Category: Oil Painting

July 28, 2013

Oil Painting Terms: Part Three

Oiling out – The application of an oil medium to a painting that has sunk (become dull) or lost its oil to the layer underneath. Artist’s painting medium should be rubbed sparingly into any sunken areas with a clean cloth, wiping off any residue, allowing to dry for a few days and repeating as necessary until an even sheen is obtained throughout.
Optical Colour Mixture – The tendency of the eyes to blend patches of individual colours placed near one another so as to perceive a different, combined colour. Also, any art style that exploits this tendency, especially the pointillism of Georges Seurat.
Organic – An image that shows a relationship to nature as opposed to man-made images. Any shape that resembles a naturally occurring form or that suggests a natural growing or expanding process.
Painted Edges – Not all canvasses are framed. Instead, some are intended to be hung without frames. If this is the artist’s intention, the artist will often paint over the edges of the canvas onto the sides. This not only allows the painting to be hung unframed, but also creates the interesting effect of extending the painting into three dimensions.
Pastel – A colored crayon that consists of pigment mixed with just enough of an aqueous binder to hold it together; a work of art produced by pastel crayons; the technique itself. Pastels vary according to the volume of chalk contained and the deepest in tone are pure pigment. Pastel is the simplest and purest method of painting, since pure colour is used without a fluid medium and the crayons are applied directly to the pastel paper or card.
Pentimento – A condition of old paintings where lead-containing pigments have become more transparent over time, revealing earlier layers.
Perspective – The representation of three-dimensional objects on a flat surface so as to produce the same impression of distance and relative size as that received by the human eye. In one-point linear perspective, developed during the fifteenth century, all parallel lines in a given visual field converge at a single vanishing point on the horizon. In aerial or atmospheric perspective, the relative distance of objects is indicated by gradations of tone and color and by variations in the clarity of outlines.
Pictorial Space – The illusory space in a painting or other work of two-dimensional art that seems to recede backward into depth from the picture plane, giving the illusion of distance.

Picture Plane – An imaginary flat surface that is assumed to be identical to the surface of a painting. Forms in a painting meant to be perceived in deep three-dimensional space are said to be “behind” the picture plane. The picture plane is commonly associated with the foreground of a painting.
Pigment – Dry coloring matter, usually an insoluble powder to be mixed with a liquid to produce paint.
Pochoir – A stencil and stencil-brush process for making muticoloured prints, and for tinting black-and-white prints, and for coloring reproductions and book illustrations, especially fine and limited editions. Pochoir, which is the French word for stencil, is sometimes called hand-coloring or hand-illustration. Pochoir, as distinguished from ordinary stencil work, is a highly refined technique, skillfully executed in a specialized workshop.
Positive Space – The space in a painting occupied by the object depicted (not the spaces in-between objects).
Provenance – The record of ownership for a work of art, ideally from the time it left the artists studio to its present location. French for source or origin.
Replica – An exact copy of an original work of art that is made by, or under the supervision of, the original artist.
Repoussoire – From the French verb meaning to push back. A means of achieving perspective or spacial contrasts by the use of illusionistic devices such as the placement of a large figure or object i the immediate foreground of a painting to increase the illusion of depth in the rest of the picture.
Reproduction – A mechanically produced copy of an original work of art (as distinct from replicas which are one-offs).
Semblance – A picture consisting of a graphic image of a person or thing.
Shading – Showing change from light to dark or dark to light in a picture by darkening areas that would be shadowed and leaving other areas light. Shading is often used to produce illusions of dimension and depth.
Signature – An artists name physically signed (or carved) on a work of art usually providing evidence that the work is entirely by the hand of the artist who signs the work. The Signing of prints is usually done using a soft base pencil in order that it’s dark, clearly visible and does not fade over time.
Silhouette – The outer shape of an object. An outline, often filled in with color.
Simultaneous Contrast – The tendency of complementary colors to seem brighter and more intense when placed side by side.
Study – A detailed drawing or painting made of one or more parts of a final composition, but not the whole work.
Style – A characteristic or a number of characteristics that can be identified as being embodied in a work of art. Typically associated with a specific artist, group of artists, culture, or a specific artists work during a particular time period. “In the style of …. ” means that the work resembles a particular artists style but is not actually created by that artist. “In the studio of …. ” means that the work was created by a student, apprentice or colleague of a particular artist whose style it resembles and possibly supervised by that artist.

