. I might add that these artists are also spiritual. Some are nostalgic when they choose subjects such as old houses and buildings or old cars, etc.

Artists that specialize in painting womens' portraits and figures obviously like the ladies. Nothing wrong with that. It's all art and it all comes from the heart and soul of the artist. That is why artists turn down certain commissions. Because they know they can't at the time put their heart and soul into the work and therefore will not do justice to the subject matter.

Frames

Frames should either match the paintings or be hardly noticeable. I often paint my frames with a glaze of the same color that I used in the painting. That makes it match, for sure. A fancy frame will detract from the artwork and clash with it. Often paintings have no frames and are gallery wrapped.

 

Know what you draw or paint

One of the first things to learn in drawing or painting, like being a writer, is to know your subject matter. You can't write about something you know little about. Similarly, you can't paint well what you don't know, even when you can see it. The eye plays tricks and knowledge of the subject matter corrects this. If you have a background in a particular subject, you have knowledge of that subject matter. Paint it. If you are used to being in forests or around trees, your paintings will have more value if you paint trees. Same goes for houses. If you have a background in architecture, for example, paint or draw buildings and houses. In short you will do your best work when you have a background in whatever you paint.

That is why people who paint portraits try to get to know their client before painting. Knowledge of subject matter is key.

What about fantasy art? 

Again, a background knowledge is best. It may be a dream or many dreams. Very likely your work is based on something or some experience of which you have knowledge. You turn that knowledge into fantasy. One once said, an artist never paints strictly out of his/her head. It's always something that has been experienced before, even if it's hidden in the subconscious.

Distractions

Having too much junk where you paint can become a distraction. It can even cause you not to paint. Don't forget, to paint you need very little space and not many materials. I said 'to paint'. To prepare you need more. But having a studio full of empty picture frames, bad paintings, cardboard boxes and things you never use would be better put away in the garage or some other place of storage where you don't see them. Out of sight is out of mind. That applies to art as well.

As for your 'failure' paintings that can't be re-worked, burn them, only if you have the proper facilities to do so. If you can't burn them, gesso or paint over them or cut them up. In oils use paint, then sand if on panel or masonite. For acrylics use gesso, then sand if not on canvas. You want people to see your best work. Don't put them in the garbage. Someone else will find them. 

Just do it

Too often we artists make notes and just file them away to be forgotten. This can be a waste of time plus a work of art that may have been quite successful never gets born. Overcome this by adopting the attitude to 'just do it'. I'm guilty of this very practice myself and as a result I have lots of work filed away that has never been born, so to speak. Just do it is the motto. You can surprise yourself with this attitude. Don't expect every piece of art to become a masterpiece. It won't happen. In fact we have more failures than successes. We learn from our failures in art and in life. Show me the person who never made a mistake and I'll show you the person who never did anything. So get bold. Just do it. You'll be glad you did.

A thousand words

You've heard the expression ' a picture is a thousand words '. It has never been more true in art. Art speaks. Through drawing or painting one expresses one's thoughts, beliefs, preferences and character. For example if an artist paints ghosts, it goes without saying that the artist believes or at least entertains the possibility of an afterlife. An artist who paints beautiful women is showing he loves the ladies. One who paints churches is a believer. One who paints landscapes loves the outdoors and one who paints animals loves or respects them. The list goes on.

How it's painted tells more character. There are neat and fussy artists and there are messy ones and thousands in between. The way in which the paint is applied shows this character. Like handwriting you can't escape displaying who you are in a painting.

There are exceptions. Commissioned work is for the client and often the artist's character is not as visible as it might be. Some call commissioned work glorified drafting. I'm not sure I would go that far, but you get what I mean.

Learn by copying

One of the early sessions with my instructor that I had as a boy was to copy work from another artist. The best way to learn art in general is to study good works by other artists and the best way to learn that is to copy their work in whole or in part. Never sign it and never try to sell it. You can be sued. Do it to learn, then keep it or destroy it.

As stated in my previous post I use the dividers or a grid to copy work from my photos. I print a photo from the computer after uploading from the digital camera. Using dividers is the most accurate way to get the drawing. I am a retired draftsman and the two go hand in hand. Even if you are not, you can still copy in this manner.

Copying another artist's work allows insight into why and where things are placed as well as color and composition. It's a good way to learn, but don't sell or sign it or call it your own work.

Drawing from old catalogues helps too. Instead of a real live model you have various models in the catalogue. A lot of artists, including myself, keep old catalogues and some magazines just for this purpose. Of course a real live model is better but you usually have to pay her. I say her, because I prefer to draw and paint the female form. To me it is much more interesting. 

Getting the drawing right

It is most important to get it right on the drawing before starting to paint. I was always taught the importance of drawing and planning first. Sometimes I even paint a smaller version of the final larger painting to iron out the wrinkles before painting the final large painting. Whether it's oils, acrylics or watercolors, planning and drawing pays off.

From a photograph or print I usually scale from it to the work I want to do. In other words let's say I want the painting three times the size of the photo or print I am working from. I measure using a set of pointers placed on the photo and walking them by three on my paper or canvas. I do this every time I draw whatever is making up the drawing. 

Another way to do it is to draw squares or a grid over the photo or print and on your drawing or canvas draw the same grid three times larger. Copy the lines between the squares and you are almost guaranteed an accurate reproduction whether it's a portrait or any subject. I have done portraits using this system. I was taught this by an British portrait artist back in the '50s. It's still good today.

Still another way to get it right is to measure with your thumb. Transfer the distance between objects by holding out your arm full length and measuring with your thumb how large it is. Then mark it on your drawing or canvas. This system is not as accurate and requires more skill.

A final method other than just drawing what you see without measuring is to project the image using a projector. This used to be called cheating. However, if you are already an accomplished artist and you know how to draw it anyway, you can save yourself a lot of time by just using the projector. Many artists use them. When you come to paint you usually lose the drawing anyway, so skill is still needed to finish the work.

