vince’s ear

Pablo Picasso. Is there any other artist so versatile? The man felt it a tragedy if a person stayed the same, with the same style their whole life. The world changes all around, and one must constantly change along with it. The co-inventor of Cubism (along with Georges Braque) had a long, successful, and prolific career as a painter, sculptor, and potter. Nine of his paintings are in the list of the 25 most expensive paintings sold at auction. He is truly one of the most well known artists of the 20th century.

Early Art: Shades of Blue and Red

Pablo Picasso was the son of Jose Ruiz y Blasco, a painter and art professor, perhaps influencing young Pablo into a life of art. But according to his mother, Maria Picasso y Lopez, Pablo’s first word was “pencil,” thus the boy was born to be an artist. Picasso would reflect, “My mother said to me, ‘If you are a soldier, you will become a general. If you are a monk, you will become the Pope.’ Instead, I was a painter, and became Picasso.” He received his first formal training under his father and began with academic realism. Slowly, being influenced by El Greco and Edvard Munch, he developed a more modernist style.

His career can be broken down into several periods. His Blue Period (1901- 1904), is rightly named for the characteristic somber hues and sad subjects that dominate these canvasses. Often poor mothers with undernourished children, sad lower class families, and overall just depressed people in desolate surroundings were the main subjects. His bleak outlook on life at this juncture was probably the result of losing a friend to suicide.

The Rose Period (1904- 1906) marks a change into a happier era for the artist. “Boy With Pipe” which is the highest selling Picasso at auction, was painted during this period. This happier time was when Picasso met Fernande Olivier and is reminiscent of happier times earlier in his life before the Blue Period. You’ll see many acrobats and Harlequins in this period.

African Influences and Cubism

You begin to see a change in his style in the African Period of 1907 - 1909, away from more realistic representations of everyday people to much more expressive depictions. As the name of the period implies, this is when Picasso was influenced by African culture, particularly works of art in sculpture, which were being brought back to France during their expansion into the African continent. His most important work of this period is the “Les Demoiselles d’Avignon.” Particular importance are the two figures to the right, whose faces resemble African masks, and show the first signs of Cubism.

The “Avignon” painting marked a transition into the Cubism periods, Analytic Cubism and Synthetic Cubism from 1909-1919. Collaborating with Georges Braque, the two men invented a new type of art where the artist would analyze the subject and break it down into its basic shapes. Objects can be depicted two dimensionally but from many different angles and viewpoints. All depth is removed, and the foreground object and background blend and mingle into each other. This style of painting would apply to sculpting and collage, the new method invented by Picasso, Braque and others, of cutting paper and arranging the shapes in a composition.

Later Art: Classical, Surrealist, and Sculpture

Around the time after World War I, Picasso switched to a more classical style, following in the Neoclassical footsteps of Giorgio de Chirico and others. Drawings and paintings of this period often include the minotaur, which would lead into more surrealistic artwork.

It was in the 1930s when Guernica was painted. Probably one of Picasso’s most famous works of art, it shows the horrors of war and the agony of the innocent in detail, as the Nazi bombs drop on the Spanish town.

Picasso got into sculpture and pottery and in the summer of 1949, he along with Jacques Lipchitz and 248 other sculptors exhibited at the 3rd Sculpture International at the Philadelphia Museum of Art. In the 1950s he would move on to yet even different styles, doing versions of Velazquez’s Las Meninas, and other famous works by Goya and others. He was commissioned to do a 50 foot public sculpture for $100,000 for the city of Chicago. He refused the money and donated it to the people of the city.

Picasso died in 1973, leaving no will, but instead leaving his works, along with many Mastisse’s to France. These works form the collection of the Musée Picasso in Paris.

Picasso In Modern Culture

Pablo Picasso is probably the most well known artist of the 20th century. When people are asked to name an artist, any artist, Picasso most often comes to mind first. His innovative styles have been copied by professional and amateur artists alike.

One very good movie about him is “Surviving Picasso” with Anthony Hopkins as the artist. Shot in Paris and outlying areas, it’s about the relationship with the artist seen through the eyes of Francois Gilet, played by Natascha McElhone. The movie shows most of the women in the man’s life, often meeting one another in sometimes awkward and comical ways.

Toward the beginning of the film, Germany occupies France and a few soldiers are inquiring of the value of some of Picasso’s paintings. Picasso had a knack for dealing with people, and often got his way, as he tricks the soldiers into believing the better paintings were really junk, and the bad ones the more valuable. He even gives one of the worser ones to one of the soldiers to give to his wife.

Another scene shows a parlor full of art dealers and collectors impatiently waiting in line to see the great artist, who pays them very little mind. Every so often he will come out and give all attention to one art dealer while completely ignoring all the others, even the ones he knows very well. Once in, a certain groveling collector begs for the most recent “Picasso” so he can take it back to New York. Picasso knows the guy is just kissing up to him, so he has a little fun and asks, “How about this one, you interested?” The man joyously says, “Am I? Of course I’m…uh…” only to see a few lines drawn on a scrap paper.

Technorati Tags: picasso, art, artist, painter, cubist, cubism, modern art

I feel it appropriate to complement a post on Pieter Bruegel with one on Hieronymus Bosh. The two men lived at different times but one can draw parallels between them. Both were active in the Low Countries of Renaissance Europe, both had a tendency for including peasants as the main characters in their paintings, both have a similar style- Bruegel was highly influenced by Bosch who died nine years before Bruegel was born.

The two are showcased currently at the Philadelphia Museum of Art in a special exhibition to run until February 7th, 2008. The small exhibition shows several works by both the artists as well as several of their followers done in each respective styles.

Hellish Hallucinations

Hieronymus Bosch was inspired by literary works such as “The Ship of Fools” and the writings and sermons of monks. He could possibly have been influenced by religious ideas but at the same time one can argue that his religious themes were often sacrilegious. It is difficult for art historians to judge his unique art as religious or not. It is difficult to make heads or tails of much of his work, as it was very different from the contemporaries of his time, and its feverish visions of hell and otherworldly beings have not been matched to this day.

Religious or not, much of his work tends to have moral messages. His “Hay Wain” is based on the Flemish proverb “All the world’s a mountain or hay, and everyone grabs as much as they can.” The mountain of hay symbolizes man’s greed, and is dragged along on a path to hell by half-human monstrosities. Everyone from the paupers to the Pope take part in this human procession, mad with worldly delights, unknowing of their impending doom. Above Christ watches, ignored, with hands outstretched as if to shrug and ask, “why?”

Another darker painting is the triptych (three paneled) “Temptation of Saint Anthony.” Here unfolds the story of Saint Anthony, forced to watch as a black mass is celebrated. The saint is carried away and dropped by a toad demon. Off to the right is a hermit, trying as best he can to read his holy books and ignore the insanity present all around him. Speaking of insanity is almost difficult to imagine a perfectly sane person conjuring up such a painting. With people riding flying fish, hybrid monsters torturing innocent people, flames, ghouls, skeleton, and beasts running amok, it might be correct to say that Bosch has probably seen this in a dream. What imagination!

The pièce de résistance of all this is clearly Bosch’s “The Garden of Earthly Delights.” It is considered by many to be the most enigmatic and widely interpreted work of art in all of Western art. It is a triptych (center panel shown above) with the creation of Eve on the left, the garden of Earthly delights in the center and hell on the right, all meant to be read in that order.

One could spend literally hours studying this painting. It is full of allegories, symbols, and hidden meanings and messages. Lust is a dominant theme in the whole of the triptych, with only the creation of Eve, rather than the whole story of Creation and the Garden of Eden. Even though the Eden on the left seems normal and serene, at closer inspection a strange black pond exists in the foreground with a black beast with a long nose reading a book symbolizing evil. This blends the panel into the center panel.

The center panel is full of people. Humanity going about their usual business, committing sin and acts of lust coming from the original creation of woman (Eve). A couple engrossed with each other float on a strange plant in a glass bubble signifying the Flemish proverb, “Happiness is like glass, easily shattered.” Strange beasts dot the landscape, with the usual flying fish and fairies; birds are everywhere in the picture, as well as elephants and giraffes and animals of exotic lands. Berries of all kinds symbolize greed. People live in fruit, plants, and strange orbs and danger seems to lurk by at every corner.