Support – The surface, or material, on which an artist creates two-dimensional art. Can be canvas, paper, cardboard or wood panel. The surface often has to be treated before the paint is applied so as to neutralize any natural acidities and protect the work from discolouration or deterioration.
Tempera – Medium, typically egg yolk which was used in the Renaissance prior to the advent of oil and has benefited from a recent revival.
Tonality – The overall color effect in terms of hue and value. Often one dominating hue is employed in various shades and values.
Triptych – A painting or carving consisting of three panels.
Underpainting – The traditional stage in oil painting of using a monochrome or dead color as a base for composition. Also known as laying in.
Vanishing Point – In linear perspective, the point on the horizon line where parallel lines appear to converge.
Vignette – A small illustrative sketch or painting that appears to float suspended on a surface.
Wash – Used in watercolor painting, brush drawing, and occasionally in oil painting and sculpture to describe a broad thin layer of diluted pigment, ink, glaze or patina. Also refers to a drawing made in this technique.
Yellowing – This effect on oil paintings is usually caused by one of three reasons: excessive use of linseed oil medium; applying any of the varnishes that are prone to yellow with age; or most often – an accumulation of dirt embedded into the varnish.

Image source: www.wikihow.com

July 27, 2013

Oil Painting Terms: Part Two

Diptych – A painting or carving consisting of two panels.
Enamel – When painting, used upon a ground of metal, porcelain, the colours afterward being fixed by fire.
Fine Art – Generally used to describe art that has been created purely as an aesthetic expression to be enjoyed for its own sake (as opposed to applied arts or decorative arts or design). The viewer must first search for the intent of the artist in order to fully appreciate, identify or relate to the artwork.
Fixative – A solution, usually of shellac and alcohol, sprayed onto drawings of pencil, chalk and pastels, to prevent their smudging or crumbling off the support.

Foreshortening – The diminishing of certain dimensions of an object or figure in order to depict it in a correct spatial relationship. In realistic depiction, foreshortening is necessary because although lines and planes that are perpendicular to the observer’s line of vision (central visual ray), and the extremities of which are equidistant from the eye, will be seen at their full size, when they are revolved away from the observer they will seem increasingly shorter. Thus for example, a figure’s arm outstretched toward the observer must be foreshortened–the dimension of lines, contours and angles adjusted–in order that it not appear hugely out of proportion. The term foreshortening is applied to the depiction of a single object, figure or part of an object or figure, whereas the term perspective refers to the depiction of an entire scene.

Fresco – The art of painting on freshly spread plaster before it dries, or in any manner.
Gesso – A white ground material for preparing rigid supports for painting. made of a mixture of chalk, white pigment, and glue. Same name applied to acrylic bound chalk and pigment used on flexible supports as well as rigid.
Glaze – A very thin, transparent coloured paint or glossy finish applied over a previously painted surface to alter the appearance and colour of the surface.
Gold leaf – Very thin leaves of real gold that are burnished onto an object such as a wooden frame that has been coated with several layers of other material in preparation. The process is expensive because of the use of precious metal.
Gouache – A watercolour executed by using opaque watercolours mainly for illustrations.
Grisaille – Chiaroscuro painting in shades of gray imitating the effect of relief.
Gum Arabic – The binder used in watercolor and which is made from the gum of the Acacia tree (in the past commonly associated with Arabia, in recent decades also found in the West).
Harmony – The unity of all the visual elements of a composition achieved by repetition of the same characteristics.
Hatching – A technique of modeling, indicating tone and suggesting light and shade in drawing or tempera painting, using closely set parallel lines.
Iconography – Loosely, the “story” depicted in a work of art; people, places, events, and other images in a work, as well as the symbolism and conventions attached to those images by a particular religion or culture.
Idiom – The style of a particular artist, school or movement.
Illustration – A general term used for a drawing or an original work of art.
Knife – A painting knife may be utilized for the application of paint, whereas a palette knife is primarily utilized for mixing and blending the paint on the palette.
Lacquer – A varnish consisting of a solution of shella in alcohol, often used for varnishing metals.
Licensing – The act of selling a license to reproduce an artist’s work for a specific purpose. There are licensing agents who specialize in negotiating deals with makers of porcelain, giftware, stationery etc. Artists should be aware of the difference between selling a license and selling their copyright in a work.
Linear Perspective – A method of depicting three-dimensional depth on a flat or two-dimensional surface. Linear perspective has two main precepts: 1. Forms that are meant to be perceived as far away from the viewer are made smaller than those meant to be seen as close 2. Parallel lines receding into the distance converge at a point on the horizon line known as the vanishing point.
Mannerism – A deliberate simulation or exaggerated display.
Medium – Used to describe either the material used to create a work of art (such as oil, acrylic, pencil, water-colour, charcoal, stone, cloth or other material); the liquid with which pigment or an existing oil paint is mixed to create or modify the paint, or an expressive art form.
Mixed Media – Used to describe art that uses more than one medium (such as a work that combines paint, natural materials and man-made materials) to create a single work of art.
Monochrome – Painting done in a range of tints and tones of a single colour.
Montage (Collage) – An artwork comprising portions of various existing images such as photographs or prints and arranged so that they join, overlap or blend together to create a new image or artwork in its own right.
Mural – A painting that is applied to a wall surface.
Neutral – Having no hue – black, white, or gray; sometimes a tannish colour achieved by mixing two complementary colours.
Numbered – A numbered print is designed to show the limit or size of a print edition. The number is generally placed over the size of the edition. For example 12/500 indicates that the print is number twelve out of an edition of 500.