One of my methods of planning a painting

Let's say I want to paint a church with a cemetery and I want the painting to have meaning, that is to say it must say something or leave a message for the viewer. First I will go out and take a digital picture of a church, any church. I'll take several for the details. When I come to draw and paint it I can't remember details. A lot of us can't. So I take some pictures.

Next, because of the theme I have in mind, I visit a cemetery and take some pictures of tombstones. This happens to be in the middle of winter in Canada and there is lots of snow. It adds to what I am after. Snow, cold, lonely but I plan to place an orange glowing light in the church window to bring back the warmth. Get the picture? 

In my mind I am sending a message.

The digital images are put into the computer so I can print copies of them, in black and white. I only want the details. I then go to the drawing board or the empty canvas and start laying out what I have photographed. I don't copy exactly. I'm only using the images for details of objects. 

It won't be any real scene when I'm done. Rather it will be a product of my imagination inspired by what I have seen and photographed. A lot of my work is done this way. Try it, if you haven't already.

About color

Colours can be summed up in four main groups. These are as follows: 

The three primary colors

These are yellow, red and blue. All other colors come from these three colors. I might add that white is needed due to the pigments. So in reality to make a painting you need four colors. 

Primary colors are at their best when placed next to each other. That's why red, blue and white look good and a painting with lots of red in it looks even better. Some artists, including myself, sometimes start a painting using only reds. The reds transfer through the final colors and give warmth to the painting.

Secondary colors

Mix two primary colors together and you get what is called a secondary color. The secondary colors are orange, green and purple. Mixing the primary colors yellow, red and blue together will form the secondary colors.

Tertiary colors

Tertiary colors are made from mixing one primary color and one secondary color together. The combinations of tertiary colors are endless, depending on what proportions are mixed.

Complementary Colors

Complementary Colors are Red and Green, Blue and Orange, Purple and Yellow. These are opposites on the color wheel. They become very rich when used properly. If you have a purple ground, for example, using yellow for accents will make the yellow look brighter. It is similar with red and green, blue and orange.

For more on the subject of color, type in color wheels in your favorite search engine.

Better still, you can purchase one at any good art supply store and they usually come with instructions. There are also many books written on the use of color.

Hope this helps, especially beginners who may have a problem with colors.

Minimum materials needed to paint outside

Painting outside or plein air can be a pain if you carry too much stuff with you. Sometimes you might have to lug it all into the bush, up and down hills or wherever you have to go to get your subject matter.

All you really need is a small panel, four colors, yellow, red, blue and white, something to put your painting on such as a small folding easel, three brushes, small, medium and large, a palette, paper towels and medium. Water for acrylics or turpentine for oils. Take a squirt bottle full of water if using acrylics. I don't use turpentine in the studio but outside it is well ventilated and turpentine dry fast. I finish with oil later back at the studio. All this stuff can go into a back-pack or some other packing device of your choice. Some use an easel with a drawer or art box. A folding stool is optional. I like to stand when painting. Also a hat to keep out the rays is good these days.

I prefer to use acrylics when painting outside because they dry quickly and I don't get paint all over myself and the car. Not so good if the temp is below zero. Acrylics don't like freezing temperatures. Here in Canada it gets cold, very cold. So warm clothing or layers of clothing are best when temps are below zero and the wind and snow are blowing. Don't forget your boots.

Colors can make or break a painting

Ever wonder why you are more attracted to some paintings than others? Quite often it's color. For example, if there is green in a painting, red always looks good with it. It settles it down and it's easy on the eye. Any colors that are opposite in the color wheel are called compliments and compliments look good together. Red is opposite green in the color wheel. Yellow is opposite violet. Orange is opposite blue. Then there are the mixed colors of all these with their mixed opposites. In other words you can mix yellow with green to get a lighter green and its opposite or compliment is a lighter violet, since yellow is opposite to violet.

It all starts with yellow, red and blue plus white. Any painting can be done using only these four colors.

Selling art in a recession

Art is harder to sell in poor economic times. Some people live in uncertainty and have to pay the mortgage and buy the groceries long before they even think about buying art. I'm talking about the average working person. Even pricing your paintings low, under a hundred dollars, won't get sales.

Commissioned works such as homes, portraits, pets and other subjects have a much more lucrative market in good or bad times. People are not buying on a whim when they order commissioned artwork. They have had time to think it out and budget for the work accordingly. The artist can offer payments which may be more convenient for the client.

Time and Painting

Sometimes some of us just don't feel like painting. This can be for several reasons. Could be boredom with the subject being painted, lack of inspiration, not enough time, fatigue, afraid of screwing up, etc. Most of these are excuses. You can do a lot of painting in just a half hour. That's all it takes, half hour. It takes that long to have a shower and get dressed or do the dishes or eat lunch or many other things. An artist should paint every day, not a lot, but some. I don't paint every day myself. But I know I should and a feeling of guilt gradually builds inside me if I don't paint for several days.

I come and go at my work. I seldom work longer than a half hour each time. That works for me. We all have our own comfort zone. Some people like to paint all day, or night. 

Painting and handwriting 

Paintings show the character and deep thoughts of the painter at a given time, just like handwriting. That's why there is no such thing as a bad painting. Like handwriting, it shows character. Now if you are looking for a specific standard in hand writing or painting, then there can be both good and bad. But these days standards don't always apply. They take a back seat to expression. That's what art is all about, expression. We may want to record a moment, or express our feelings about certain things. Art will do this.

Nostalgia

We can also bring back the old days by painting from a photo of someone or something taken many years ago. This is nostalgia. A painting will hang on a wall for everyone to see rather than being stuck in a book or box hidden away in the basement or attic. Paintings bring back life, express life and last for many centuries. Youth is frozen in time forever in a painting.

Acrylic painting step by step

This is a step by step tutorial showing how I painted this painting in acrylics. First I drove out of town to where I spotted an old abandoned farmhouse. With the digital camera I took many shots of the property. They were put into the computer and one with good composition was printed for detail. See original photograph to the left.