Then we move along to hell on the right panel. After living a life of lust and greed, our citizens of this horrible visions are to serve in eternity a miserable existence being tortured by lutes and hurdy-gurdies by demons of all shapes and types. Maniacal horror exists at every turn, with the people undoubtedly wishing they had changed their evil ways earlier in life. In the center of this panel, coming from tree stumps resting on boats, with demons shown inside taking a break in a bar, is the ridiculous mocking self portrait of Bosch. He has a rotating disk for a hat, with a bagpipe, a symbol for evil and lust. Off to the left is a knife slicing ears. Some interpretations have it that Bosch meant it to be the message that people should have listened to the New Testament, and other warnings of hell.

Technorati Tags: artist, art, painting, bosch, renaissance

As I look out my window I see a dark winter afternoon. Dark as it is, there is no snow and the temperature has not yet dropped to its bone chilling winter potential. But soon enough the landscape will once again be covered in snow. And as the snow lay round about, deep and crisp and even, I’ll be forced to come about and gather winter fuel. Then I can warm my bones by the fire.

I love looking at wintry snowscapes in artwork. As long as I’m indoors I can find comfort knowing that I’m warm and out of the cruel elements. The same is true when reading poetry such as “Stopping By Woods On A Snowy Evening” by Robert Frost. When reading the poem you get to visualize the soft snowflakes drifting down, and the quiet forest. I do remember some good illustrations of that poem as well.

One of my favorite winter scenes is “Hunters In The Snow” by Pieter Bruegel the Elder, as seen above. It was painted in the 16th century and depicting a time when the winters were quite rough for the poor. You can see a fire off to left and some peasants gathering around. The bare trees offer their sticks to contrast against the cold sky. Down below the frozen pond keeps the children busy with games and skating, with the adults going about daily activity in the village as best they can. Look closely at the water mill with the icicles. Off into the distance are icy mountains, with the threat of more snow no doubt nearby.

This was painted as part of a seasons series and is probably the most popular. The series most likely consisted of six panels, though only five survive. I had the opportunity to see “Harvesters” in the Metropolitan Museum of Art, New York. The “Harvesters” is as hot as “Hunters” is cold, showing the peasants in the foreground of a wheat field practically passing out from the heat.

One of his other chillier paintings include “Census At Bethlehem,” which also consists of a village hustling and bustling in the cold air, with peasants taking advantage of the frozen pond carrying materials across town. The foreground is loaded with activity on the left with a crowd of people huddled toward the entrance to a building as if to feel what little heat they can get from inside and get out of the chill.

A good snowy depiction is “The Adoration of The Magi.” You can’t help but feel a little cold just looking at the snow falling. The painting shows the snowy Flemish village bustling with daily activity with the Magi merely there as extras, barely the center of attention of the painting.

Bruegel certainly had a talent for accurately portraying seasons. Of course he was great at portraying all kinds of things, mostly involving Flemish peasant life. His sons Pieter Brughel the Younger, and Jan Brughel The Elder, and grandson Jan Bruegel the Younger would follow in the elder Brughel’s footsteps and also have prolific careers as painters.

I bid you welcome to the sixth post in the “How To Paint” series. You can look at the Intro, Materials, Subject and Composition, Color, and Techniques posts where we went over the fundamentals and how you can get started with oil painting. From here on out we’ll tackle some common themes and subjects and eventually get to a step by step painting. As usual feel free to skip and jump around. These next posts in the series are not basics but more specific topics.

The image above is the “Birth of Venus” by William Adolphe Bouguereau. You may think it ironic, the choosing of a painting of a goddess surrounded by angels, cherubs, and other non-human entities in a post about painting people. But ever since we’ve been able to express ourselves through art we’ve been using our own human form to represent non-human subjects of all kinds from God, Satan, angels, the weather, the seasons and celestial bodies, to abstractions like emotions and vices and so forth.

Bouguereau painted regular people as well and was so good at depicting the human body and all its features in such realistic detail that some people claim it isn’t even art.

The Human Form

I think it’s worth looking into how we draw people before we paint them. By studying the human body and sketching it out, you get to learn all of its contours and shadows, and gives you an idea of the colors you might use when paint it.

The first thing we must look at is anatomy. Using live models is probably the perfect way to study the anatomy while drawing or painting, but this is expensive and rarely available outside the classroom. An easier way is to use photo references and/or use medical journals and anatomy books. Jean Michel Basquiat was a big fan of using “Grey’s Anatomy.” Leonardo da Vinci studied anatomy vigorously and understood that artists must study muscles and bone structures before they could properly depict people in two or three dimensions.

Whatever your method of studying anatomy, it pays to have reference guides of some sort handy and anatomy should be as close to reality as possible. Whether you are painting people abstractly or photo-realistically, if your anatomy is wrong, your painting is going to be wrong. It’s just that simple.

The good part is, you can learn the human body fairly easily and as long as you have the key concepts you’ll be fine. So let’s take a look at proportions of the body, measured mainly in “head” lengths.

• A. The human body is approximately eight “heads” tall
• B. The torso is three heads tall
• C. The thigh area is two heads tall going from the knee cap to the bottom of the torso
• D. From the knee cap down is two heads
• E. The neck is 1/4 of a head
• F. The top head of the torso is the shoulder area
• G. 1/2 of a head down from the chin is the shoulder line
• H. The shoulder line is two head lengths wide
• I. The nipples are on the level of the bottom of the second torso head and are separated by one head length
• J. The belly button is at the level of the top of the third torso head down, and is at an equal distance to the two nipples by a length of one head
• K. The distance from the belly button to the space between the legs is one head
• L. The width of the waist at belly button is one head length
• M. The upper arm is one and one half heads long
• N. The lower arm is one and one quarter heads long
• O. The knee cap is 1/4 head lengths diameter in a circle
• P. The ankle is 1/4 head lengths from the ground

These are general proportions of the body. Of course you don’t always have the luxury of painting somebody standing in this position, but it won’t be hard to use relative proportions no matter what the pose.

Once you have the bodily proportions down you’ll want to look at the head a little closer. Here’s some guidelines for facial features and proportions (use either the original above, or the one with guidelines here)

• The eyes are in the exact center of the oval head
• The eyes are apart of each other by one eye width
• The bottoms of the ears are generally in line with the that of the nose, and the tops of the ears at the eyebrows
  
• An equilateral triangle is formed from the center of the lips to the center of the pupils
• If a line is drawn from the top of the nose along the edges of the width of the nose, it will touch the edge of the mouth
• The boundaries for the smile are in line with the pupils
• From the bottom of the nose to the bottom of the chin, 1/3 down is the lips, and 2/3 down is the crease of the chin
• The nostrils are halfway from distance of the chin to the pupils

Keep in mind these are general guidelines and you must use them relatively depending on the angles and viewpoints of your painting.

Painting People

Besides proportions of the body and facial features, when you paint you must consider the hues you will use, and how the light and shadows will affect your subject. While shadows are important in painting people, perhaps they are even more important in sculpting. Sculptors know how light will affect what people will see when shown on their work from different angles.

1. Flesh hues

Figure out what colors you’ll need and set them nearby or put a little of each color on your palette. Some good flesh hues are:

• A very basic flesh hue of a little burnt sienna mixed with white
• A base of equal parts of yellow ochre and cadmium red mixed with white
• Equal parts Naples yellow and cadmium vermillion with white
• Flesh hue or tint, straight from the tube, Grumbacher makes an excellent flesh hue
• A darker flesh could be burnt umber, ultramarine blue and a little Alizarin crimson

When painting the face or any other body part, remember that the blood flowing is more visible at the nose, ears and hands where the flesh is thin. These areas will need to have more red.

These are two base mixtures for flesh, the one on the left being the red and yellow ochre, the one on the right being the vermillion and Naples yellow. These are just bases, to which you can add more white or burnt umber or put more or less of the base ingredients. Really dark lines of the face and body I use raw umber, but generally the edges of skin and most other objects don’t create an outline in reality. Rather the edges of skin are soft, with the object or background behind it supplying the needed contrast to make it visible.

2. Other colors used

Shadows could generally be warm if the flesh is cool and vise versa. If your flesh is warm and red, your shadows could be the flesh mixture mixed with a little of any blue. Some darker areas of flesh can be the flesh mixture with a little burnt or raw umber mixed. Raw umber mixed with Grumbacher flesh hue gives a great warm dark tone for flesh, which can be used for shadows.

The colors you use in the face don’t always have to be so cut and dry. Yes, you will need flesh hues but at the same time, studying the reference could show you there are many different colors you could use. Use these colors to your advantage. Portrait painters know the power of complementary colors when they add a little green to the dark areas of the face to intensify the reds of the flesh.