…to be continued

Image source: www.guidetooilpainting.com

July 26, 2013

Oil Painting Terms: Part One

Oil Painting Terms
Oil painting has several words that ought to be learned prior to obtaining a brush. Many oil painting terms origin from Latin roots so mispronunciations are very common. Please bear in mind that there may be some variation between the various professionals, organizations and especially between different languages following translation to English. Here are some of the common terms that a new artist should be familiar with.

Abstraction – The process of leaving out of consideration one or more properties of a complex object so as to attend to others.
Acrylic – A type of rapid drying and versatile synthetic paint that is an especially popular with artists working today. The term is also used as a generic term for any synthetic paint medium. Acrylics have good adhesive and elastic properties, they resist ultraviolet light and chemical degradation and are easy to remove with mineral spirits. They are often used in the restoration of damaged oil paintings.
Adumbration – A sketchy, imperfect or faint representation.
Altarpiece – A painted or carved screen placed above and behind an altar or communion table.
Alkyd – Synthetic resin used in paints and mediums to work as a binder that encapsulates the pigment and speeds the drying time.
Alla Prima – Technique in which the final surface of a painting is completed in one sitting, without underpainting. Italian for “at the first”.
Analogous Colours – Colours that are closely related, or near each other on the colour spectrum. Especially those in which we can see common hues.
Applied Art – As distinct from fine art, refers to the application of decoration to useful objects (such as ceramics, furniture, jewelry, etc.)
Aquatint – A method of etching that imitates the broad washes of a watercolour.
Artists’ Agent – A third party who handles the business and promotional aspects of an artist’s career. Many artists’ agents are also gallery owners. Sales agents sell a completed product, whereas artists’ agents tend to also negotiate licensing and publishing deals, organize exhibitions, handle PR and promotion and have some influence on the direction in which an artist’s career develops.
Batik – A painting or design that is applied to cotton using wax and dye. It often comes from the Far East or Africa. It is important to identify the correct way round for the image since the back is very similar to the front. Before stretching, batik should generally be placed between two sheets of brown paper or tissue and ironed; the heat will release any excess wax which will be absorbed by the paper. Batiks do not normally require squaring, as the weave is too close for this to be a problem.
Binder – The ingredient (such as oil, acrylic, egg tempera or gum arabic) in paints that causes the particles of pigment to adhere to one another and to a support.
Brushwork – The characteristic way an artist applies (brushes) paint onto a support producing an individualistic texture as well as aesthetic appeal and value. One of any artists most powerful attributes.

Canvas – Closely woven cloth usually of cotton or linen that is used as a support (surface) for paintings.
Catalogue – A list of works of art often associated with an exhibition or auction that provides information on the works themselves, the artist, the materials and provenance.
Certificate of Authenticity – Certifies the authenticity of an individual piece in an edition and can also state the current market value.
Charcoal – Pure carbon prepared from vegetable or animal substances. Finely prepared charcoal in small sticks used as a drawing implement.
Chiaroscuro – In drawing, painting, and the graphic arts, chiaroscuro (ke-ära-skooro) refers to the rendering of forms through a balanced contrast between light and dark areas. The technique that was introduced during the Renaissance, is effective in creating an illusion of depth and space around the principal figures in a composition. Leonardo Da Vinci and Rembrandt were painters who excelled in the use of this technique.
Commission – To order an original, usually customized work of art from the artist.
Consignment Note – Signed agreements between artists and galleries to confirm that a gallery has taken possession of a painting, but that it the artist’s property until paid for in full. A consignment note represents proof of ownership in the event of an insurance claim, so it should always make clear that the work is insured the gallery while in its possession, whether in transit, at a fair, at a client’s house etc.
Copperplate – An engraving consisting of a smooth plate of copper that has been etched or engraved.
Copyright – The artist retains the copyright in a work regardless of whether the original has been sold. Copyright is separate from the painting itself, and the artist has the right to sell it. Legally, transfer of copyright has to be in writing. Within the EU copyright extends for 70 years after the artist’s death.
Crosshatching – Shading consisting of multiple crossing lines, typically usually used in pencil and ink drawings.