From the print I first did the drawing. Using a set of pointers I scaled the objects in the print so they would be twice the size on the drawing. I used Masonite treated with three coats of gesso for my canvas. Getting the drawing right was very important. Then I pinned the copy onto my

easel above the painting for ready reference. I use the wall for my easel and prefer it to a studio easel. Walls don't move and shake when you are trying to do something.

The first stage of the work is to cover the canvas or panel. I first sprayed the panel with a little water, then with a two inch brush I smoothed out the water all over the panel. This makes it moist and easier to apply paint. I then work wet on wet. The trick with acrylics is to keep spraying water on the palette and the panel so the paint won't dry too soon.

Using colors red, yellow, blue, purple, burnt sienna and white I mixed until I got various shades of gray suitable for the first stage. I then covered the canvas applying the brush strokes to agree with the direction of the wood grain in the structure. At this stage I am applying only a thin wash and if I can still see the drawing under the paint, all the better. I always try not to lose my drawing until near the end when I no longer need it for reference.

Acrylics dry very quickly. That's why some subjects are better painted in oils, such as portraits, when you need them to stay wet to work. However, to keep acrylics moist all you need is a misting bottle and a flat container large enough to hold your palette. 

I use glass over paper towels in a plastic container that is meant for keeping food air tight. You can buy them anywhere plastic food containers are sold. This way when you finish painting you can preserve your unused paint for weeks by pushing the air tight lid on the container. 

By spraying your canvas or panel periodically you can keep your work wet as long as you wish and are working on it. However, unlike oils it won't stay wet overnight.

The painting looks ugly at this stage. This is normal and we are not worried about how it looks yet, rather we just want to cover the panel and get ready for the next stage. 

Having covered the panel I then started working the true colors by first applying gray and a little white to the entire painting using a two inch brush. This was a glaze, very thin.

Next came the oil tank where I applied a little color using burnt sienna, red, gray and white. It's starting to move forward. Another wash of gray is added to bring out more true color. White is later added to the clapboards as well as darker horizontal lines, to make the clapboards look more real.

More gray is applied to the entire wall and using a script brush, lines are drawn both horizontally and vertically to bring out the wood as well as the bushes. The dark in the window is layered with a suggestion of something in there and the curtains are detailed. The same applies to the window frame which is detailed to make it look more real.

Below is the finished painting. Someone photographed it in the gallery and it appeared in Country Roads Magazine, Summer 2010. I was pleased, but as of this date nobody has bought it.

Canada's Group of Seven Artist Tom Thomson

Tom Thomson is one of my favorite Group of Seven artists. The mystery surrounding his death on Canoe Lake in Algonquin Park is a topic of conversation among artists even to this day. It is said that his body was found tangled in a fishing line and the fly on his trousers was open. He had been in a canoe. Did he simply stand up in his canoe to relieve himself, accidently tip it and fall over, hit his head and drowned? We'll never know but I feel it's a strong possibility. Whatever happened, in his short lifetime he left us some beautiful paintings. My favorite is The West Wind. I have a print of it hanging framed on the wall.

Paintings with meaning

I like paintings that go beyond being a pretty picture. Sometimes the picture isn't pretty. What I mean to say is paintings that suggest an event or a feeling to me are far more exciting.

It's how it's painted together with subject matter and composition that when combined bring out a message for the viewer to interpret in his/her own way. It might mean different things to different people, but it sends a message.

Sometimes I can't paint because I'm searching for a message. Another pretty picture doesn't fill the bill. And yet landscapes sell best according to what I read. But landscapes too can be meaningful with the right subject matter and composition.

Cleaning your palette

This is for beginners. The rest of you know already or have your own methods.

Whether you paint in oils or acrylics you need to clean your palette from time to time unless you use one that's disposable. This is how I was taught to do it:

For Oils

I pour a little paint remover, from the hardware store, all over the palette in a well ventilated area, usually outside or in the garage. Then I take a 2 or 3 inch scraper and move the paint remover over the dried paint, let it sit a minute or so and start scraping. I add more paint remover and scrape until all the paint is loose. Then I scrape it all onto a newspaper, fold it and place it in a steel fireproof garbage can with a steel lid.

Then I take a paper towel and some paint thinner or turpentine and wipe the entire palette until it's smooth and free of paint. I let it dry outside. The palette is usually stained from the paint but the main thing is it's smooth.

For Acrylics

I use a glass palette. No need for anything but a little water and the scraper. The paint scrapes right off into a paper towel or newspaper. I wash the glass after and I'm good to go.

Some artists use glass for oils too. Not a bad idea. 

Dating your work

Should I date my work or not? This is a question many artists ask. Here are my thoughts on it.

If you are offering your work for sale, an older date beside your name suggests the work has been hanging around for a while and nobody wanted it. Even if it has been in your studio for years and never offered for sale, people will get a wrong first impression. For this reason only, I don't date my work. I used to, and you may find some of mine with a date on it.

On the other hand, you need to keep a record of when you did the work. It lets you know what you painted like several years ago as well as providing a background for the work in case anyone asks. So I say keep a record, photos are best, but don't date your work.

Mystical

A mystical painting often attracts more viewers than one that isn't. Making a painting mysterious is easy. In fact it's easier than not.

Some examples of mystical are fog, mist, excessive light such as rays coming from the sun, darks behind a bright foreground hiding with only a faint hint of what's there such as the edge of a forest, spray from water, subjects emerging from the background with parts still fading into the background. Portraits often emerge from a mystical background. There are others, too numerous to think of and list here.

Some subjects are mystical by virtue of their very existence. Boarded up buildings, collapsed roofs, subjects such as common everyday articles being left behind in a decaying environment such as an old house that no longer supports life. These things are mystical in nature and when properly painted can trap the viewer in awe and wonder.

A painting can tell a story, or better still, part of a story. Let the viewer figure out the rest. The artist doesn't know either, but that's our little secret.