3. Painting the eyes

Painting eyes can be very frustrating and difficult to do, but with enough practice it is possible to portray life-like eyes which exude human emotion.

For starters the eyes can be broken down into parts: the pupil, the iris, the whites, and the eyelids, all of which sit in the eye socket, slightly depressed form the face.

• When painting the eyes, remember proportion. There is a distance of one eye width between the two eyes.
• The pupil will generally be black or extremely dark raw umber and usually have a reflection in it. This reflection should be two toned, matching the whites of the eyes.
• The iris will have several tones and is never just one color. When you found the desired color, fill in the area with most of the color, with an outline of a darker shade of that color. Depending on how the light hits it will depend on where the lighter spot of the iris will be. In the eye picture above, the light comes from the upper left, leaves a reflection on the pupil and lightens the iris at the lower right. At close inspection, there will be lines in the iris pointing to the center of the pupil.
• The whites of the eyes are never pure white but shades of gray, and will most likely not be the brightest spot on the face or the whole painting. Look at the eye above and count how many tones the white of the eye actually has.
• The eyelids should be painted how you see them, keeping in mind not to make the eyelashes too conspicuous.

4. The lips

Lips can make or break a portrait. They can make an otherwise realistic looking portrait look fake. John Singer Sargent said, “A portrait is a likeness with something wrong with the mouth.” And if he has trouble painting mouths, you can imagine how I feel about them.

To paint lips,

• first follow the facial proportion guidelines and place your lips.
• The colors mixed should derive from your flesh hue but add a little more red or rose.
• Be careful not to make the lips look too pink (unless of course they are wearing lipstick). The lips above have quite a bit of pink to them, but should still look real.
• I use a mixed lip color plus a tiny bit of raw umber or crimson for the mouth line.
• Make sure to show a little reflection on the bottom lip, but not much or they will look too glossy.
• Softly blend the bottom line of the bottom lip with the surrounding skin to make them look natural, there should be no hard line here.
• Be sure to add appropriate shadows: directly under the top lip, and under the bottom lip and in the chin crease.

5. Ears

Painting ears can be tricky as they are a very complicated body part. The ear is a continuous tangle of contours and if not careful, you can detract from your painting. A tip here is to keep the ear simple believe it or not. Doing this will not take away from but keep the focus on the face.

As said before, blood flows close to the surface in the ear and ear lobe, so color it accordingly. Also be sure to add the shadows, but once again, keep the ear simple.

6. The nose

The nose shouldn’t be too difficult to paint. The trick is to make sure it looks three dimensional and comes out at you. Do this by

• making it redder, once again due to blood flow
• being sure to add appropriate shadowing underneath
• being sure to add highlights, and reflections, especially on the tip

7. Hair

This leaves the hair, and the only thing to do here is to use your reference and try to match it as best as possible, being sure to include highlights and reflections. Picasso said he pities the artist who has a thing for blondes because they are so hard to paint.

These tips should suffice for painting faces for the most part. As far as the rest of the body goes, just look at your reference, be it the model or a picture. The only way you can really accomplish a good painting of people is to actually do it, and it will take practice.

I’ll be sure to include people in the step by step painting instructions.

Until then, paint, paint, paint…

Technorati Tags: art, artist, painter, painting, how to paint, how to, tutorial

How do you picture a nightmare in 2D? Two words: Henry Fuseli. Fuseli’s famous “The Nightmare” is the epitome of night terror depiction: a lady on her back in her bed chamber either asleep or otherwise unconscious, with an unwanted visitor, a grotesque imp, squatting on her body. Perhaps the scariest part of all is the mysterious horse’s head looming into this array of bad dreams. Another similar painting of his was his version of the folk tale Hag, a nightmare spirit.

Henry Fuseli’s artwork often delves into the world of the subconscious and the supernatural. His pieces give the art viewer a mood not unlike one would feel while traveling through their own dreams. He was commissioned to illustrate Shakepeare’s “A Midsummer Night’s Dream” and offered a wonderfully fantastical portrayal, complete with his signature eeriness.

William Blake has said he was inspired by the work of Henry Fuseli and it shows. Blake was also one for the mysterious and fantastical. Both artists are worth checking into. Included below are some thumbnails of some of Henry Fuseli’s fantastic paintings.

But I must warn you, they may give you nightmares.

Welcome to the fifth post in the series “How To Paint,” on techniques of oil painting. The other posts hopefully have laid some groundwork for the actual painting process, and now we finally get to the whole point: painting! You can read the Intro, Materials, Subject and Composition, and Color posts to get an idea of what we’ve gone over so far in order to get ready for putting brush to canvas. If any of you out there use these techniques or find these posts helpful, you better send me a pic of a painting so I can put it in the “Painting of the Day!”

Let me say that while these posts have been pretty long and I go into as much detail without writing a book, the whole painting process itself doesn’t have to take that long. Once you have your materials and supplies ready the next thing to do is just do it. Put on some music and let the painting flow. Some masterpieces took years to paint. Most of my paintings I completed in one sitting (maybe it shows). Of course those sittings can be anywhere from a couple hours to eight, but the point is it doesn’t have to be a big deal.

I explained some of the points on composition and color earlier but I must say you don’t have to follow anyone’s instructions to the t, just do what feels right. Painting can be whatever you want it to be. Perhaps you get out what you put in but it’s all a matter of perspective. You’re only going to learn by doing, but at the same time try to absorb as much information as you can about the subject. So let’s get on with it, shall we?

General Pointers

All this might be very difficult to explain so I’ve included some pictures of the techniques taken from my little camera. Be forewarned that this camera does not have a macro setting, and I never claimed to be a photographer. So take it or leave it!

Let’s re-hash on the materials. You’ve got your

• Paints- paint tubes of at least the primaries, white, and some browns
• Canvas- got to paint on something, right?
• Easel- got to hold that something somehow, right?
• Brushes- got to— yeah you get the picture
• Turpentine, or turpentine substitute, a paint thinner with rag
• Palette- disposable or not
• Desire- I have to be cliché some time!

So that’s all you really need to get started, and all you’ll ever need really. But you can always get more into and get a “mahl” stick to steady your hand, a “graticola” or other perspective finders, pencils or crayons for the sketching, extra mediums and solvents (though turpentine works fine for a thinner), and maybe a few more things.

Here I have my disposable palette with a few dabs of paint I know I’m going to use. I don’t go along with the idea of putting all the paints in a row on your palette before you paint for good reasons. I did this probably the first time I painted and haven’t since. I put my paints on the palette as I need them so I don’t waste any paint. If you put all that paint on your palette, who’s to say your going to use every color? So although you’ll see many artists do this, I don’t do it and don’t recommend it. But I do always put white and raw umber, because there will never be a painting that I don’t use white to mix, or raw umber to darken.

Now let me point out some properties of the paint you’re going to be using. This whole tutorial is centered around oil painting, and I probably should have said this earlier but much of these techniques can be used with acrylics as well. Acrylics are cheaper and possibly easier to use (thin and clean up with water, etc.), but I’ll concentrate on oils specifically.

As I said oil paints are very versatile and a lot can be done with them. You can manipulate in all kinds of ways. Use brush strokes to your advantage. Pile up thick impasto to give texture. Once on the canvas, you can mix it, push it around, scrape it away, wipe it away, whatever you want with it. You definitely want to get full use out of the oils, and apply the correct amount of paint. Spread out too thin and dry and you’re not getting full use of the paint. You want your paint to be the consistency of soft butter, and as you paint you’ll want to load up your brush.

So here’s the proper way to load a brush with the consistency you want, and proper full use of the paint:

Dragging the paint too thin and dry will not produce the desired results, as you can see above the correct usage:

Let’s say I wanted to turn this red spot into orange. I can mix the color right on the canvas by adding a dab of yellow. Normally you should add the darker, dominant color into the lighter color , but by placing the yellow next to the red, I can slowly pull bits of the red into the yellow until I have the color I want.

And once I have these two colors, I can blend them together. I take a dry brush and with small circular motions go from the yellow side to the red side, bit by bit working the two together as I go.

If I decide the orange is way too bright, and I wanted a much duller, grayer color, I add some of orange’s complement blue. With a dab of cerulean blue on a clean brush I work the paint into the orange until I have a much more neutral color than the bright orange we had before. This can be done to any spot of paint already painted with the particular color’s complement, or the grayer color can be mixed on the palette.

