Provided By Teresa Thomas Bohannon Teresa Thomas Bohannon Author of the Original Regency Romance Novel A Very Merry Chase A Very Merry Chase Prepared for istribution By !ady"eb#s $irtual Coffee Table Books All Rights Reserved%Teresa Thomas Bohannon &''( Table Of Contents Canvas Painting 101! Beginners )uide To Canvas Painting
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Table Of Contents Chapter 1 Painting 101 People have been e*pressing themselves through painting for thousands of years+ Even the cavemen sho,ed great hunts or other events ,ith paints made from berries and plants+ There -ust seems to be an innate need to sho, others our thoughts. feelings. and ideas through pictures+ The phrase / A picture is ,orth a thousand ,ords0 is so very true+ "ith colors and design you can e*press every emotion you feel+ "hether it is a ,oman in a garden ,aiting for her lover or an old barn set in a field of ,ild flo,ers. the sub-ect bring memories and feelings to the fore front of the vie,er#s mind+ All of this being accomplished on a blank canvas ,ith paint+ There are some basics the beginning artist should kno,+ Although you may have been sketching and dra,ing for years. the first time you pick up a brush it ,ill seem foreign to you+ This is fine+ 1ou ,ill become very familiar ,ith each of the brushes and the strokes they can make+ They ,ill soon be as comfortable in your hand as the charcoal pencil you use on the sketch pad+ Paints can add style and creativity to an art piece+ A single tear drop on the face can take on a totally ne, dimension by adding color+ Paints allo, you to do this ,ith ease+ The types of paint you use ,ill also allo, you to be more creative+ 2any artists use the oil paints for e*tend pro-ects+ The oils do not dry as 3uickly and can be re-uvenated ,ith a little turpentine or mineral spirits+ This allo,s the artist to continue the pro-ect another day+ The brushes you use ,ith an oil painting must be cleaned e*tremely ,ell+ 4f you allo, them to sit in the cleaning solution they can loose their shape+ This means you may not be able to use certain brushes to achieve a particular brush stroke+ "hen the artist uses acrylic paints. the dry time is e*tremely fast+ 2any times. a pro-ect ,hich is being done in half an hour or so ,ill be done ,ith acrylic paints because of the ease of use+ Clean up ,ith soap and ,ater is a 3uick task+ The brushes ,ash up 3uickly and cleanly+ Allo,ing them to dry either on a flat surface or standing ,ith bristles up ,ill keep their original shape+ The best thing to do ,hen first beginning canvas painting is to e*periment+ Try using oils+ Become familiar ,ith acrylics+ 1ou ,ill eventually choose ,hich medium you prefer to ,ork ,ith+ By playing ,ith each. you can determine ho, the paints mi*. get a feel for ho, they flo, onto the canvas. and become familiar ,ith blending+ These are all important for the novice artist to consider+ Another factor is the type of canvas you ,ill ,ant to use+ There are stretch canvases. rolled canvas. canvas boards. and canvas mats+ Each one can Table Of Contents be used for different styles. art,ork. and even paints+ "hich one you use ,ill be determined by ,hich one you feel more comfortable painting upon+ The information can become over,helming ,hen you start painting on canvas+ )etting to kno, the terminology ,ill help clear some things up a little bit+ 5ere are some terms ,e ,ill be using in this book+ Abstract 6 abstract art depicts the sub-ect by using form and color+ 1ou may see a resemblance to the original piece+ 5o,ever. the sub-ect is generally represented in more geometric shapes than the natural setting+ Above are t,o forms of abstract art+ Accent 6 )iving e*ceptional detail to a certain ob-ect in the painting to bring attention to it+ A good e*ample of accenting+ Acrylic 6 A type of paint ,hich dries 3uickly+ 4t can easily be cleaned up ,ith mineral spirits+ Alla Prima 6 2eaning /at the first0 in 4talian. this phrase means the painting is completed ,ith -ust one sitting+ Cool colors 6 Colors associated ,ith the cold such as blue+ Table Of Contents Color Wheel 6 Any full spectrum circular diagram ,hich represents the relationships of colors+ This allo,s the colors to be compared for contrast+ Composition 6 The arrangement of the elements in an art piece+ Medium 6 The type of pain being used to create a ,ork of art+ 4t can also mean the binder. usually an oil+ Palette 6 The painter#s board ,here colors can be mi*ed and and different hues can be created+ A before and after shot+ Perspective 6 Being able to reproduce the same height. depth. and distance perception in a t,o dimensional medium that the human eye ,ould perceive+ This photograph is a good representation of perspective+ Pigment 6 The colored substance created by natural elements and synthetic ones ,hich are mi*ed ,ith certain binders to create paints+ Primary colors 6 A color ,hich can not be created by mi*ing other colors+ The only three primary colors are red. blue. and yello,+ "ith these three all other colors can be created+ 7"hite is not a color+ 4t is the absence of color+ Black is the combination of all colors+8 Secondary colors 6 Any color ,hich can be created from mi*ing the primary colors. such as violet. green. and orange+ Warm colors 6 5ues ,hich represent ,armth such as orange. red. yello,+ No, that you kno, some of the language. let#s step into the art studio+ Table Of Contents Chapter 2 Understanding Paints There are t,o types of paints ,hich ,ork ,ell on canvas+ One is oil and the other is acrylic+ 1ou need to choose ,hich painting medium you ,ill be using+ 9ome people prefer the oils to the acrylics+ There are several differences bet,een the t,o paints+ The oil can take days to dry completely+ This allo,s the artist to continue ,ith the painting for days after the original sitting+ The acrylics are not so forgiving+ These paints can dry ,ithin hours+ 4f you think you can make a mistake and go back later to fi* it. you are ,rong+ Oil paints are made up of pigment and oils+ A simple paint can be made from dried saffron and peanut oil+ 2i*ed properly you can use this formula to create a ,onderful shade of yello, ,hich you could also eat+ 2ost of the oil paints on the market are poisonous. so al,ays keep them out of the hands of children+ "hen oil paints are made from three things+ This is pigment. oil. and some type of drying agent+ The latter ,as added because the oils took too long to dry+ rying agents can be things like a paint thinner+ Although the primary colors can be formulated into any other color in the spectrum. there is no need to try creating the same color every time you paint+ Oil paints come in any shade or hue you can think of. from black to ,hite+ Each color can be blended ,ith another to add even more combinations+ There is literally no color you can not reproduce on the canvas ,ith oil paints+ Oil paints can be used to create te*tures+ They can be spread on thick or thin+ One thing you ,ill learn is the more thick you have the paint the longer it ,ill take to dry+ Also. a thick layer of oil paint ,ill crack as it dries+ This is not good for the painting+ The best thing to do ,hen ,orking ,ith oils is to create the ,ork in layers+ This ,ill allo, the paint to dry evenly and prevent cracking+ This is one reason ,hy some artists spend days creating an art piece instead of rushing through alla prima+ Acrylics are synthetic paints designed to mi* and blend -ust like the oils+ The main difference is the dry time+ "hile oils can take days. acrylics can take only hours+ There are advantages to using acrylics over oils+ "hen you need the pro-ect done 3uickly. the acrylics are up to the task+ By Table Of Contents having a faster dry time. the painting can have layers added in hours instead of days+ "ith acrylics. the artist can be assured of a straight line for hori:ons or other needs+ 1ou can actually apply masking tape to dried acrylic paint+ "hen you peel the tape off. there is no danger of lifting the paint off the canvas+ This ensures clean. precise lines every time+ "ith oils. you ,ould have to use an edger and still take the chance of smearing the paints+ 9ome artists prefer acrylics+ 9ome prefer oils+ There are those ,ho go back and forth bet,een the t,o. depending on the pro-ect+ 4t is advisable to learn about each one+ 1ou should e*periment ,ith at least the primary colors to see ,hich you prefer+ Everyone should learn all there is to art+ By e*perimenting ,ith the different mediums. you can learn 3uite a bit+ Table Of Contents Chapter 3 Choosing Your Brushes 1ou cannot do very much painting ,ithout a brush+ Although some people ,ould argue ,ith that statement. for no, ,e ,ill assume you ,ill be using a standard artist#s brush+ There are as many brushes on the market as there are paints+ 9ome are made better than others+ o not fall under the misconception that more e*pensive is better+ This is not al,ays the case+ 4 have spent ;&' on a brush to have the bristles fall out during my first session+ 4 have one brush 4 have used for four years no, that 4 paid ;<+'' for+ 4t is actually the best brush 4 o,n. in my opinion+ The first thing you need to kno, is there are many different types of brushes+ Each one is made from different materials for the bristles+ 1ou can order sable brushes or hog bristle+ There are s3uirrel brushes+ 1ou can buy the synthetic bristle brushes also+ The truth is that most artists ,ill find a particular set of brushes they like and use them consistently+ There may be a fe, times ,hen they alternate+ 4n the long run. most ,ill go back to the one ,hich feels most comfortable in their hand+ 1ou ,ill get a feel for your favorite type of brush the more you paint+ There are certain brushes ,hich ,ill give you a particular flo, to the paint+ 1ou ,ill either like this or you ,on#t+ =ntil you practice ,ith them. you ,ill never kno,+ The style of the brush can make all the difference ,hen it comes to painting+ A fan brush is the perfect instrument to add leaves to distant trees+ A liner brush ,ill allo, you to paint in the perfect tree limbs on dead trees or ,inter trees+ 4t can become over,helming ,hen trying to determine ,hich brushes to buy+ There are brush sets ,hich give you a good selection to start ,ith and are also ine*pensive+ 1ou may -ust ,ant to start ,ith t,o or three good brushes until you further your e*perience ,ith painting on canvas+ 1ou ,ill definitely ,ant to buy a fan brush. a liner brush. and a flat brush+ 1ou ,ill also ,ant to have an angle brush+ Each one of these brushes can give you a certain stroke ,hich makes it easier to paint certain things+ One brush can be used to create flo,er petals. ,hile another makes spectacular shrubs+ The angle brush can create a perfect beard in 3uick time+ 1ou should have a blank canvas available to -ust practice brush strokes+ 1ou ,ill learn ho, to make each stroke so the effects are beautiful+ o not get discouraged if you do not get it right the first time+ "ith practice comes familiarity+ The more familiar you are ,ith a brush. the better of a tool it becomes+ Table Of Contents One techni3ue ,hich ,orks ,ell to help become familiar ,ith ho, a brush handles is to try painting a picture only using one brush+ 1ou ,ill 3uickly become familiar ,ith ,hat the brush can do and ,hat it ,ill not do+ This is an old trick used by some teachers to help the student understand the limitations of each brush+ Table Of Contents Chapter 4 Coor Your !ord 4#ve al,ays been fascinated by the ,ay you can blend paints to create ne, colors+ 4 have sat for hours ,ith my palette and created many different colors all from three basic. primary colors+ To me