…to be continued

Image source: www.webartacademy.com

July 24, 2013

The Wonderful World of Finger Painting by Iris Scott

Finger painting is an art activity usually associated with children. Kids love to play with paint, mix different colors, and put them on paper. You’ll get messy art, filled with an assortment of colors, which ends up on the refrigerator door. It may seem a childish endeavor but there is an artist who is creating a buzz in the art world for her beautiful finger paintings.

Iris Scott is an American professional painter who, by chance, realized the wonders of using fingers in applying paint on canvas. In 2009, after college, Iris decided to have a sabbatical to paint without distractions, without any worries. She rented a small studio apartment in Taiwan with a great view of the ocean. Taiwan, being a tropical country, experiences hot, humid weather. The communal sink of the building was located in an area where there was no air conditioning. She had to go out of her air conditioned room to be able to clean her paint brushes. It was such an inconvenience, having to leave her work in a cool place just to wash her brushes under the heat. Then, a serendipitous moment happened. Iris thought she could just use her fingertips to apply paints, without needing her brushes. And the rest, as they say, is history.

Colleen - Single Ladies Collection — Colleen – Single Ladies Collection

Iris admits that washing paint brushes has never been her strong point, so finger painting definitely is perfect for her. She uses surgical gloves when painting, achieving the correct color quickly. Instead of going out of her room to wash her brushes, she just wipes her gloved hands with paper towels and she can use another paint color in an instant. Once she starts painting, her fingers flawlessly dance across the canvas, like a pianist’s hands.

When she has inspiration to paint, she quickly sketches it out and paints immediately. Wearing her purple latex gloves, Iris applies paint directly from the tube. She keeps the paints thick and raw, preferring to use several shades and colors instead of mixing paints together.

Iris’ oeuvre is categorized as Post-Impressionist, with life as the main theme. She says that her paintings are similar to those of Edvard Munch, Vincent van Gogh, and Claude Monet.

For new artists, Iris advises that they should save enough money to take a year or two just painting everyday. Like her, leaving your comfort zone and living out of the country to focus on painting is best. Improve your skills and techniques, targeting to paint on a daily basis. This year-off is not for sight-seeing and pleasure only.

Image source: www.irisscottprints.com

July 15, 2013

Famous Abstract Paintings

Abstract paintings are in its purest form and have no identifiable object. It is a visual language that awakens emotions, imagination that feeds the soul. Many famous abstract artists expressed themselves through abstract paintings which paved their way to fame. Through the years, they have different painting techniques and styles that created a whole new world for fine arts. Here are some of the most famous paintings that changed the whole perception of abstract art.

“Composition VIII” (1923) –Composition VIII by Wassily Kandinsky is small oil on canvas painting dating from 1923. This geometric composition communicates to the world through the use of shapes, colors, and lines. It is currently in the Guggenheim Museum in New York.

“Black Square” (1915) – “Black Square” is the first “suprematist” work of Malevich. Black Square against white background became the symbol, the basic element in the system of the art of suprematism, the step into the new art. The painting is the ultimate picture of pure abstraction. The artist himself created several variants of the Black Square. All four are different not only the sequence and year of creation, but also the color, design and texture.

“Number 1” (1948) – Jackson shows how much paint can be “unrestricted, unexpected, uncontrolled” as we see it poured onto a canvas making lines that are assertive, and we also see a complexity of shapes, globs, pools of paint layered one on top of another. Paintings like this are unique because the artist’s actions, strengths, and energy could be reflected in the art.

“Dantrolene” (1994)– This painting is one of the most famous contemporary abstract paintings that could surpass a lot of present art available for sale. Painted by Damien Hirst, the viewers are amazed by the pigments portrayed in the painting. They will search for deeper images that their minds are forced to create. In the end, endless emotions and assumptions will be extrapolated from this painting.

“Les Demoiselles D’Avignon” (1907) – The painting made by Pablo Picasso depicts four women in a brothel that are not fully abstracted. Each figure is depicted in a disconcerting confrontational manner and none are conventionally feminine. This lack of abstraction does not reason the paintings’ exclusion from the list of the most famous abstract paintings.

“Woman I” (1950) – De Kooning described the figurative motif of this painting not as a representation but as a thing slapped on the canvas, liberating him from formal anxieties. The main attraction of the work is the painful and angry image of an abstracted woman, hence the title of the painting. This “woman” is exaggeratedly, absurdly physical and at the same time not there at all, a spewed monster of fantasy, a crude graffito that took two anguished years to paint.