And if I wanted to lighten this new color, all I do is is add white straight to it and mix it around a little until I get what I want. The result here is a creamy light orange/beige color you might find in interior house paint, which was achieved quite simply right on the canvas:

Fat Over Lean

It’s important to remember one simple rule when painting over top other paint. This rule is called “Fat Over Lean” and involves the amount of oil in your paint layers and how they dry. The paint straight from your tube is made up of two things: a.) the pigment, or ground up color, and b.) the vehicle- the oil, usually linseed oil. “Fat Over Lean” states that you should paint the thinner, or leaner layer underneath with paint that doesn’t have as much oil in it, and the thicker or fat paint, with more oil in it last.

This may sound confusing when you’re not used to painting, but when as you go along it makes more sense. When you thin the paint with thinners or turpentine, the paint has less oil than paint straight from the tube. If you tried to paint a very thin paint over thick, it won’t even stick. So when there are several layers, the darker thinner layer is applied first, with the thicker paint coming next, and the very thickest as highlights.

The reason being oil paints dry at different rates. The more oil in the paint, the longer the drying time. If you have thicker paint under thin paint, the top layers dry first and cracks while the underlying thick paint is drying. Fat over lean sees to it that the first layers dry first and the last layers dry last, keeping the paint firm and stable in the long run.

Wet In Wet

Adding wet paint into paint that isn’t dry yet is called “Wet in wet,” or “Wet on Wet” painting. The painter Bob Ross was a proponent of this technique and taught it religiously. You can purchase his videos along with painting kits with everything you need at your art supply store or on the internet. As I’ve said before you can’t get more creative following tutorials such as his where you basically have to copy what he’s doing, but they certainly have value in teaching you techniques. Especially if you’re planning on doing some landscapes, or even if you’re just starting out, his videos will be a great help to you.

Bob Ross’s technique involved wetting the entire canvas with a thin “Liquid White” underpainting, so every bit of paint from your brush mixes right in. This can help psychologically when there is something to paint or add into. A plain dry canvas can be very intimidating.

One of the great things about oil paints as opposed to acrylics is the drying time. It takes days before the paint even begins to dry, so painting wet in wet is very easy to do. Parts of the painting can be constantly changed and added to, or subtracted from. Acrylics, on the hand take minutes before they dry and are hard to alter once you’ve painted.

Ways To Paint

Now you know the basics and how to work the oils around to your advantage. You know to paint thin layers first no matter what the subject, and add paint on top with less turpentine or more oil depending on how you look at it. You can use the Wet in Wet painting technique, using a thin under painting of white, or you can purchase Bob Ross Liquid White or Liquid Clear from your supply store. Here are some specific techniques you can use to achieve your masterpiece:

1. Scumbling- This goes hand in hand with painting fat over lean and basically calls for a very thin and dark first layer, and dragging a brush loaded with thick paint over it, to get a choppy scumbled look. This picture would demonstrate how you could paint a tree or other vegetation:

2. Impasto- Painting with impasto is using very thick gobs of paint being built up. This is good for quick or expressive paintings. The Impressionists generally used impasto.

3. Impressionist- By giving the viewer impressions of the light off of objects, the Impressionists allowed your eyes to blend small patches of color:

4. Pointillism- The Pointillists were Impressionists who believed tiny spots of colors placed side by side can be blended in the viewer’s eye:

5. Painting with the knife- Painting knives can be sued for more than just mixing paint- you can paint entire paintings with them. Here you apply large patches of color if you don’t want the brush strokes to show:

6. Or use the knife for detailing:

7. Glazing- Glazing is applying layer after layer of thin paint to produce your desired colors. It’s difficult to show here because if requires the layers to dry before adding another layer. But here I show the thin layer of yellow added to the thin red to create the appearance of orange:

Now these are a few of the basics of oil painting, and like I said before you can’t learn by just watching. So try it out for yourself and see what you can come up with. Coming up I will do a step by step presentation of painting. Until then…

See also Intro, How To Paint: Materials, How To Paint: Subject And Composition, and How To Paint: Color

Technorati Tags: art, artist, painting, how to paint, tutorial, how to

May I present to you, dear Readers, the fourth post in my series “How To Paint.” In the series you will learn everything I know about oil painting. It is my hope that you can find some value in this advice and perhaps teach you something you didn’t know already. I know I learn something new everyday and I always seek out new information on painting and otherwise. If you haven’t already you can see the Intro, How To Paint: Materials, and How To Paint: Subject And Composition. Feel free to skip and jump around, but I generally intend these articles to be linear, in that each post should lay some groundwork for the following posts. Have fun and enjoy

Color: Properties And Theory

What is color? Color is nothing more than light reflecting off of objects. The matter in the objects themselves don’t actually possess the color, rather the properties that impact how much light is reflected or absorbed to give our minds the final impact of what we see. Scientists have been interested in color and the properties of color since Isaac Newton first held a prism to sunlight to show the spectrum with all the colors of the rainbow. The Impressionists of the late nineteenth century knew that what we see is basically light reflecting off of objects giving us an “impression” of the object. To them the subjects themselves were not as important as how light played off of them to give us what we really see. In essence, color is light.

As artists we concentrate on the effects of color on our visual perception and how colors react to one another to create a desired visual experience for the viewers. One doesn’t necessarily need to know all the scientific terms and properties of visual light and color, but it pays to know what we’re dealing with in terms of expressing the color on our canvases.

Color Wheel

What Newton also gave us when he came up with his Color Theory was the Color Wheel. (Refer to the Color Wheel at the top of this page as often as needed.) This color wheel can be used by artists of all kinds, designers, architects, advertisers, marketers, window display advertisers, and web designers among others to assist in providing an aesthetically pleasing and effective result. We use this color wheel to help us understand visual psychology.

1. Primary Colors

As a staple of Color Theory today we say that there are three primary colors. These three primary colors red, blue, and yellow a.) can not be broken down further and b.) can be mixed to create all the other color on the spectrum. Therefore they, along with black and white, are the building blocks of all visual fields. They are basic and powerful.

2. Secondary And Complementary Colors

Secondary colors are attained by mixing two primaries. You can see that orange is in between red and yellow on the wheel indicating it was achieved by mixing those two primaries. When two colors are opposites they are considered complements of each other and can be seen on the color wheel as any color directly across from itself. Many effects can be achieved by utilizing complementary colors and their properties.

For instance when two complementaries are put side by side, a garish clash can result. But, with skill, these opposites can be used to “intensify” each other and work off of each other. Van Gogh particularly knew the value of complements as seen in the examples here and here. The blue of the sky in the first causing the oranges in the trees to be stronger, while the purples of the field in the second creating a vibrant yellow in the sky.

3. Tertiary Colors

When you mix a primary with a secondary you are left with a tertiary color. Another way to put it is you make a tertiary with four parts of primaries, the building blocks. Yellow + Red + 2 more parts of Yellow = Yellow-Orange. You can see the tertiary yellow-orange was achieved by mixing the primary yellow with the secondary orange.

4. Analogous Colors

The orange, yellow-orange, and yellow being next to each other on the color wheel makes them analogous. These colors are said to be in harmony with each other.

Other Color Terminology

Aside from the color wheel, some basic color terms are as follows:

1. Hue

This is basically classifying a color as having a property that distinguishes itself from a black and white value. When one color is added to another, a change in hue is the result. As I pointed out in the Materials post, the adding of the word “hue” to the name of a particular paint generally means it is cheaper. In general color terms, hue is another word for color.

2. Tone

Simply put, how light or dark a hue is. Differences in tone are seen as a hue goes closer to black or closer to white. Changes of tone are achieved by adding black or white to any color. The term “value” is used to describe a color on any position of a scale from light to dark.

2. Tint

This goes hand in hand with tone, and is the adding of white to a color. The color Pink is no more than a tint of red, because a little red is added to white to make it.

3. Shade

The opposite of tint is shade, or the adding of black to a color to make it darker. Generally when painting, we don’t actually black to darken a color but rather a dark raw umber or other such earth tone.

4. Warm And Cool Colors

With an imaginary line going more or less from yellow to purple you can generally see cool colors on the half of the wheel with blue on it and generally warm colors on the half with red on it. I use the word “generally” here because technically you can have a warm blue and so forth. Yellow can be split in the middle with cooler “lemon yellows” toward the blue side, and warmer “Cadmium yellow mediums” toward the warm side. Purple can either have more red or more blue in it to change its temperature. On the canvas, warm colors tend to advance, and cool colors recede.