it ,as like opening a present to see ,hat ,ould happen if this color ,as blended ,ith that color+ By the time 4 ,as done. my palette had the makings of an English garden in full bloom. not to mention the e*otic birds contained ,ithin+ There are stunning portraits and eye stopping canvases being created all the time ,ith color+ This does not have to be the case+ The portrait can be -ust as stunning ,hen done ,ith the absence of color+ Black and ,hite al,ays gets your attention+ 1ou are the creator of the ,orld on your canvas+ 1ou can have it as simple or comple* as you ,ish+ 1ou can have it be formal or funny+ 4f black and ,hite ,hat you like. then do black and ,hite+ 4f color is the key. then add all the color you ,ish+ 1ou ,ill en-oy the piece more by allo,ing yourself to -ust let go and create+ o not ever ,orry about ,hether something looks right or not+ As one professional art teacher al,ays stated. there are never any mistakes on the canvas. -ust happy accidents+ There is one thing you should remember ,hen painting. keep the darks to the shado,s+ This means you can use the darker colors as a base for the lighter ones and the sub-ect matter ,ill actually shado, it#s self+ Of course. if you cover the entire dark area ,ith the lighter color then adding the dark background is a mute point+ There are so many things ,hich can be done ,ith color+ 4 once did an entire landscape using t,o colors. ,hite and prussian blue+ 4t ,as a sno, scene centered around a lake+ 4 have to admit. it ,as beautiful+ 4 am not the only one ,ho thought so+ 4 had it done e*actly one hour and someone ,alked in and bought it right off the easel+ No ,here in the ,orld is the statement /Beauty is in the eye of the beholder0 more true than in the art ,orld+ 4 have no desire to o,n a Picasso+ To be honest. Norman Rock,ell is more my style+ 4n the ,orld of art. there has to be something for everyone+ That is ,hat makes it such a grand adventure+ Every one has the ability to shine+ Colors allo, you to turn a forest into a fall scene+ Colors are ,hat make certain portraits more noticeable than others+ >or instance. Thomas ?inkade has become one of the foremost artist#s in this decade+ 5e uses lighting and a ,arm color palette to create a canvas you ,ould love to visit+ Never underestimate ,hat colors can do to an image+ Al,ays remember your lighting as ,ell+ Table Of Contents Chapter 5 Light Sources in Painting 4n the real ,orld. the light comes from one main direction+ This is the rule+ Even if you are outdoors. the light from the sun comes at you from East to "est+ epending on ,here you are during the day ,ill determine ,here the shado,s are+ This is the same ,ith painting+ 1ou must al,ays determine ,here your light source is coming from+ Once you have done this. keep it consistent+ 4t ,ill sho, 3uickly if you have a sub-ect standing on one side of the canvas ,ith the light dancing off her hair from the left and on the other side of the canvas the table has light streaming in from the right+ 1ou can help to keep the light source in the proper perspective by setting a light ,here ever you are going to have it shine from+ 4f you choose to have the light source come from the right of the painting. then set a light to the right of your canvas+ ?eep the light source in your studio the same as the light source in your painting+ This can assist you in keeping shado,s ,here they need to be and reflective light ,here it should be+ As you become more familiar ,ith painting you may not need this techni3ue so much+ 4t is -ust a simple ,ay to keep everything flo,ing in the same direction+ 4t helps to keep the visual real+ A light source ,ill fade as it travels across the canvas+ 4n some paintings. it ,ill fade 3uickly+ This depends on the sub-ect and type of painting you are doing+ 1ou may ,ant to splash a sunset across the canvas+ There ,ill be shado,s. and dark ones. ,here the light source starts to fade+ To understand ho, crucial lighting is in a painting. set up a still life on a table+ Nothing fancy. -ust a fe, pieces of fruit in a bo,l or a vase of flo,ers ,ill do+ No, get bare @' ,att light bulb to set around the table+ 9tart on your left+ 9ee ,here the light glistens off the surface of the sub-ect+ Notice ,here the shado,s are+ 9ee ho, the light fades across the scene+ 2ove the light to the back. front. and other side to notice all the angles+ This ,ill give you a good idea ho, light ,orks on a sub-ect+ 1ou can even simulate high noon by suspending the light bulb from up above+ Placing a sheet or other translucent material bet,een the light and the table ,ill sho, you the affects of an overcast day or diffused lighting+ 1ou can become familiar ,ith lights and shado,s the more you do this+ By using different test models. you ,ill begin to understand ho, curves. reflective surfaces. and other things can affect the light+ This ,ill enable you to capture it more accurately on your canvas+ 4f you thought all you needed to do ,as buy some paint. a brush. and a canvas to start painting you ,ere right+ To be really good at it takes some Table Of Contents thought and planning+ Even a fe, e*ercises in techni3ue ,ill be necessary to create a good ,ork of art+