Always painting

Artists are always painting. Not true? Of course it's not. What I mean is if you are like me, you are always looking for subjects or reading and thinking about art. For me art thoughts never go away no matter what I am doing.

Most of the work is done in the mind long before it arrives on the canvas. I seldom sit down and just paint. I always have some idea or plan before I start. The idea could be years old and just coming to life now. The actual painting might not even resemble the idea when it's finished, but that doesn't matter. Some paintings have a mind of their own. Sometimes it's as if someone else has control of the brush.

Art thoughts pop up continually and photos and scraps are always being collected whether they get to the canvas or not. Artists are always thinking.

Genre paintings

What are Genre paintings?

Genre paintings or prints depict people in their everyday surroundings. Formal setting is absent. The subjects can be at home, at work or anywhere they naturally hang out. There is no posing and often the subjects are put together in the artist's studio. Sometimes, but not always, they contain a moral lesson. 

How long should you take to do a painting?

Some paintings take only an hour to complete. I might add that these are sometimes the best paintings. Others can take longer depending on subject matter. My art instructor once told me that he never thinks about how much time he spends on a painting. I think that's the way to look at it. True art can't be rushed. 

I'm working on one now that I have been painting off and on for about a year. There's nothing really difficult about it. It's just that I keep changing my mind while following the painting. As a result some of it has been painted over several times. In summary, don't worry about how long it takes to paint something. It's quality that counts in the end.

A few thoughts on fear

Fear can be a painter's worst enemy. Being afraid to try something new, and every painting has something new sooner or later, can cause you to get into trouble. Just "fire it in" as the famous TV artist William Alexander used to say. Get it out of your head that this painting you are working on will turn out to be a masterpiece. It likely won't, but you might produce one quite by accident down the road, if you conquer your fear of screwing up. 

Just paint what you see or what comes to mind and after the first few strokes follow the painting. Ask yourself what it needs and paint it. Leave it for a while if you can't decide. I do. I even place an unfinished painting in front of the TV and study it during commercials. I don't watch commercials and they are usually long enough to go for a coffee, the bathroom or decide what your painting needs.The main thing is not to be afraid of ruining it. Make it turn out. It usually will if you keep the paint smooth at every stage.

Most of these posts are meant for artists either just beginning or people who are into it but still need some help. Those who are more advanced may not get much from it.

Basic composition L X O S

Basic composition can be summed up in four letters. These are L  X  O  S. The subject matter should follow one of these letters. A tall object at the left side of a painting is connected to an object running horizontally along the bottom for the full length of the painting. This would be an example of an L.

Basic composition using the "L"

This is an example of the "L" in composing a picture. Notice the components making up the landscape form an "L". The high tree on the left followed by the shack and foreground form a basic "L". 

Also the focal point or main point of interest is the shack and it is placed at third point across the picture both horizontally and vertically. The small tree at the right acts as an eye stopper to prevent your eye from wandering off the picture and allowing it to miss some objects shown. The arrangement should always be such that the eye stays in the picture rather than wondering off.

Basic composition using the "X"

Here is an example of a composition using the simple "X". Notice the eye travels up the road toward the centre of the "X" and then toward the hill in the background. The focal point in this case is in the centre of the drawing. Everything else is secondary and is played down. This example is perhaps the most simple form of composition.

Basic composition using the "O"

This example suggests an "O" composition. Notice the eye travels in a circle from the bottom, up the trees and is connected by the limbs of the trees. The eye does not leave the drawing as is intended.

Basic composition using the "S"

This shows the "S" in composition. It could be a road, a stream, a path or just about anything. It doesn't have to form a perfect "S" of course as it is the same with the others "L", "X", and "O". 

You merely suggest them in various forms. The main point of all this is to keep the viewer's eye in the picture.

There's lots more to composition than I show here, such as negative space, grouping objects, balance etc. I've tried to show you the basics.

Make sketches

In learning how to draw and paint it is advisable to draw as many sketches as you can. Sketch anything that comes into your head. Use a chisel point on a soft lead pencil. You can use charcoal if you like which is more user friendly, again sharpen to a chisel point. Make hundreds of sketches of anything you see or remember. In time it will become second nature.

How to place a figure into your painting

This is how I was taught by an old master British portrait painter. You have a painting you are working on and it needs a figure, perhaps a person walking a dog, for example. Drawing that figure without a plan can ruin your painting. It must not only look right but it has to be located to form good composition.

Start by sketching it on a separate piece of paper presumably from a photo or a model in the scale that will be needed for your painting. Have tracing paper handy because you will not likely get it right the first time. It might take several attempts to get the figures the way you want them. 

Each time use the tracing paper to trace over the figure you have already drawn and improve your drawing on the tracing paper.

When you finally get what you want, blacken the back of the tracing paper with a soft lead pencil, such as an HB or 2 to 4B pencil which you should use anyway. Place the paper and image over your painting and trace it on. Now you can paint it. If you have kept your work smooth it should trace well. If not you might have to just copy it by hand using a brush as your pencil with the aid of a mahl stick.

Oil has to be dry of course. Acrylics will be already dry.

River Cottage

This is my latest painting, River Cottage, acrylic on canvas. It may not be quite finished. I'll set it aside for a few days and work on something else, then decide. I always put quality above quantity and because of this I sometimes take longer on a painting than I expect. Some only take an hour while others can take weeks, months, even years.

With this one it took a long time because I kept changing my mind as to what I wanted. The cottage was for sure but the type of wood and roof kept changing. The danger in making too many changes is that the painting can look over worked. I was lucky here. It doesn't look over worked and that is because I applied the paint very thin and used gesso for white instead of white paint. White paint is transparent while gesso is not. Therefore you can apply it thinner and it will still cover.