The mood of the painting can be made by making the painting chromatics either warm or cool. Depending on the purpose and desired effect of the painting, all warm colors can make a happier, intense, fiery, or warmer feeling to the painting, and cool colors generally can make a calmer and serene, colder, and sadder painting and so forth.

The temperature of a color can go hand in hand with color symbolism. There are many different opinions on what emotions certain colors can evoke, but here are generally agreed upon symbols:

• Red can mean fire, blood, anger, violence, love or passion.
• Yellow, symbolizing the Sun, shows life and energy.
• Blue, being cool and calm can show serenity, sky or Heaven and holiness.
• Purple is the color of royalty and power, originating from the dye being so expensive, leaving only the rich to wear such a color.
• Black can be death or evil.
• White is the symbol for peace or innocence.

I’m sure many of you could add your color meanings, and these certainly are only a few of what can be interpreted from the psychology of color. A lot can come from the context in which you use the color as well.

Paint Mixing

Now to get to the point of all this color talk: how we use and manipulate colors to create paintings. Paint mixing is an art in itself and must be mastered by any aspiring master painter. It can a very fun part of the painting process but can also be a very frustrating one. With the help of the Color Wheel, one can achieve the desired effect by mixing accordingly. As you progress and grow as a painter you get the feel of the pigment itself and how the oils flow and their traits and characteristics on the canvas. As a beginner there will be much trial and error when attempting to mix the colors you want, but hopefully of few of these tips can be used to make it a little easier.

Points on mixing:

1. Different paints have different levels of transparency. Generally a paint is either opaque, meaning you can’t see through it at all, or has a level of transparency, with a lot or a little of what’s underneath showing. A paint such as Burnt Sienna is very transparent, and applied in thin layers, leaves the underpainting to show. This paint can be made opaque simply by adding any white to it. On the other hand, most paints can be made more transparent by adding more oil or thinner to them. This is used when “glazing.” Thinners and other solvents can be added to paint to make it more usable, generally paint straight from the tube can be too thick to use.
2. Always add the darker color to the lighter color. This means if you want an orange, put an amount of yellow on the palette and continuously add small portions of red to until you reach the desired color. Doing the opposite can mean wasting large amounts of paint in the end.
3. On that same token, don’t worry too much about wasting a little paint and not using all of it. The important part is that you achieved the desired effect and got the exact colors you wanted. I’ve actually read an artist giving the advice of making sure to use all of your paint on the palette to cut back on waste. This is utterly hogwash and will result in a horrible painting. Whether you’re a Realist or an Abstractionist, you have a certain result in mind when you put brush on canvas. A little wasted paint just comes with the territory.
4. Oil paint is a very versatile medium. With oils, paint can be mixed on a palette or on the canvas itself. It can be thick, or thin, can be painted wet in wet, and be pushed around on the surface any which way you want. With color already on the canvas or brush, different colors can be added and mixed simply by stroking the brush. Once again, use trial and error to accomplish your goals.
5. Use color charts to get the color you want, don’t be afraid to use references and color manuals, it’s not cheating.

All kinds of colors can be attained simply be consulting the Color Wheel. As I said in the Materials post, I do recommend having a certain number of extra colors besides the very basics on hand. There are several reasons for this. For one, if you want large amounts of orange, you’re not going to want to mix the red and yellow every time to get it. If you run out of the orange you already mixed, it will be difficult to mix the exact same orange again, and you may end up wasting a ton of paint. Secondly, if you wish to subdue a color or gray it, you’ll want the complementary color right on hand to do this.

Grays and Neutrals

A gray or neutral color is neither warm nor cool. Grays can be made from black and white, or mixing equal parts of two complements. Neutral grays make excellent backgrounds for paintings.

Graying and neutralizing colors can be used depending on your purposes. Most paint by itself can be very bright and garish and will need its intensity dropped a little. To gray a color, simply add a little of its complement. Adding purple or violet to yellow will dull it just a little, so its not so bright and intense. Use the Color Wheel, if your blues are too intense, add some orange. You may not use the color orange very much in your paintings, but you will certainly want to neutralize blues often, so it pays to have a tube of orange paint around.

Some decent grays I find are mixed with

1. 1 part Ultramarine, 1 part Burnt Sienna, 5 parts white
2. 1 part Ultramarine, 2 parts yellow ochre, 1 part crimson, 10 parts white
3. 2 parts Cerulean, 2 parts yellow ochre, 1 part crimson
4. 3 parts orange, and 1 part its complement Phthalo blue, with white
5. 1 part orange, and 1 part its complement Cerulean, with white

Depending on what you’re painting you can mix and match colors. The first gray above makes for good clouds.

Black

Black is basically what we see when an object absorbs all the colors of the spectrum and reflects no light. The Impressionists were adamant in not using black on their palettes due to it not appearing anywhere in nature. Shadows, you see, are never black but contain some of the color of its object and some complements of the surface reflected on. Plus black can tend to look quite flat on canvas.

To get around this, a “chromatic black” can be attained by mixing 2 or more hues, usually an earth tone with a blue and crimson. Some decent chromatic blacks:

1. Equal parts Prussian blue, Alizarin Crimson, and Burnt Umber
2. 2 parts French Ultramarine, 1 part crimson, and 1 part Burnt Sienna
3. A 50/50 mix of crimson and Phthalo blue

Adding white to any of these makes interesting grays.

Just The Right Color

As I said before sometimes you just have to find colors by trial and error and experimentation. The key to experimenting with mixing is keeping the number of hues involved to a maximum of 3, or 4 at the most. Too many colors mixed makes very muddy colors.

Sometimes the right colors come from unlikely unions. Take olive green for example. This color can be achieved by mixing green with purple, or by adding a little bit of black to yellow. Some interesting colors are Citrine, mixed from orange and green, and Russet mixed from purple and orange.

Here is a list of everyday objects and materials you may want to paint or include in your paintings and the paints used to get them:

• Light flesh- yellow ochre + Cadmium red light, with white. To darken/shadow, add a touch of burnt umber, burnt sienna, or blue. To lighten, add Naples yellow and/or more white
• Light flesh (2)- Naples yellow + Cadmium Vermillion + white
• Dark flesh-Ultramarine blue + burnt umber + a little crimson + white
• Plants- Green plants of all kinds ranging from grass to house plants, to leaves can start with permanent green light and dulled a little with any red.
• Sky- The best sky is made from Cerulean blue and white
• Clouds- The highlights Cadmium yellow + white, the midtones Cerulean blue + Cadmium yellow + a little crimson + white, the darks add yellow ochre to the midtones, and the reflected lights add a little crimson to the highlights
• Gold- 4 parts white + 4 parts Naples yellow + 1 part Cadmium yellow light
• Gold (2)- 3 parts Naples yellow + 1 speck orange + 1 speck Cerulean blue
• Copper (Green)- 4 parts Naples yellow + 1 part Cerulean blue
• Copper (Tan)- 1 part white + 5 parts Naples yellow + 1 speck Cadmium red + 2 specks burnt sienna
• Bronze-6 parts Cadmium orange + 1 part Cerulean blue

Obviously there are many more combinations to use for these objects and many more everyday objects. All you have to do is try it out for yourself. See what you can come up with. Train your eye to see actual colors and how the light affects the subjects in different ways. When you look at a black cat, know that you are actually seeing all kinds of blues, greens, crimsons, and many other colors, not just black. Knowing this can not only help you to portray objects properly but will make your paintings more interesting.

This concludes the post on Color, but in no way concludes the discussion on Color Theory. There are many different points of view on color and visual perception. Seek them out and learn all you can.

Until next time, happy coloring.

Technorati Tags: art, artist, painting, how to paint, tutorial, how to

See also Intro to How To Paint, How to Paint: Materials, How To Paint: Subject And Composition, How To Paint: Techniques and Learning Art

If you can’t see the video, click here

Welcome to the third post in my “How To Paint” tutorial. In this series I intend to share my knowledge of oil painting, and with a little luck I might persuade a few of you out there to pick up a brush and give painting a try. Hopefully I can share a few pointers and get some feedback from you. If you’re just getting in you can see the Intro, and How To Paint: Materials post if you’d like, or read on to find out what you can paint and how you can express it. If you’re coming back after reading the articles, welcome back. Either way I hope you enjoy this article and the others, and maybe we can all learn a thing or two about one of the most rewarding hobbies.

Once again this is a long and in depth post. If you are not planning on reading the whole thing, may I offer you Have Fun With Art, Part 2, and Is It Really Art? to amuse yourself? Or perhaps this to stimulate your brain.