Table Of Contents Chapter " !hat type o# painter are you$ "e are going to cover styles and techni3ues in this chapter+ 1ou need to understand the different forms of painting+ 1ou may find yourself dra,n to one form or another+ This often happens ,hen you start painting+ As you become more familiar ,ith techni3ues. you ,ill generate your o,n style+ There have been many different art periods+ 5ere is a list of the periods along ,ith some of the artists ,hich made it famous+ A8 Baro3ue 6 Caravaggio. Carracci &8 Classicism 6 2engs. 4ngres <8 Cubism 6 Picasso. Bra3ue B8 E*pressionism 6 Beckmann+ i*. 2unch. ?andinsky C8 >auvism D 2atisse @8 4mpressionism 6 Renoir. 2onet. Pissarro. 2orisot. Ba:ille E8 Realism 6 Caravaggio. $ela:3ue:. Furbaran (8 Renaissance D 2ichelangelo G8 Romanticism 6 )ericault. elacroi* A'89urrealism 6 Arp. Ernst. 2asson.Tanguy. ali Each one has it#s o,n uni3ue style+ 9ome are more of an impression than an actual picture. like a representation of ,hat the artist feels about an issue or sub-ect+ At times this is referred to as abstract art+ 1ou can recogni:e the Romanticism type of art,ork by the attention to detail+ The background is left in shado, ,hile the image is bold and clear+ 5uman bodies are painted to represent each curve and muscle+ The strength comes through ,ithout any doubt as to ,hat the artist is trying to instill in the vie,er#s mind+ By choosing a style or form of art,ork. you can have a reference to ,hat your paintings ,ill be representing+ 1ou can sho, the images you ,ant+ 1our likes and dislikes ,ill sho, ,hen you put them on a canvas+ "hether you are a romantic or an impressionist. people ,ho study your ,ork ,ill be able to tell at a glance+ 1ou do not have to limit yourself to one style+ There may be times you feel like painting -ust for the sheer -oy of painting+ "hen this happens. there is no telling ,hat you ,ill put on the canvas+ As long as your feelings and desires come through in the art,ork. it is -ust fine+ 1ou may find it easier to e*press yourself ,hen you put paint to canvas+ There may be times you are depressed+ 1ou may find yourself in a state of -oy and happiness+ 1ou ,ill see these emotions come out in the art,ork you are creating+ This is ,hat painting is all about+ Creating a picture of ,hat is going on in your mind. allo,ing others to see ,hat you are feeling. these are the real reasons for painting+ The fact that you en-oy ,atching a blank. ,hite surface turn into something spectacular is a benefit as ,ell+ Table Of Contents No matter ,hat style you choose. there is one ,hich is right for you+ 1ou ,ill decide this ,hen you are more familiar ,ith ho, you like to paint+ Table Of Contents Chapter % Choosing A &u'(e)t >or everything in this ,orld there is someone ,ho has painted it+ "hether it is a person. place. or thing some,here someone has put it to paint+ 4t does not matter ,hat you choose as your sub-ect. as long as you feel comfortable painting it+ 9ome of the better sub-ects are ones that ,ill offer color and contrast+ >or instance. a bo,l full of bananas ,ith an apple in the center+ A vase full of blooming flo,ers is the perfect still life because of the colors and shapes+ 1ou should look for many things ,hen choosing a sub-ect+ 4f it is a landscape. you ,ant some te*ture+ "hat 4 mean is there should be different buildings. trees. or animals to add interest to the picture+ 1ou do not ,ant to saturate the painting ,ith activity but you do ,ant to keep it interesting+ A scene ,hich is full of busy people can be good as long as the activity stays in one place on the canvas+ 2aking the background as busy as the foreground can over stimulate the senses+ By adding the activity to a tran3uil background. the painting takes on a sense of order+ 1ou may choose to do portraits+ o not underestimate the sub-ect+ There is a term. /photogenic0. ,hich means that someone#s beauty sho,s through the lens+ 1ou may see someone as plain and uninteresting+ =nder the eye of the camera. this person can transform into a vision of beauty+ The camera is the perfect tool to choose a sub-ect+ By taking pictures of ,hat you ,ant to paint. you can determine the contrast. lighting. and te*tures+ 1ou ,ill be able to see ,hat the vie, ,ill look like framed+ This can give you a better understanding of ,hat you are really looking at+ Taking a picture ,ill sho, you the true vie,+ Another reason an artist may take a picture of their sub-ect is timing+ 4f you are doing a portrait. you may not be able to finish before the person has to leave+ Even a boat in the harbor ,ill put out to sea sometime. leaving you ,ith an empty pier+ The lighting changes every minute of every day+ By taking a picture of the sub-ect. you can preserve the moment so the painting can be done at your leisure+ Even if you are using artificial lighting. there could be other circumstances ,hich do not allo, you to finish your ,ork+ The camera can become your ne, best friend ,hen it comes to painting+ 4t can actually be fun taking pictures of different sub-ect matter+ Then you get to go home and choose ,hich angle ,ill make the best painting+ 1ou can e*periment ,ith lighting in this manner as ,ell+ By shooting from all angles. you can get many different vie,s+ There may be something the camera sa, that you missed+ Accidents can sometimes make the best art,ork+ Table Of Contents Never overlook anything ,hen it comes to choosing a sub-ect+ One of the most intriguing art sub-ects 4 ever sa, ,as a dandelion ,hich had gone to seed+ The artist had shot a closeup of the puffy seed head+ 5e then painted it in shades of blue+ 4t took several people almost three days to determine e*actly ,hat the sub-ect ,as+ 1et the painting fascinated all of us for 3uite some time+ Table Of Contents Chapter * &etting Up Your &tudio There are certain things you ,ill need for your studio+ The first thing is a place to paint+ Every beginning artist seems to think they can bring out everything and scatter it onto the kitchen table. set up an easel. and start painting+ This is great for a day or t,o+ 4f you ,ant to continue pursuing an art career or hobby. you need a place to keep everything up and ready to go+ This ,ay. any time you feel inspired all you need to do is pick up a brush and start painting+ There are some basic things you ,ill need for your studio or ,ork area+ The first of ,hich is a table+ 2any times it is actually nice to have this be a desk ,ith dra,ers+ 1ou can store e*tra supplies in