Good composition

Here you can see the elements of a good compositional set-up. It was done by one of my students before she started her painting. There is good variety of the major things one needs to be aware of. Good tone or value variety, good differences in shapes and sizes and good colors as well! There is also a good arrangement of these shapes such as the lighter bowl against the dark rooster. If the bowl were against the background, it wouldn't show up so well since it is close in tone to the background.

Always be on the lookout

 

 

I took these photos when I was in my local mega-sized hardware store. I carry my camera with me at all times because I never know when such an opportunity may come up for a painting idea. These were so beautiful! Don't know if I'll ever paint them, but you get the idea. Stay on the lookout! Noticing possible subjects for a painting is your stock in trade!

Keep Sketching!

I admit that I don't sketch as often as I think it would do me good.

I tell all my students to do it to sharpen their perception of visual shapes and compositions.

I was going through my sketch books yesterday and found this one.

My excuse for not sketching more is that I draw a lot in the studio warming up to do new paintings.

I'm hoping that counts!

But one can always be better at noticing things and then doing a fine job of rendering them.

I show sketches to my students that have been made by the masters. Cezanne is one of them.

His sketches are scribbly and messy.

But look where they led him....to his masterpieces.

When there is a ridge line you don't want

Here you see three images of parts of a recent painting of mine.

There were some areas I needed to change and when I painted

over what I didn't want, you could see the leftover part underneath

as a ridge line. It caught the light and so you could see it. It's

sort of like having your underwear stick out from your clothing

when you don't want it to show!

The first photo here is where I have taken #220 sandpaper

and knocked back the ridge so it wouldn't show. You can see

the old line underneath the other paint now, but it no longer is

a ridge of dried paint.

The second photo is a longer shot of the same area. It was

a tall wine cabinet and I had it too tall!

The third photo here is showing the ridge line next to a woman's

shoulder in the same painting.

Go to my blog at http://joyofartforever.blogspot.com and you can

see the whole painting which is nearly complete now!

Tone and color drill

What is this?

On the right is a tone chart done by one of my students.

The black cloth is velvet and that's about as dark a tone as something can get!

To the left and right of it you see parts of a fabric chart I made. It has various colored rectangles that the student has to identify regarding their tones.

What is tone?

How light or dark something is.

Is the tone of something the same thing its color?

No.

These are drills I do with my students to learn the difference between the two.

That red on the left is pretty dark in tone, but it is not the # 10 on the top of the chart.

This is seen by comparing the black velvet right next to it.

When figuring out the tones of things, you can't do it in a vacuum.

You have to relate one to the other and then come up with what they are.

What haven't you been using lately?

Like many of you, I have worked in a number of mediums.

Among them are oil, pastel, water color, charcoal, ink and so on.

I have made jewelry using a variety of materials such as silver, copper, polymer clay and stained glass.

I have done print making doing etchings as well as woodcuts.

I have painted huge wall murals.

Who knows what else I may have done and left out here!

But I have found myself doing a lot of my work in oil over the past few years

and so here you see my water color palette and a few of my many

brushes looking abandoned.

They were until recently when one of my students asked me to teach them

watercolor basics.

Hmmmm, now they are looking very interesting again!

So keep your creative juices flowing by not working only in one medium.

Most of the great masters did this.

I have been reading about Matisse recently and he is a remarkable example of applying

his creative self to many media, even colored paper.

Let me know what you think of this in your own experience!

Painting from Photographs

I just spent the last many weeks putting together a series of lessons about what a person has to know in order to successfully make paintings from photographs. A few words here and there to my students about this didn't really get all the points across.

Maybe I'll have to post some of the information here.

Let me know if you are interested!