Subject Matter

The first thing you must do is come up with something you want to paint. To do this you may ask yourself what is your purpose for the painting. There are many reasons people paint and the intended product can be summed up into different categories.

1. Is the painting intended to be decorative? If so one may consider the interior design of their home or others. Will the colors be harmonious with the decorations in the room, will the colors be warm or cool (more on this in the Color post)? The subjects of these paintings could be birds on a branch perhaps, or a beach, a landscape, etc. etc.
2. Is it representational? Simply put, is the painting meant to be of something, and that one thing the main focal point of the painting? While decorative paintings may be landscapes and abstract forms of color, the representational painting will be of an actual house or a portrait. We’re talking realism here.
3. The third category is a creative expression. These paintings don’t have to fall into either of the other categories and are mainly for the artist. Is there a meaning behind the painting, a message to convey? The dadaists and the minimalists probably didn’t plan on their paintings being in museums or hung on living room walls. Painting gives you an infinite amount of freedom.

Painting is a wonderful medium to achieve your goal of expressing something as it gives you total control of the outcome and license to create, remove, or destroy objects in reality. Even though a landscapist intends to directly convey the lay of the land on his canvas, the painting is not intended to be a photograph. There is still some message and meaning behind the painting. And no matter how realistic the painting looks, there is still some abstraction. It is a painting imitating life, and the painter reserves the right of “painter’s license” to alter reality as he sees fit.

The use of “painter’s license” can be seen in the most straight forward of paintings. Even in the landscapes of centuries ago, objects were moved as necessary to make a more balanced and aesthetically pleasing picture. If a water tower on the right of the visual field looks too heavy, it can be moved to the left to balance it.

Whatever the intended purpose your painting will have, all paintings are an expression of the artist. In order to express yourself and your message, a vehicle for this purpose must be chosen. To sum up, a painting can be a decoration, a representation, or an expression. It can one of the following:

• Landscape/seascape
• Portrait
• Still life
• Abstract expression
• Representational realism, figurative paintings, etc.
• Types of paintings such as Cubism, some Surrealism paintings, etc. fall in between the previous two categories

Composing Your Subjects

Now that you know what to paint, you have to figure out how it’s going to look. I didn’t say how to paint it, because the actual techniques used to paint will come later. Here I’m talking about how to “compose” the painting. Almost all of the paintings I ever painting were sketched first quickly on a separate sheet of paper, as well as actually on the canvas before I even started to paint. This is a good idea for anybody unless you have a clear idea of exactly how your painting will turn out. The “underpainting” will be just a rough outline of major shapes, so it’s not exactly just drawing and filling in color.

To understand composition in general it pays to understand some very basic visual psychology. Thinking about this helps you realize how people will see your painting in the end, and will keep you from making a visual mess (well, usually). Here are some very basic visual psychology elements that come into play when your painting is viewed:

1. Our eyes strive for simplicity and balance
2. A visual field has certain forces, which, depending on the statement, must be followed in order to attain simplicity
3. Objects on the visual field have a weight which differs depending on its position
4. People generally read a painting from left to right
5. Certain colors are heavier than others and stand out more (red)
6. Certain colors appear to recede (cool colors: greens, blues), and others to advance (warm colors: yellows, reds)

Simplicity and Balance. The visual field is loaded up with energy. A square has its vertical, horizontals, and diagonals keeping it intact, and any object on the invisible lines is at ease. An object off such lines seams to be moving and pulling toward a more simpler position. A balanced picture seems to convey a feeling that it need not move any further to be the simplest composition. The forces in the field are at rest, and there is no tension. This gives us a pleasing experience looking at the painting.

No matter whether the canvas is a representation of real life or a total abstraction, the forces of our world in reality impact the way the picture is perceived. For example, the top half of the painting holds a much heavier presence than the bottom half. The objects toward the top of the painting will appear to be heavy and falling, striving to obey gravity and come to rest on the bottom of the painting.

This notion of picture of gravity is true of any one single object, in fact. Note the number 3 in font or on your keyboard.

Close inspection will tell you that the top half is slightly smaller, so as not to appear top-heavy. The result is a pleasing object at rest, and the opposite does not become obvious until it is switched upside down.

The forces of a painting don’t always have to act on the objects themselves, but can act on perceived notions, or invisible lines. Take for instance this painting of a cat. Technically the whole cat is balanced regardless of the prominence of the head on the left side of the painting, because of the perceived glance to the right.

If the cat’s body stays exactly the same, but the head, though the position doesn’t change, is looking to the left, the whole painting seems to weigh too much to the left and is off balance:

This leaves not enough head space to the left of the painting, and other parts may have to be altered to attain balance. This is the vertical center line coming into play here. The left and right side of the painting are two totally different energies. The cat’s head being on the left helps to maintain proper weight, but if the whole painting were reversed, the right side would be so heavy it would seem the picture will start to tilt:

A visual field is automatically broken down by our eyes as we view it. Certain parts are generally more important, certain invisible lines act out in certain ways on the objects on and around them, and the top and bottom, left and right of the field are noted in our minds and so forth. If an object is misplaced or unbalanced, while we may not cognitively realize it, something seems not quite right about it.

Keep in mind that a perfectly symmetrically balanced painting usually doesn’t make for an interesting composition. If there is a field with a straight horizon line and a tree smack dab in the center, it makes for a pretty boring picture. But the method of using mirror symmetry can be used to convey a feeling. In this picture of an Amish man after a hostage situation in which several girls were murdered, the main subject is in a situation of anger and unease. The perfect mirror symmetry with the crossed arms helps to convey this tension. The picture is rigid and simple.

As I mentioned above with the cat the subjects head being on the left side of the painting with the glance to the right balanced the composition. Part of the prominence of the left side of the painting comes from the viewer reading the picture as one would read printed words. Hence the importance of “stage left” in theater, where the hero would make their entrance as opposed to the antagonist or other less important role coming in from the right. When being photographed, the astute celebrity or prominent figure would be wise to stand in the far right of the group so they are seen first and their names written first in the caption.

I talked a little about how a painter can get around this problem when painting group portraits in this post. When Emperor Napoleon I was to get painted in a scene with Talleyrand, the “power behind the throne,” the painter was met with a problem. Napoleon was painted on the left entering “stage left” and Talleyrand was painted with color emphasis and in the center of the painting. When the artist explained the painting to Napoleon, he was colorfully told that he would be the first thing people saw. Talleyrand, on the other hand was separately told he’d be in the center of attention. Both men were be satisfied.

The fact that the left side of the picture carries more weight is an important one in engraving. The smart engravers such as the genius Leonardo knew that the final product was a mirror image of the engraving itself. When engraving he would actually execute the work backwards so that the actual engraving would be balanced properly to the viewer. Recent engraving methods involve tracing the reverse of the first imprint so the original picture shows up the way it was intended. One common trick to see if your painting looks right is to look at it in a mirror to give you a fresh view. This trick is flawed in that the mirror image should look false if the composition is correct. If it looks more properly weighted, than your real composition is wrong. You get the picture.

Color Theory and Psychology are complex subjects and I won’t go into them in detail here, but more so the post about Color later. It is something I wrestle with constantly and am still learning more and more with each and every painting. Painting being nothing but shapes and colors, it behooves the painter to know everything he/she can about the properties of color and how to use them.

On the visual field colors act on the objects and planes, and on the eyes of the viewer. Van Gogh used the color red to balance out the Bedroom painting. In this painting, the number of objects on the left cause it to weigh more heavily toward the left. Even though the largest object is on the right half, the painting needs to be balanced. He accomplished this by making the blanket red. Red being a heavy color (the heaviest), its use here helps to balance out the composition.

Tips And Tools Of Composition

We’ve gone through an introduction to how we see paintings, and how a painter should consider a few points in making the composition. It’s at this point I must plug my favorite book on the subject called “Art and Visual Perception” by Rudolph Arnheim. In this book I found priceless information about how and why to compose paintings, among many other things. I’ll go through just some of the tools of composition you can use.

1. The Rule of Thirds

This is used by painters and photographers alike and states that the pictorial field is broken down into thirds by invisible lines. Before a photographer takes a shot, he or she might hold both hands up and imitate a “viewfinder” to see how the shot will turn out in turns of positions of the objects and key elements. Once again, it is ill-advised to place the focal point in the exact center, but rather on key invisible lines or points. The rule of thirds places these invisible lines on the field at thirds vertically and horizontally:

This simple model can be sketched onto the underpainting if desired to achieve the best effect, regardless of the size or shape of the canvas. At intersecting points are key positions. Your main focal point of the painting can be at any one or two of these points for the best aesthetically pleasing result.