the dra,ers for easy access+ 1ou ,ill also ,ant an easel+ There are some artists ,ho are comfortable ,ith painting on a flat surface+ 2ost prefer the canvas at eye level+ This means supporting it someho,+ An easel is the easiest ,ay to accomplish this+ 4 have found that t,o or more easels are necessary+ This makes it more accommodating to ,ork on more than one piece at a time+ 1ou can choose from a table easel or a full standing easel+ The table easel is good for someone ,ho is limited in their ability to stand+ 4t allo,s them to sit ,ith the canvas at a comfortable level+ Both types of easels are ad-ustable so the canvas can be raised or lo,ered accordingly+ 9ome artists have a set of shelves or shelving unit to store e*tra canvases. brushes. and other paint supplies+ 1ou can also keep completed paintings vertical and free from damage ,ith an ad-ustable storage unit ,hich allo,s the paintings to stand+ One ,ord of advice. never store turpentine. linseed oil. or other mediums of this type on the same shelves you store your completed ,ork+ Accidents have been kno,n to happen+ 9hould one of these bottles spill onto your ,ork it could be ruined for good+ Beside your ,ork easel. you ,ill ,ant to have a small table or cart+ This ,ill allo, you to keep the items you need to complete the art ,ork+ 1ou never kno, ,hen you may need another dab of paint on your palette+ 1ou ,ill also be able to set the palette do,n on a surface ,hich ,ill not be damaged if paint gets on it+ Believe me ,hen 4 say the paint does not only go on the canvas+ 1ou ,ill need a good supply of clean rags+ Also necessary is a bucket or coffee can for clean up+ 1ou ,ill most likely need many more than one. -ust to let you kno,+ Hars ,ork too. but can create a big mess ,hen one falls and breaks+ 2etal cans are actually safer in the studio+ 2any an artist has gotten lost in their creation and backed right into a shelf or table. knocking everything do,n+ One of the most important things is a good lighting system+ 1ou ,ill ,ant to be able to see your painting in full light+ This ,ill allo, you to see ho, the Table Of Contents paint is going on the canvas+ 4t ,ill also make it possible to see the true colors you are using+ The brighter lights should be set up by the easel+ The more conventional lighting should be placed by the sub-ect+ Once you have this all set up you are ready for the supplies+ Table Of Contents Chapter + Art &uppy ,esour)es There are many places you can find your painting supplies+ !ocal craft stores and artist supply houses ,ill have many of the supplies you are looking for+ "hen you ,ant it to come to you. there is al,ays the 4nternet+ 1ou need to compare prices ,hen shopping on line for your paint supplies+ 5ere is a list of some of the better ,eb sites that carry an e*cellent variety of artist#s tools+ Blick Art 9upplies A9" E*press 2ister Art Herry#s Artarama There are so many things you ,ill ,ant to get+ 4t ,ill be like a kid in a candy store to look at all the ,onderful items for sale+ 4t is best ,hen you are first starting out to save some money and purchase student paints+ This ,ill allo, you to become ,ith the different mediums ,ithout breaking your ,allet+ 1ou can build up your stock a little at a time+ The paints actually go a long ,ay+ 1ou -ust have to become familiar ,ith your paints to understand thinning and li3uefying+ $ery fe, times ,ill you use a paint straight out of the tube ,ithout mi*ing it ,ith another color and some turpentine. linseed oil. or turpenoid+ The oils or additives also act as an aid in drying the oil paints+ 1ou do not need to ,orry about this if you are using acrylics+ They are designed to dry 3uickly+ An amusing note of interest is ,hat your tubes of paint ,ill go through ,hen painting+
Ne, paint tube Old paint tube 1ou may think this ,ill never happen to you+ 4t happens to all of us all the time+ 1ou -ust have to get used to it+ 2y mother ,as a professional artist for over thirty years+ 4 still have visions of her coming out of her studio ,ith paint up to her elbo,s. holding a s3uished up little tube and muttering about only needing an /itty bitty dab of the stuff0+ 4t ,as ,hen this happened more than three times in a ,eek that ,e ,ent to the art shop to pick up more paint+ Table Of Contents Chapter 10 Cean Up Time This is al,ays the ,orst part in an artist#s life+ The need to clean up the palettes. brushes. easels. and other odds and ends in the studio+ 4t is actually rather easy if you kno, ,hat you are doing+ The brushes are the first thing to address+ This is ,here the coffee cans come into play+ >illing them half full of turpentine or other paint solvent ,ill allo, the brushes to soak until you are done ,ith everything else+ Hust drop them in. bristle first. right into the turpentine+ "e ,ill get back to these in a moment+ 4f you are ,orking ,ith oils. you ,ill ,ant a fine cloth to cover your canvas+ o not use a cloth ,hich has a lot of lint or loose fibers+ A thin cotton sheeting is perfect+ Be careful not to let the fabric touch the art piece+ 1ou can actually buy e*tender clamps to attach to your canvas at the top+ This allo,s the covering to drape ,ithout coming in contact ,ith the painting+ The ne*t thing you need to determine is if you are going to be using the same palette colors again. any time soon+ 4f you are. then -ust slip the entire thing into a plastic bag and t,ist the end shut+ This keeps foreign matter from getting into your paints ,hile you are a,ay+ 4f you have decided you are done ,ith that particular color palette. scrape it off ,ith a putty knife+ 4 ,ill say this about palettes+ 9tored properly. the ones you have used for your oil paintings ,ill last for several days or even a ,eek or so+ 1ou may not ,ish to ,aste the paints+ 4f you are scraping the palette. rinse it off ,ith some linseed oil or