The roof started out being red which is the complement of green. Using compliments make good paintings. However I decided to change it to a darker colour to create a mood with just a touch of mist behind the cottage. It's off season and no one is there. I didn't want it bright and cheery when no one's there. It surrenders itself to nature and whatever may come next. I mixed purple with most colours and I always worked all over the canvas at the same time rather than just one portion of it. That way and by always using purple in my colours I was able to achieve a uniform mood throughout the painting.

Brushes varied in size from a script brush to a two inch painting brush that you can buy in any hardware store. As long as the brushes are made well enough that the bristles don't fall out, you don't always need to spend a lot of money on brushes. The in-between sizes are fine artist's brushes and they are expensive. You need these too.

Painting water

Painting water can be a challenge. Still water usually reflects what is around it and therefore all you paint is a faded version of what is above or around the water. Include sky and land colours as well as the reflections of objects and lights. Reflections will always be a little wavy or blurred and never as bright as the objects themselves. After you paint in the reflections with smaller brushes, use a dry two inch brush and quickly drag it horizontally over the wet paint in the water. This will get water. 

You can keep acrylics wet while you work on your water by misting the canvas from time to time. It is important to keep it wet. This will keep the paint wet as long as you like. Afterwards you can add leaves or highlights on top of the water to give transparency and depth to the water. Leaves and highlights should be bright, bold colours, but not too large and only in strategic places.

Running water is much different and although there are reflections, they are not like still water. You have ripples, waves, foam and mist and the method of painting is much like painting land or even sky. You are painting objects in the water in the same way you paint land except the colours are different and there is motion. Imagine what water does as you paint. It takes practice. 

Draw with a brush

You have started your painting and being well into the background and foreground you find that you have lost your drawing, assuming you draw the more difficult subjects onto your canvas before you start. In acrylics you can use soft charcoal to draw in what you have lost, then rub it out with a wet paper towel later. However, I prefer to use a very thin brush and contrasting paint soaked with lots of medium to draw in my subjects. I use the maul stick when drawing with paint. The lines go away when I complete my work because I paint over them. 

Using same brushes for both oils and acrylics

Some artists like to use different brushes for oils and acrylics. I don't. I use the same brushes even though I know that water and oil don't mix. Since I wash my oil brushes in the same way I do acrylic brushes, with soap and warm water, the brushes have water in them anyway. The key is to make sure your brushes are dry and free of water before using them for oils, otherwise you will get bubbles. I dry my brushes by wrapping them in paper towels after washing them. I find this works well and I don't have to be careful about separating the brushes.

Fire hazard

If you paint in oils be careful of rag or paper towel storage. Oily rags, and the same goes for paper towels, can cause a fire. I am fortunate enough to have a burn barrel outside where I just burn mine. The important thing to remember is to never leave them in an enclosed container unless it is outside and in a steel container. To be safe keep them outside in a well ventilated area away from anything that will burn until you can properly dispose of them. An approved steel fireproof container with tight fitting steel lid will do too. Fire needs oxygen to burn.

Care of brushes

When painting in acrylics taking care of the brushes can be a real headache. That's why, at times, I prefer oils. Anyway, with acrylics you need to keep your brushes wet until you can properly clean them. I keep mine wet by first wiping off the excess paint, dipping the brush into water and then laying it down beside or on my palette with the water still in the brush. This prevents the paint from drying in the brush and ruining it. I clean them after every sitting, even if it's only a few minutes. I look after large and small brushes the same way but when I clean the large brushes with soap and warm water I always shake and dry them off then wrap them into paper towels to prevent the bristles from curling. The result is a like-new brush the next time I use it.

For oils I'm not nearly as fussy. I drop the brushes into Turpenoid and leave them there until I'm ready to use them. I sometimes leave them there for days before cleaning in the same way I clean for acrylics, soap and warm water.

Pack rats

We artists are pack rats. We collect things that most people throw away such as old calendars, outdated catalogues, newspaper clippings and magazines, especially art magazines. Why? Because we need these things for reference down the road when we don't quite remember what something looks like. Yes we all know what a dog looks like, for example, but can you draw or paint one without looking at one at the same time? Probably not. There is some little detail there that will make or break the drawing and the only way to get it right is to have an image or the real thing there in front of you. So that's why we take photos and collect everything we can that is art. I even buy greeting cards just for the artwork. I never copy them but I use them to learn more. We artists are always learning.

Magazines and clippings give us inspiration. It's the same as travelling to some spot for ideas. Sometimes we can find them right at home. Some artists even take the time to catalogue all their clippings and images into matching groups. I don't take the time for that. I throw most of mine into boxes and every time I go through them I get really excited, because I forget what's there.

Tin cans are another thing we all need down the road. You guessed it. I collect tin cans, especially the smaller fish cans that are great for mediums. Just throw them out when the oil dries up, properly of course.

Snow scenes

Snow scenes sell. People like them even if they don't like the cold weather such as we get here in Canada. Lots of greys, purple shadows, red trees and snow covered buildings along with snow drifts and snow covered objects all go together to make an attractive scene. There is something about snow that attracts people. They are easy to paint too. If you make a mistake you can cover it up with snow.

More than one teacher

It has been my experience that if you study art from only one source or one mentor, it may inhibit your own style. Every time you go to paint something the words of the teacher or mentor will come to you. This is sometimes good and sometimes not so good. We all have to develop our own style and subject matter. Art is like handwriting. No two are the same.

Learn off your mentor or mentors but don't copy them. Break out on your own. I have found that to be a very necessary step in producing worthwhile art. You can also learn from other paintings. 

For example, how does that artist paint water? Learning how another artist paints water when you may have trouble painting water in a particular work is good practice. I have done this many times, not just with water, but with many subjects. So doing can give you a clue as to what your painting needs and how to paint it. Again, never copy another artist's work no matter what country you live in. It can land you in court.

Something to think about

This painting in acrylics is an example of what I sometimes do after seeing an interesting home built in the eighteen hundreds. I didn't copy it. Rather I changed it and added window lights for colour. It is intended to be mysterious and that is why I chose it in the first place. To me the actual home has an heir of mystic about it and that's what grabbed me.