This model does not have to be followed to the T, and certain parts of it can be used to create your composition. Generally, the main focal point or main subjects don’t have to be at a point but could fall along the lines. The Last Supper is an excellent example of the use of the rule of thirds in general. A horizontal third line can be used for the horizon, or the upper third line can be used for other lines in the picture. If it looks too much like it was used purposely, the painting will look academic. The same is true of all compositional tricks to make the painting look better, they must be subtle or the picture will look fake.

2. The Golden Ratio

Now this little bit of information may a little more intermediate than the other tips on this article, but can come in handy. It’s actually a mathematical ratio that is supposedly the most aesthetically pleasing to the eye. It is in this ratio that many great painters stretched their canvases to achieve maximum eye-pleasing results. It is also used as a guide to object placement on the canvas. Whether or not this is true is debatable, but it doesn’t hurt to try it out yourself and see if the results are what you intended.

3. Compositional Guidelines

Try and follow these guidelines and you really can’t go wrong. Use this list as a checklist after you have drawn up a rough draft:

• Is the composition balanced? Are there any objects that appear too heavy, is there enough head space of the people to the top and sides? Have you used the direction and placement of the objects to your advantage, are there any conflicting forces and tension?
• Use the Rule of Thirds. You can map out your scene from reality using a viewfinder or taking the index fingers and thumbs of both hands and holding it up to from a rectangle. Ask yourself if the key elements are properly placed in the scene, and are they on a third line, diagonal, or third line intersection.
• Number of elements. As a general rule, keep the number of elements odd.
• Spacing of elements. Keeping an even space between each and every object can make the painting look too orderly and contrived. Try to vary the spaces between the objects.
• Are objects touching? If two side by side objects are sharing a line, this can make for a confused reaction of the viewer. Remember to either overlap everything or make them obviously separate to avoid this.
• Is the composition obvious? As I said above, you don’t want to make it look like you got your arrangement straight out of a book. Even though following the rule of thirds is a good idea, for example, don’t make it obvious. You can stray from the rule a little bit, and have a key element slightly off of the intersecting point to achieve a similar effect. You want the painting to look natural.

Conclusion

In summary paint what you want but figure out how you want to paint it. If there is a mood or message, you’ll want to figure out the best way to express this. Some of these basic compositional rules can be broken if the intended meaning of the painting is an abstraction, or statement. It all depends on what you want to accomplish.

When drawing up your composition, consider the elements and how they will react to each other. Will the painting look natural and at ease? Use the checklist above to make sure all parts of your painting are placed in the best possible position.

I hope this article is of use to you. If it is, see also How To Paint, How To Paint: Materials, How To Paint: Techniques and Learning Art

Up next: Color. Other resources on composition:

About.com, and Wet Canvas

Technorati Tags: painting, art, how to, tutorial, how to paint

In my intro post about How To Paint, I explained how I’ll be taking a couple of posts to bleed out all my painting knowledge to all interested parties. I attempt to go into in depth coverage of the trade of painting as I know it, and this post is long (over 3000 words!) and hopefully informative. If this bores you, go have fun with art!

If you’ve come back to learn or are along for the ride, kudos. I hope we can teach each other, and if you’re new to painting I sincerely hope you can find the time and will to pick up a paintbrush and give one of the most rewarding pastimes I know a try. I know if I was reading a “how to” about painting or just about anything I’d be eager to jump right in. Well I don’t blame you, and the way this tutorial will play out you can skip and jump to your heart’s content. But one thing which must be addressed first is the materials. So without further ado let’s get started.

Paint

One material I think we can all agree you can’t do without is the paint. As I mentioned before a good bet is to get one of those starter kits that range in sizes and price. That way you usually can’t go wrong with the color selection.

I use 37 ml oil paint for most of the colors but I always have 200 ml for white and burnt umber. White is the number one color you will use. It is the base of every light color mixture, lightens everything, and helps turn certain pigments opaque (Some pigments like burnt sienna and alizarin crimson have a very high transparency, that is they are practically see-through unless applied in very thick layers. Adding a little white to these transparent colors instantly makes them opaque.) I also keep a 200 ml tube of burnt umber around. This is a versatile and good looking earth color which can be added to a number of colors to darken them (never add black to darken a color, this will ruin the color- more on that later). Most of my paints are from Winton, and a few from Grumbacher (a little more expensive).

If you’re just starting out you can get away with using a smaller size tube such as 8 or 12 ml, but you’ll find the standard size is 37 ml. The paint available to you ranges from the very cheap to the very expensive. The cheaper paints are considered “Student” quality paints and are decent to use when experimenting. The quality of the pigments are lower and the paint is usually loaded up with more “filler” and medium than actual quality pigment. The more expensive paints are considered “Artist” quality and the colors can be very rich and the paint works and turns out much better. A way to distinguish these is there will be a number on the tube. Generally a lower number is more expensive.

Another reason paints differ in price is the rarity of the pigment involved. Certain pigments are much more expensive due to their scarcity and will raise the price considerably. A way for amateurs to get by without spending so much money is to buy the paint that has “Hue” in the title. For instance, cadmium being an expensive pigment, a student can buy “Cadmium Red Hue” for about half the price. This means more filler and less real pigment, and of course is not as good a quality and doesn’t mix as well as the real thing, but it makes a suitable substitute for students’ purposes. Earth tones are generally just as good in the “Students” grade paint.

As far as for which palette to use I have set up several sets of colors here. Resist the urge to just use your imagination in buying the colors, because when starting out you really only need a select few. Mixing is an exercise that needs to be started as early as possible but you’re not going to want to mix basic colors this early in the game for several reasons: when finding the perfect color it is seldom easy to find the exact color again, and mixing sometimes results in wasted paint if you don’t know what you’re doing.

One thing is for sure, no matter what stage you’re at you don’t need to have a tube of every single color they sell. You should get by just fine on these palettes depending on your purpose and skill level, if the color is on the same level you may pick and choose any color on that level:

Palette A, beginners

• Titanium white
• Burnt umber
• Cadmium Red Hue
• Cadmium Yellow Pale Hue
• Yellow Ochre (a tan color, mixes many great colors or use by itself)
• Cobalt Blue, French Ultramarine
• Permanent Green Light

-Note the “hues” are generally cheaper.
-Different yellows and blues can be substituted (for instance cadmium yellow medium- a darker yellow) but I find these to be the most versatile. But I wouldn’t even consider starting without these basics. Most starter kits would have at least these basic colors. A decent black can be made by mixing cobalt blue, burnt umber, and a very little of the red (I don’t use black from the tube-more on that in the Color section)

Palette B, beginners

• Titanium white, Zinc white (zinc white is a little thicker and results in thicker, richer colors in my opinion, but may be a little harder to use at first)
• Burnt umber, Raw umber (Raw umber is also a nice earth tone, a little darker and makes an excellent gray mixed with a little white, and an excellent flesh shadow mixed with Flesh tone, more on Color later)
• Burnt Sienna (a reddish brown)
• Cadmium Red Hue, Cadmium Red Light Hue
• Cadmium Yellow Pale
• Cadmium Yellow Medium
• Yellow Ochre
• Cobalt Blue, French Ultramarine, Phthalo Blue, Prussian Blue (the synthetic blue)
• Cerulean Blue (a lighter blue, makes an excellent sky)
• Permanent Green Light, Sap Green (sap is a very transparent deeper green, good for evergreen trees, etc., found in Bob Ross™ supplies)

-So this palette just has a bit more options and you can easily keeper this selection the entire time you paint. Next we have a slightly more intermediate palette only because it involves mixing, once again more options, a little more expensive:

Palette C, Intermediate:

• Titanium White, Zinc White
• Burnt Umber, Raw umber
• Burnt Sienna, Raw Sienna (a very transparent ochre-like tan color)
• Cadmium Red Hue, Cadmium Red Light Hue, Vermillion Hue
• Alizarin Crimson, Permanent Rose
• Cadmium Orange Hue (mainly to neutralize and grey blues, mixes great with Cerulean)
• Cobalt Violet Hue (useful for neutralizing and/or graying yellow)
• Cadmium Yellow Pale, Cadmium Yellow Medium
• Naples Yellow (an excellent light beige, I can’t do without it)
• Yellow Ochre
• Cobalt Blue, French Ultramarine, Phthalo Blue, Prussian Blue
• Cerulean Blue
• Viridian (a bluish green)
• Permanent Green Light, Sap Green
• Ivory Black, Mars Black
• Flesh hue (Grumbacher makes a great flesh hue)

-So this assortment has a few more options which can help you make some great paintings. A lot of them can mix very interesting and useful colors all of which I will get into in the post about Color later on. Like I said earlier, you can get by with just the basic palette and it won’t be so hard on your pocket. Most of the paints here you can buy for around $5- $6 for a 37 ml. Expect to pay more for colors like Viridian, but once again these are available in “Hues” for cheaper.