mineral spirits ,hen you are done+ Rub clean ,ith a clean rag+ After you have put a,ay all your supplies you can go back to the brushes+ Certain brushes can carry a large paint load+ 1ou may not believe it until you are trying to clean them+ Clean one brush at a time+ "ork the turpentine or other solvent into the bristles of the brush+ Rinse ,ith fresh solvent and completely dry ,ith a clean rag+ Either lay the brush flat or stand it up in a container ,ith the bristles to,ards the ceiling+ 1ou do not ever ,ant to leave the brush in solvent overnight+ This can break do,n the brush and it ,ill not perform as you have come to e*pect+ ?eeping the brushes clean and the bristles straight ,ill allo, them to continue making the brush strokes you ,ant+ Acrylic paints can be cleaned up in the same ,ay+ 5o,ever. the difference is the palette ,ill not last+ 4t must be cleaned after each use+ The paints ,ill dry ,ithin hours+ There is one little tip that some artists use+ By sticking the palette in a plastic bag and putting it in the free:er. the paints can stay soft+ 9ometimes this ,orks and sometimes it does not+ The 3uality of the paints have 3uite a bit to do ,ith this+ Table Of Contents Chapter 11 -ree Art .essons The more you kno, the better you ,ill become as an artist+ >or over &' years. my mother taught many students the art of painting+ 9he spent hours going over lighting. shading. and focal points+ 9he taught about centering the eyes of the face instead of sticking them in the forehead+ 9he e*plained color theory. paint mediums. and different brush strokes+ 9he taught anyone ,ho ,ould listen+ There ,ere only t,o years she taught professionally+ All the other times the lessons ,ere free+ 9he ,ould say a gift is a gift+ 1ou do not charge someone to perfect a gift. you teach them to use it+ 4t ,as perfect ,hen )od gave it to them+ There are other artists ,ho feel the same ,ay+ 2any different classes are offered on line and in the local community ,hich are free+ 5ere are some of the ones ,hich are on the 4nternet+ Art )raphica Hohn 5agan !essons E*pert $illage This is probably one of the best because from a drop do,n menu. there are many on line videos ,ith free access+ Creative 9potlight 1ou ,ill find there are many others available+ These should give you a great start to painting on canvas+ There are lessons on using every medium+ Each of them is from a different perspective because each is from a different artist+ The local library in your area and some other organi:ations usually have free art lessons at different times of the year+ Check in the local paper to determine if there may be an organi:ation offering free classes+ 1ou should never pass up the chance to learn about art+ As you learn. do the same for others+ Never forget to pass on the lessons you have learned in your e*perience as an artist+ Table Of Contents Chapter 12 Ta/e Care o# Your Creation An oil painting is not -ust some poster type thing you purchased at the local super store+ 4t is an e*pression of someone#s thoughts. feelings. or personal life+ 4t is beauty and style ,ith a sense of personalDism+ An oil painting is someone#s creation+ "ith proper care. your painting can last for generations+ 1ou should never touch the painting it#s self+ Al,ays handle it by the frame+ Never allo, anything to come into contact ,ith the back or front of the painting. either+ A canvas is pliable and can easily tear or have a hole poked into it+ 4n order to clean an oil painting. you should give it a light dusting ,ith an e*tremely soft brush+ o not use sprays or chemicals on it at any time+ 9hould there be damage or a dirt spot ,hich is not able to be taken care of. have it repaired or cleaned professionally+ 1ou may think you are capable of doing this. ho,ever there are professionals ,ho have been trained to handle original art pieces valued into the thousands+ They kno, ,hat they are doing+ o not hang an oil painting in direct sunlight+ This can fade the paint+ 4t is advisable to hang the painting in an area ,ith a rather constant temperature+ )reat changes in temperature can damage the painting over time+ 4t is never advisable to hang an oil painting near an outside door or a ,indo, ,hich is opened fre3uently+ >or short storage or transporting. you can put cardboard on both sides of the canvas and ,rap the entire painting. frame and all. in bubble ,rap+ A ,ooden crate ,ith a moisture proof filling is recommended for long term storage or ma-or shipping+ 4f you ,ant to. ,hen you have your painting framed. you can ask the framer to put the art,ork under glass+ This ,ill ensure the risk of damage is at a minimum+ Table Of Contents Chapter 13 Pay Attention to 0etai The picture above is an actual print done by my mother+ This piece ,as taken from an oil painting she had done+ 1ou can actually see the canvas marks ,hen you look closely at it+ !ook closely at this piece+ The name of the painting is /9easide )reeter0+ 4t ,as one of her last ,orks she did before her passing+ There are some things a ne, artist can learn from studying another artist#s ,ork+ By studying this painting you can learn a great deal about contrast and lighting+ 1ou can begin to understand colors and shading+ 1ou should also get a sense of ho, to balance out a painting+ The first thing 4 ,ant you to notice is the sub-ect+ The point is that is the first thing you notice+ 1ou kno, ,hat she ,as painting+ All the other things take a back seat to the blue herring+ Although you notice the sand and the ,aves. this is not ,hat is important+ 1ou can see the ocean behind the bird+ 1et it is not impressive enough to distract from the sub-ect+ The sea shells on the beach do not compete at all ,ith the sub-ect+ The only thing you see is the blue herring+ "hyI Because this is ,hat the artist ,ants you to focus on+ This is ,hat the artist ,as entranced ,ith ,hen she painted this picture+ 9he ,as fascinated ,ith the proud stance these birds sometimes have+ 9he loved the subtle natural shading of their feathers+ 9he also loved the ,ay the eyes seemed to have a blank stare and still had a look of intelligence to them+ This painting ,as done in stages+ The background of the ocean and sky ,as put in first+ There ,as a great deal of color and blending that ,ent on to get the right affect of the clouds and the ,ater+ 2ore paint ,as added to the bottom of the canvas in other shades and hues+ The paint ,as blended into the front of the picture to bring in the sand and beach+ After the background had dried. the artist started painting the bird+ Being able to -udge perspective and set a reference point is important for si:e composition+ 1ou have to look at ,hat you are painting to understand ,here it should go in the picture+ 4f you do not choose the si:e and placement carefully. it can cause a lo, 3uality painting+ By paying close attention to detail you can create a masterpiece like the one above+ 9ome things to notice about this piece+ A8 The hori:on is blended perfectly and yet there is a definite distinction bet,een the sky and the ,ater+ &8 The light source is directly above+ Nothing is in shado,+ <8 The artist ,as still careful to keep ,ith the reality of the scene by making sure the ,aves reflected the color of the sky+ B8 Not many things in nature are ,ithout a fla,+ The artist ,as able to paint ,hat she sa, ,ith the broken sea shells and ruffled feathers+ This makes the piece even more realistic+ C8 =sing different brush techni3ues. she ,as able to capture the essence of the sand at the bird#s feet+ This did not take as long as Table Of Contents some thought+ "hen you kno, ,hat a brush can do. you can make it perform+ 4 hope looking at this piece can teach you some basics in oil painting+ Table Of Contents Chapter 14 1n(oy Your &u'(e)t There is one thing any artist must do ,hen first learning to paint on canvas+ This is to choose sub-ects ,hich interest him+ 4n other ,ords ,hen you are painting something you do not like. it ,ill sho,+ The 3uality of the painting ,ill not be as good as the others you have done+ 1ou ,ill not pay as close attention to the details because you ,ill ,ant to hurry through and get it done+ This ,ill result in a poor 3uality painting+ Compare the t,o pieces of art ,ork+ 2y mother did them both+ 9he loved the blue herring and hated o,ls+ Can you tellI Anyone ,ho is familiar ,ith her ,ork can take one look at this piece and kno, she did not en-oy doing it+ There is more detail paid to the leaves than the baby o,l+ "hen you like ,hat you are painting. you ,ill do very ,ell+ 9tick ,ith ,hat you like to paint and leave everything else to the other artists+ o not compromise your 3uality for any reason+ Compare this piece to the o,l+ No, compare it to the first blue herring+ The artist ,as able to capture the essence of the bird in this painting+ 9he focused completely on the bird ,ith no attention to the background at all+ "ith subtle shading added to the background color. ,hich is barely noticeable. she ,as able to sho, the light source coming from the left+ By focusing on the bird. the vie,er can sense a feeling of tiredness+ To be honest. this bird is much older than the one in the first picture+ The artist ,as able to capture this feeling+ 1et there is still something proud in the ,ay the bird is holding himself+ One other note of interest+ By putting the bird on a section of fencing. it gave the painting some level of grounding+ There does not have to be a lot of detail in the background in order for the painting to be noticed+ Table Of Contents Chapter 12 -re3uenty As/ed 4uestions 15 What is the best type of brush to use for painting? There are many kinds of brushes+ Each one has a certain brush stroke+ 1ou ,ill need to e*periment ,ith the different types of brushes+ 1ou can choose either sable hair. hog hair. camel hair. or synthetic+
25 Is a synthetic brush better than a natural hair brush? This is all a matter of preference+ 9ome of the ne,er synthetic brushes last longer than the natural hair brush+ 35 How can I choose a subect? 4t is best to choose a sub-ect ,hich inspires you+ >inding something to paint is not the problem+ >inding a sub-ect you like ,ill sho, in your ,ork+ 45 Should I do landscapes or portraits? 9ome artists are better at portraits than landscapes+ They have the ability to capture the personality of the people they paint+ Other artists can paint a landscape ,hich looks as if you are looking out a ,indo,+ Try one sub-ect and then do another+ etermine ,hich you en-oyed more+ Also look at them both ob-ectively and choose ,hich one you feel it better+ This ,ill help in your decision+ 5 What is a still life portrait? A still life. by definition is any inanimate ob-ect+ This can be a flo,er. a bo,l of fruit. or even a paper clip+
$5 Why should I ta!e pictures of my subects? By taking a picture of your sub-ect. you can ,ill have a better vie, of the sub-ect+ 1ou can see it from varying angles+ 1ou ,ill be able to use the photographs as a reference ,hen painting+ There are times ,hen you may be painting a portrait and the model cannot stay for the entire session+ 4f you have photographed the sub-ect. then you can continue to ,ork+ Another property the camera can offer is the lighting effects+ 1ou can see ,here the light falls and ,here the shado,s are+ 1ou ,ill be ama:ed at ,hat the camera can pick up that the naked eye does not notice+ There are times ,hen you may feel the sub-ect is all ,rong for the painting until you vie, it from a camera lens+ '5 Is there a special brand of paint I should use? Each brand of paint has it#s o,n uni3ue properties+ 1ou can e*periment ,ith each one to determine ,hich ones you prefer+ There is no one