This painting was on display for several months along with some others. For some reason this one attracted the most attention. No buyers though.

It illustrates that it is not necessary to copy what you see exactly in order to achieve the atmosphere that brought you to it in the beginning. In fact an exact copy of the house would not have achieved the desired effect.

Plein air painting

When painting outside it isn't necessary to paint what you see in the same order that you see it. For example, you are in the field and in front of you is a still pond with reflections, some tall grass, a few pine trees and shrubs, maybe a cabin. You don't have to paint all this. If you wish, paint some landscape out of your head and use what you see in front of you for detail. It's a bit like taking bits from several photographs and using the details to make up your painting. Don't worry about what passers-by might think, or say. Only you know what you are doing. The results will be better than if you did it in your workplace from memory.

Darks first

When painting in oils and acrylics, not watercolors, I always paint the entire area in the darkest colour first. For example bushes or tall grass and weeds have a common dark colour between the leaves or blades of grass. This colour may vary from dark green to almost black. (I never use black paint) After the entire area is painted, I add the other colours but leave spaces in between allowing the dark background colour to show in between the leaves or grass.

In oils I form leaves or grass over top of the dark background colour. This is done by painting lighter shapes over the dark to represent grass or weeds. With my brush I carve the paint over the background the same way you would carve leaves out of clay.

Painting from memory and imagination

Painting from memory or imagination is hard to do. You start out and things look fine for a while. Suddenly you can't quite remember how the edge of a river should look, or what was the real shape of that tree, or what were the real colours of those rocks. At this point I usually leave the painting before I ruin it. I'm guessing here instead of being sure of what I want to paint. Sometimes when you guess it works. Most times you get into trouble.

I had those very problems with my last painting and I ended up scrapping it. By that I mean I scraped all the rough paint off, sanded the panel, and re-applied gesso. It waits for inspiration.

I ran into the same problem with a new painting. I began to get worried. This is where an artist has to remember the words of his former mentor. "Never give up". "Make it turn out".

So I took the dog and myself up to O'Hara Mill, a natural pioneer setting about five minutes drive from home where I often go for peace and solitude. Most of the time, today included, I was the only one in the park. There are a thousand paintings waiting to be done there if you like landscapes. I made a sketch and observed what water looked like at the edges, what trees really looked like in November. Nature is wonderful and as I spent my two hours there with my dog, both of us sitting quietly in the warm sun taking it all in, I think we both regained our composure and charged our batteries. Now I can paint and my dog can look forward to going there again soon. She loves it there. It's wild and beautiful. It's just what an artist and his dog needs.

Painting grass

Slap on a thick colour, really thick, no water, no oil. This applies to both oils and acrylics. Using the flat side of a brush, lay it over the colour and push up. Continue until you reach the desired effect but don't blend it too much. This will produce grass. Remember the grass in the distance is lighter than that in the foreground and there should be many value changes between the distant grass and the foreground. Fire in yellow and orange mixed with white for sunlight on the grass. Use darker greens or purples for shadows. Shadows almost always have purple in them. Use the same technique for sunlight and shadows. Remember, the paint must be thick for this to work.

 

Painting trees

Trees, as in most objects, should have at least three values to make them three dimensional. They are never just green or just any one colour. They are of many colours. Various shades of green, red, burnt umber, orange, blue and purple are some of the colours that go together to make trees. I'm not talking Autumn either. These are summer and sometimes winter trees.

Take a close look at some well known artists' cards and you will see many colours in trees. You can't get the right effect unless you use lots of colours. I buy artists' cards from time to time just to study their art. You would be surprised what you can learn. A word of caution though. Never copy another artist's work.

It's best to learn from many artists and not just one. This way you will keep what you need and discard the rest. You will develop your own style in time and you will have a broad knowledge of painting in general. If you continue learning from only one artist you will eventually paint like that artist and your style won't be your own.

Painting skies

Skies are easier to paint when painted wet on wet whether you use oils or acrylics.

For acrylics, start with a light coating of water applied with a large brush. Then brush on a coating of gesso or white paint while still wet. Use circular strokes. Wipe your brush and dip one corner of the brush into one colour of paint, the other corner into another colour of paint. No water. The colours you choose will depend on what type of sky you are painting. Without fear fire in the colours on your brush and mix them right on the canvas using 'x' strokes as you go. Keep the canvas wet. That's important. If it tends to dry squirt it with water. Keep working it. Add more colours and keep working them until you reach the desired effect for your sky. Always do the sky before you start your foreground.

Oils are similar but you don't have to worry about the canvas getting dry and you don't need a coating of oil in the beginning. Rather, a coating of white mixed with linseed oil is all you need to start. The mixture should be creamy, not too runny. Then follow the same procedure as you do with acrylics.

Oils or acrylics

Can't decide which to use?

Acrylics, in my opinion, are best for plein-air painting (painting outside from nature) unless the temperature is below freezing. Acrylic paint dries quickly and therefore the panel or canvas is more easily transported without getting paint all over everything. I like painting on small panels for plein-air work. In general acrylics are a wise choice. They clean up with water, there are no fumes and you don't have to wait days or even weeks before they dry.

I use both. Oils can be painted over acrylics, but never acrylics over oils. So you can start a painting outside in acrylics and finish it later in oils in the studio if you wish.

Oils are good when you need the painting to stay wet for hours or even days. I always use oils for portraits because I need the paint wet until I finally get it right. You can keep acrylics wet too but not without effort, constantly spraying with water. I never use anything but water with acrylics and nothing but artists' linseed oil for oil painting. 

I never use turpentine or any other toxic substance. I clean my oil painting brushes with non toxic Turpenoid, then bar soap and warm water.

As far as I can tell, acrylics are an acceptable medium in the same class as oils. Sometimes it is hard to tell the difference in the finished work. I always write on the back 'oil' or 'acrylics'. 