Brushes

Musicians have their instruments, writers have their keyboard or typewriter, and painters have their paint brushes. Brushes are the medium used to convey what’s inside the artist’s soul, they are an outlet. Much care should be put into choosing the right brush for you.

I’ll cut right to the chase here and tell you what I use. Most of my brushes are American Painter® synthetic bristle brushes of varying sizes. Most professional artists will balk at the idea of using synthetic brushes, but these brushes have done me well and I will continue to use them. There are a variety of synthetic brushes but I must warn of one thing: if you buy very cheap brushes, you will produce very cheap results without fail.

Also available are bristle brushes such as hog bristle. These natural white hair brushes can last a very long time when taken care of. They are hard and hold the paint well in the bristles, but the strokes can look very painterly if not careful. I personally don’t use them often for this reason, and I find them not very handy in painting people due to the bristles making their mark on the canvas so heavily. Hog bristles are great for really applying lots of paint and pushing it around.

Some other good brushes are sable brushes coming from the animal of the same name living in Northern Asia. These hair brushes are very soft as opposed to the bristle brushes, and are very springy. If using the hog bristles to apply tons of color, these sable brushes can be used to paint details and small patches of color.

Brushes come in many different shapes to include the

• round brush (which 90 % of my brushes are, they are very versatile and when used properly can paint very straight edges and large patches of color, the tips can be used for detailing, and can also be used for blending- its your one stop shop)
• flat brushes (square ends, I use large flats to paint backgrounds and other large areas)
• bright brushes (with shorter bristles or hairs)
• filberts (take a flat brush and round the edges inward a little, I don’t even own one of these)
• fans (great for painting pine trees and blending)
• and small detail brushes (essentially tiny round brushes, many artists speak against using such small brushes even for tiny details, but I find them priceless in delivering a detailed final product)

All of these brushes come in different numbered sizes, with the higher the number the larger it is. It pays to generally have about 4 different rounds going up to very large, a small flat, and a large flat (for backgrounds), one or two brights and filberts mainly for details and small patches, one medium sized fan, and at least two very small detail brushes.

I’m going to go ahead and include a painting knife in the brushes category seeing that it can be used to apply paint. The knife is an invaluable piece of equipment and can be used for two reasons. One you can get by with only a knife to mix your paint on your wooden palette, two you can actually paint with it. Painting with a knife is a bit more intermediate, and I have yet to attempt an entire painting with it (it can be done!), but lately I have been utilizing the flat edge of the knife to paint entire backgrounds. It’s great for backgrounds when you don’t want any strokes showing, rather a smooth look, like skies. I also have many times used the edge or the very tip of a knife to paint tiny thin lines, and microscopic-like details.

Canvases

Now that you have your paints and brushes you need to figure out what you want to paint on. The possibilities are almost endless ranging from fake canvas paper to rocks and wood, as long as certain preparations are made (a surface must be gessoed and primed in order for the paint to stick, and for the oil to work properly and not get absorbed into the surface). You can’t paint on absorbent surfaces such as cardboard or the oil will separate from the pigment.

Mostly you’ll want to paint on a canvas. Once again there are several options here, with different types and sizes to chose from. I use pre-stretched Fredrix® canvases of different sizes. In the past I have used canvas boards (a stiff board wrapped in canvas and primed- perfect for beginners). I also have a canvas pad with real sheets of primed canvas ideal for sketches and practices (although most of my “practices” are actually finished products, I rarely paint studies- maybe it shows). I recently acquired large canvas stretcher bars which I plan on making the canvas from scratch from a roll of canvas. It seems easy, all you have to do is stretch the canvas and staple it in certain places in order to achieve a well-stretched canvas. I just need to get a staple gun, we’ll see how that turns out.

When I first started painting I basically started out with small canvases and worked my way up. My first couple of pictures were on 5″ x 7″s and my largest canvas to date is a 24″ x 48″ so I went from less than a sheet of paper to 4 feet in length. It takes practice and patience to paint on such a large area, and I definitely worked my way up. As a beginner, you can go my route or jump right in to your larger canvases, depending on what you plan on painting, but we’ll get into Subject Matter and Composition in a later post. Any canvas will do when you first start out, but I would at least attempt the smaller size first: this means less paint mixing, less paint used, less time, etc.

Mediums, Solvents, and Thinners

Now that you have the paints, the brushes to paint them with, and the surface to paint on, you’ll now need some essential elements in making the painting possible.

The paint in the tube is made up of two things: pigment and medium. The pigment is a natural or synthetic color ground up from elements into a fine powder. The pigment is next put into a “vehicle,” which is no more than linseed oil, in a certain ratio to produce a usable paint. A separate medium can be added later by you to fatten the paint by adding more linseed oil. Knowledge of how the oil works is important for the painting procedure itself, and how the end product will look. More on that later, just know that adding extra oil can improve flow and gloss.

Thinners will be needed to clean off your brush from color to color. An odorless thinner is advised, so you can work indoors without worrying so much about harmful vapors. I use Weber Odorless Turpenoid, a turpentine substitute. This turpentine can be poured into a glass jar with a screen in it for easy brush cleaning, and as long as a lid is put on top, it can be used several times before becoming too muddy. Paint directly from the tube can be very thick, so you’ll definitely want to thin it down just a bit most of the time in order for it to flow easily from your brush. A good solvent can be made easily by mixing a 60/40 mix of turpentine and linseed oil (make sure it’s “cold pressed linseed oil”).

Other Materials Needed

• Now you’ll want to prop up your canvas so you can paint (although every now and then I’ll hold the smaller canvases in my lap), so you’ll need an easel. I recently got a large tripod easel which holds canvases up to about 40″ tall, but I have been using a small Bob Ross travel easel for the longest time. All it really is is a plastic block with a slot in the front to hold the canvas and a bungie cord in the back which stretches and holds the top of the canvas tightly.
• Basic brush cleaning supplies are: (as mentioned above) turpentine, or other form of thinner in a jar suitable for beating the brushes without splashing, and a rag to wipe the turpentine off the brush after cleaning.
• As mentioned in the “Brushes” section, a painting knife is suitable for mixing paint, but a special palette knife is also available for this purpose.
• You’ll need an actual palette to hold your paint. You can use a wooden palette brushed with linseed oil, but makes clean up a messy chore. Or you can do what I do and just purchase disposable palette sheets. I highly recommend this, as there is no other easily way. You simply put the paint on the non-absorbent sheets, mix right on the paper, and tear it off in the end to throw it away.
• A painting box can come in handy for storing your paints and can be used as a portable studio in “Plein Aire” painting outdoors. You can also keep a jar for your brushes (never store them bristle side down).
• Painting books- You can never have too many reference guides around, particularly color mixing guides.
• References- You may have pictures on the computer to look at, photos to paint from, people posing, a still-life setup, a mirror, etc.
• Music! Rarely do I paint without some tunes in the background.
• A desire to have fun. Without it you’ll think of all this as a chore and you’ll never do it again. Experiment and fail often, its how you learn. Know that what you create is unique and priceless, no one else out there can create what you can. Be satisfied and proud of yourself when you’re done. Only after one perceived success, you’ll want to come back for more, and I hope you do.

So in conclusion, your materials should consist of a few essential basics which can be bought for a fairly inexpensive amount. But do plan on spending some money, this is no cheap hobby. I must warn the more you paint, the more you’ll want to spend on better materials and different paints. This is all well and good though, because the value you get from painting is priceless. Not to mention the priceless masterpieces you’ll turn out! To this date I have not made a single penny off of painting and that’s fine by me. The fun and satisfaction I receive from painting far outweigh any costs involved.

I hope you found this materials guide useful. Up next: Color! I hope to share some knowledge of color mixing as well as basic color psychology and color theory.

Until then, take care.

See also How To Paint, How To Paint: Composition, How To Paint: Color, How To Paint: Techniques and Learning Art

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