brand ,hich ,ill offer everything+ 9ome have more colors than others+ 9ome are more able to blend+ ry times can be different as ,ell+ "hen you find one brand that ,orks for you. then you ,ill kno, it+ *5 How can I store my unused paints? Acrylics do not store ,ell after they have been put on the palette+ They tend to dry 3uickly+ There is one trick that can be done but the results vary+ 1ou can Table Of Contents cover the palette ,ith plastic and free:e it+ There are times this ,ill ,ork and times it ,ill not+ >or the oils. you can cover them ,ith plastic as ,ell+ 1ou can also submerge them in ,ater for later use+ +5 What are the benefits of acrylic paints? Acrylic paints have a 3uick drying time+ This means you can actually start. finish. and possibly frame a painting all in one day+ "ith oils it can take days for the paint to dry+ Acrylics can blend and mi* -ust as ,ell as the oil paints+ 9ome artists prefer the acrylics to the oils and vice versa+ The acrylics can also be built up+ This can actually give you an almost three dimensional look on the canvas+ 105 "oes it matter how thic! I put the paint on the canvas? 1ou should never put more paint on a canvas than you need to+ The paint has to dry bet,een layers or you could have problems ,ith flaking and cracking+ The painting can be built up to generate the look you ,ant+ 115 Why did my painting crac!? The more paint you have on a canvas means the more space the paint has to cover+ As an artist layers paint on the rule of /fat over lean0 applies+ This means the paint has more medium mi*ed in ,ith it as each layer is added+ The addition of the oil makes the paint more fle*ible+ This means there is less chance of the painting cracking as it dries+ 125 Is there a way to seal my painting after it is done? "hen you have completed a painting you ,ill ,ant to seal it to make sure smoke. dust. and other foreign matter does not damage it+ 1ou can varnish the painting+ 1ou need to make sure the painting is completely cured before sealing+ Also. the varnish should be a very thin coat of clear varnish+ A thick coat can cause the paint to appear yello,ed as time goes by+
135 Why don#t my paintings loo! natural? "e see things in three dimensions+ The painting should reflect this+ 4n order to achieve this. as in a landscape. start ,ith the background first+ This means the entire background. from the sky to the grass+ Then you ,ould go in and add the mountains or distant tree line+ 1ou al,ays need to ,ork from the back to the front to give the painting more realism+ Table Of Contents Chapter 1" Art &)hoos There are colleges every,here that have an art program+ Each one can offer great instruction+ 4f you are planning to attend a school for their art program al,ays determine ,hat the curriculum is and ,hat degree you can earn+ 9ome only offer an associateJs degree ,hile others can offer much more+ 1ou ,ill have to make the choice as to ,hat you ,ant from the school+ 5ere is a list of art schools to consider+ The Art 4nstitute of Pittsburgh The Art 4nstitute of Chicago To find other art instituteJs you can go to the ART 4nstitute ,eb site+ There are many all over the country and in Canada+ =niversity of Te*asK College of >ine Arts Carnegie 2ellon#s College of >ine Arts There are many other fine art schools available both ,ith campus learning or on line classes+ Each one offers financial aid to its students+ The ability to further your education is possible+ 9peak ,ith a campus advisor to determine your needs+ Table Of Contents Chapter 1% Museums o# -ine Art Throughout the ,orld there are many places to see some of the greatest ,orks of art ever produced+ 1ou could spend days in these fantastic e*hibition halls studying the styles and techni3ues of some of the greatest artists ,ho ever painted+ 5ere are a fe, to get you started+ 2useum of >ine Arts. Boston Philadelphia 2useum of Art The 2etropolitan 2useum of Art The 2useum of >ine Arts 5ouston 2any of the fine arts museums offer partial sho,ings of their e*hibits on the 4nternet+ 1ou can appreciate the beauty of the paintings at home+ This also allo,s you to vie, more museums ,hich may not be as close to you+ Table Of Contents Chapter 1* 5ne -ina !ord There are many people all over the ,orld ,ho have aspired to become great artists+ 2any have succeeded+ None have failed+ >or each person in their o,n uni3ue ,ay is an artist+ "hether you create the picture ,ith paint. pencil. or computer graphics the point is you are creating+ 1ou are e*pressing yourself in a ,ay that is en-oyable to you+ Others may find great inspiration in your ,ork+ Criticism ,ill al,ays come. ,hether it be from others or even yourself+ o not let it bother you+ Art is a ,ay of e*pressing our thoughts. feelings. and emotions+ "e can sho, ,ho ,e really are by ,hat ,e put on the blank canvas+ This can sometimes be e*tremely thought provoking+ 4t can be comical or ,himsical+ The point is that it e*presses something+ 1ou capture the essence of ,ho you are ,hen you begin to paint+ Even if you cannot afford to make a living out of painting. do it for the -oy of it+ o it because you find a love for painting+ o it every day+ This is your time to shine+ !et everyone kno, you painted that picture on your ,all+ Tell them you ,ere the master artist ,hen they ask ,here you got it+ !et them kno, you can tell your story by the pictures you create+ Painting is a ,ay of loving ,hat you do and doing ,hat you love+ Remember. a picture is ,orth a thousand ,ords. no matter ho, it is displayed+ Table Of Contents This Complimentary Ebook Provided By Teresa Thomas Bohannon Teresa Thomas Bohannon Author of the Original Regency Romance Novel A Very Merry Chase A Very Merry Chase Prepared for istribution By !ady"eb#s $irtual Coffee Table Books Table Of Contents
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