Acrylics do not need to be varnished as the paint becomes very durable and hard after a period of time. That's not to say they should not be varnished. It's a matter of choice.

Glazing

Here's some tips. I think of these sometimes when I'm painting, as I did just now.

Give a painting an airy feeling. It's easy. All it takes is a glaze. A glaze is any thin transparent colour with lots of liquid, oil or water depending on whether you paint in oils or acrylics, applied with a large brush to all or part of the canvas depending on the effect you wish to achieve. It's amazing what a glaze will do for a painting. It's like looking through a coloured lens. The glaze can cover up a lot of mistakes and turn them into real good stuff.

Care of your brushes and more

If you paint in acrylics like I do half the time, to keep your brushes from drying with paint on them, after wiping the heavy paint off, dip them in water enough to get them wet then lay them down flat on your table or whatever you use to paint on. This will keep them moist until you are finished for the day and then you can wash them properly in soap and lukewarm water. If you leave your brushes in water they will eventually fail and fall apart. Give them a squirt of water from time to time. 

On the other hand leaving them in oil or painting medium when painting in oils does not seem to harm them. I do it all the time and they can remain for days or weeks that way.

When I paint I have a habit of painting for maybe half an hour or so, then clean my brushes, then a while later go back to the painting again for another short time. I seldom stay at it from beginning to end. That way I give myself time to decide where I am going wrong and what the painting needs to look right. Art never comes easy. But when it does come through it lasts forever.

One should cover the canvas in each sitting. What I mean is to work on all areas and not concentrate on just one spot. This allows better colour harmony and helps avoid places on the canvas that look over worked.

Portraits

So you want to do portraits. Good. There is no greater satisfaction for both artist and client than a well done portrait. The aim of a portrait painting or drawing is not only a good likeness of the sitter, but also the character of the person being painted. Showing the character is most difficult. 

To aid in depicting character it is advisable to talk to the client, even get to know him or her and in doing so the artist might gain some insight into character. We are all different and it is these subtle differences that we should try to capture. These together with brush strokes, background and composition are the attributes that make a portrait come alive. In my opinion it takes larger portraits, almost life-size, to make this possible.

One has to master the art of sketching from nature and drawing with great accuracy in order to paint a successful portrait. Portrait painting is the most difficult of all subjects, the most frustrating and the most rewarding. Not all portraits turn out and not all portraits are accepted by the client. The portrait painter must be able to accept rejection.

To get started with portrait painting it is best to master still life first. Still life teaches form, composition and light. Painting light is most important. Paint a dozen apples, for example, arranged in a pleasing composition and when you are finished match each apple you have painted with its equal on your painting. If they all match up you are well on your way to painting portraits.

When you start to paint portraits use only greys and no colours. This will help you get used to values, another very important requirement to painting portraits.

Pricing art

A simple and fair way to price art is by size. Of course there are different categories such as charcoal, oil and acrylic work that may have a different pricing structure. Also there are so called 'specials'. For example a larger series of paintings could each be sold at a fixed price that is less than other paintings not of the series that are the same size.

A lot of people buy art as an investment. For this reason an artist should never lower his/her prices. By contrast the prices should increase on a regular basis regardless of economic times. 

As artists we have to be able to ride out the economy should our art not sell at a given time. Sometimes we have to find other sources of income in bad times while we keep on painting. The life of an artist is not always an easy one. My Mother used to say 'an artist paints and starves'.

Large or small paintings

It is well known that landscapes sell best. But what sizes sell best? Smaller paintings sell well because they are less expensive and they take up less space on the wall.

Large paintings are easier to paint than smaller ones. There's more room in larger paintings to draw and paint especially when it comes to detail. You can use larger brushes that get better results than smaller ones. But your large painting might not sell.

One solution is to paint the larger painting, then paint a smaller one just like it. That way all the bugs get ironed out on the larger one and it becomes easier to paint the smaller painting, which may sell. If the larger one sells, it's a bonus. Or you can keep it for yourself.

As for me, I prefer larger paintings that knock you out the moment you enter a room.

Solitude is the catalyst

Art is a solitary occupation. For it is only in solitude, like in a dream, that we can really be in tune with our creative self. Whether you are a plein-air painter or prefer to work in the confines of a comfortable room or studio, solitude is the catalyst behind great works of art. One can be most happy while in this mode.

This is not to say that we artists are anti-social. Quite the contrary. The more social we are, the better. It's just that when we are wanting to make serious work, solitude is for the time being, our best friend.

Where to paint

You can paint anywhere you like. You don't need a studio, although it's nice to have one. Painting outdoors is fun and healthy and all you need is an easel or something to rest your canvas or panel on. Panels are more suitable when painting outdoors. Never use a large canvas outdoors as they are too difficult to carry around especially when they are wet. You are after a feeling, colours and a sketch when outdoors and not a finished painting. Finish it at home later.

Always paint in a well ventilated area when using traditional oil paints.

A small room or just enough space to put your work on the wall and stand back about four feet is all you really need.

I use a combination of fluorescent and halogen lighting when painting at night and north light if you are lucky when painting during the day. You don't want shadows and you don't want glare or you can't see what you are doing. Fast forward to 2020 and LED lights work best. Use daylight equal to 100 watts. I use Sylvania.

The ground

The 'ground' in painting is the colour used to cover the entire canvas or panel before starting the picture. Often white is used but any colour that suits the work to be done is suitable. The ground should be of a paste texture, smooth and workable, but not too thick. I apply it with a large, two inch brush. It's the first thing to do when starting a painting in oils or acrylics.

Outline

In oils it is difficult to draw over a painted surface in pencil. Let's say you want to draw in a figure or a dog or some object that takes a little discipline to create. To do this I was taught to use a script brush, or very thin brush, and with the maul stick and very runny white paint sketch in the object as though you were using a pencil. This works very well and you can easily erase the lines simply by running your finger over them. Paint over the lines for the finished product.

Big brush

I use a big brush whenever I can. If you haven't already, give it a try. A two inch brush of good quality so the bristles don't fall out, bought from your local hardware store, is all you need. I use it for softening outlines, blending colors already painted on the canvas and much more. The old masters used big brushes.

With a big brush you can lay on a slab of color or different colors and with a dry two inch brush you can do magic. I like to have a little linseed oil on the canvas first, then the paint, then the big brush. The effects you can make are endless.

Red

I was trained to start landscapes using red. Just a wash, paint all your trees, rocks, everything in different shades of red.

Having done that I would paint in the shadows and the shadow side of trees, etc. by mixing a little blue or purple with the red. From there I would start painting in the true colors.

Some parts of the canvas would be left unpainted at first. For example snow would not necessarily be started in red, but the shadows might.

By painting in this way, the colors all blend and the reds and purples show through giving the finished work more vibrant color.

Pliers

What have pliers got to do with painting?

I always carry a pair of pliers with me when I paint. Often I will come across a tube that just won't open. I use the pliers. The caps on older tubes tend to stick at times. I still have paint in tubes that are many years old.

Negative space

What is negative space?

It's very important in drawing and in simple terms it's the space between objects. It contributes to good composition.

Examples would be the space between the limbs of a tree, the area between the legs or ears of an animal or the space between an arm and the body. It is the space or spaces between things and it can be an aid in getting your drawing right.

Try drawing something with limbs or legs or anything that protrudes from its basic form. Now compare the space between the limbs with the space between the limbs of the subject you are copying. It should be the same. If not, correct it and you'll have your drawing.

No need to use turpentine

You don't need to use toxic turps to paint in oils. Linseed oil is non toxic so why use turpentine if you are watching your health. I use only linseed oil when painting in oils and I clean my brushes with non toxic Turpenoid. No fumes. I also use warm soap and water when I want to get them really clean.

The downside with oils is that the painting can take a week or more to dry but I don't have a problem with that.

Paint smoothly

Sometimes we are scared of our painting. By that I mean we are afraid to make a mistake and ruin our work. The secret is to forget about trying to create a masterpiece and paint smoothly. If you paint smoothly you can always correct your work even to the point of using the canvas, or panel, to paint an entirely different painting. I've done it several times. We all have successes and failures, even at the professional level. Don't worry about it. Let your soul paint what it likes and eventually you'll get there. Remember though, most artists are never satisfied with their painting. That's one of the things that keeps us painting. We are always trying to do better.

Covering the canvas with linseed oil

You can paint smoothly either by covering the canvas with linseed oil and applying the paint without using medium, or by making sure the paint goes on smoothly by brushing out the texture as you go. I prefer to cover the canvas with oil first. That's how some portrait artists work and it's how I paint portraits. It's amazing what happens using this technique. If you paint in oils the work takes ages to dry and this can be an advantage because you can come back the next day or so and make corrections, or even start all over again.

Some tips

Values are more important than colours in painting. Values create depth and are absolutely critical.

Colour is important too but a painting can be of any colour scheme. I use the colour wheel from time to time to improve my work. For example red and green go together.

Never leave a hard edge on anything you draw or paint. The subject must emerge into view and not look as though it were pasted to the canvas. I used to leave hard edges on some of my work and I blame the problem on my drafting background where hard edges are necessary.

Lay the paint on with quick strokes. Don't mess around with it. The more you play around the more trouble you get into. 

Tweaking and working on more than one canvas at a time

Sometimes I get lazy and don't paint. I found the reason I do that at times is because I don't always have in mind what I want to paint. The problem solves itself when I have several canvases on the go at the same time. This may work for you too. At present I have about five in the works.

Do you ever tweak old paintings that you have had lying around for years that are not quite up to snuff? I do. As the years go by I learn more and when I look back at some older paintings I have to either burn them or tweak them. Mostly I tweak them. Sometimes they change completely.

If you keep your paintings smooth, tweaking them later is no problem. Remember though, you can't paint acrylics over oil but you can paint oil over acrylics. So you have to know which is which. It's hard to tell the difference.

Second time around

Very often I come across something, such as an old grey broken rundown house on a dirt road, to give an example, that really turns me on and is just waiting to be painted. I am not always prepared to capture it at the time and so I go back for it another day. Almost always I never get the same feeling that I had before. It's even worse when I finally photograph it and return to start the painting. Some paintings never get started because of it.

A photo can be drab and unexciting and I have to try and imagine what it was that turned me on in the first place. I'm told that this is common. You never see the same charm that second time around as you did the first time you saw it. However, using artistic licence you can bring back the charm and mysticism by changing it just a bit and adding your own thoughts to the work as you paint. Done properly, and with your original reflection on the subject, it can again become alive.

Professional and seasoned amateur photographers know how to capture the charm but most of us who paint only use the camera as a tool for painting, and we don't always get the best photos. I use the camera mainly for detail.

 

Values

Values in drawing or painting are more important than colours. Objects get lighter as they go into the background. An object in the foreground is always stronger than an object in the background. A good way to learn values is to paint in two colours, raw umber and white for example or grey and white. Add white as you go deeper into the background. This produces a value change. Values create depth and give the work a more three dimensional look.

Brushes

Brushes used in oil and acrylic painting are long. There is a reason for this. It enables the painter to stand back and view the work while applying paint. It also enables one to work around the canvas instead of just one spot, thus providing a balance of tone and colour throughout the work.

Never hold a brush close to the bristles, but always near the end of the handle. Always see what you are doing in relation to the entire work for best results. If you are too close you can't see it all. Get up if sitting, or step back about six feet if standing and take a good look and you will do much finer work. I usually stand up when painting.

Paintings that sell

Some paintings are more likely to sell than others....Here are some of the subjects most likely to sell:

• landscapes
• paintings of houses
• paintings with red in them or red underpainting
• snow scenes
• subjects familiar with viewer
• smaller paintings known as 'pot boilers' approx. 8x10
• large paintings sell but have a much more limited market due to wall space