July 15, 2013

Dutch Master Rembrandt and His Most Famous Works

Today is Rembrandt’s 407th birthday!

Born Rembrant Harmenszoon van Rijn in 1606, he is the most celebrated Dutch artist and is considered as one of the greatest painters in European art history. Most of his masterpieces are self-portraits, portraits of other artists, and depictions of religious and historical themes. Art experts claim that Rembrandt was able to create more than 600 paintings, 400 etchings, and 2,000 drawings, but these figures are not certain.

Here are some of Rembrandt’s most famous works:

The Return of the Prodigal Son. This is an oil on canvas painting finished circa 1669. It is one of Rembrandt’s final works. The Return of the Prodigal Son depicts a parable from the Bible about a prodigal son returning to his father after wasting his inheritance. In the painting, you’ll notice the ragged state of the son’s clothing, kneeling and repentant in front of his father who was garbed in rich clothing. The expressive lighting and coloring in the painting effectively evoke repentance, compassion, and forgiveness.

The Anatomy Lesson of Dr. Nicolaes Tulp. Rembrandt was commissioned to paint this group portrait, The Anatomy Lesson of Dr. Nicolaes Tulp. The painting portrays a group of surgeons, surrounding a table while studying a corpse. Specialists have commended Rembrandt for the accuracy of the muscles and tendons of the corpse’ dissected arm. Rembrandt was 26 when he created this painting. The painting is displayed in the Mauritshuis museum in The Hague, the Netherlands.

The Return of the Prodigal Son by Rembrandt, c. 1669.

Danaë. Rembrandt portrayed Danaë, the mother of Perseus in Greek mythology. The 1636 painting shows his interpretation of the myth where Danaë waits for Zeus who impregnated her. It is a life-size painting, measuring 185 cm × 203 cm. Danaë is housed in the Hermitage Museum, St. Petersburg, Russia.

Jacob de Gheyn III. Jacob de Gheyn III is a portrait of one of Rembrandt’s contemporaries who was a Dutch Golden engraver. The painting measures 29.9 x 24.9 centimeters and because of its small size, it has been stolen four times since 1966. It is called “takeaway Rembrandt” due to the numerous theft incidents, the most recorded of any painting.

Belshazzar’s Feast. Belshazzar’s Feast is a 1635 painting portraying the Biblical story of Belshazzar and the writing on the wall. The setting is at a banquet wherein the characters show alarm, surprise, and amazement as they look at the handwriting on the wall. Rembrandt effectively used the technique called Chiaroscuro, wherein he manipulated light and shadow to give contrast and create volume and give a three-dimensional effect on objects.

The Night Watch. The Night Watch is the best known painting housed in the Rijksmuseum, Amsterdam, the Netherlands. The painting was commissioned by Captain Frans Banning Cocq who was one of the main characters in the artwork. It is widely known for its size (11.91 ft × 14.34 ft), effective use of Chiaroscuro, and perception of motion.

Image source: www.wikipedia.org

July 8, 2013

What are the Solvents Used in Oil Painting?

“Solvent” is the term most commonly used to identify the liquids that are added to oil paints to temporarily change the way they work when put on canvas. Solvents dilute oil, and dissolve fats and grease from oil paints. Aside from diluting oil paints, artists use solvents to dissolve resins and clean up the work area and paint brushes.

Solvents may have different uses but they have common characteristics:

Liquid
Volatile
Produce vapors
Flammable
May be hazardous to health

You may think that you should forget using solvents since they are harmful to your health, but with proper precaution and care of use, you’ll appreciate the benefits solvents bring to a painter’s work. There are many solvents available to an oil painter but you can just select a few for your work.

Turpentine. Turpentine is the traditional solvent used in oil painting and is commonly found in hardware stores. It easily evaporates and gives off harmful vapors which causes skin irritation. When buying, choose artist quality turpentine which is colorless, since the industrial type of turpentine may contain impurities. Turpentine is mostly called as “turps” and can also be called spirit of turpentine, oil of turpentine, genuine turpentine, English turpentine, distilled turpentine, and double rectified turpentine.

Mineral Spirits. Mineral spirits or paint thinner is best used for cleaning paint brushes and thinning paints. It is less expensive and less abrasive compared to turps but it still releases harmful vapors so take precaution when using it. Mineral spirits is also called “white spirits.”

Odorless Mineral Spirits (OMS). As the name says, Odorless Mineral Spirits doesn’t have an unpleasant odor which makes it more expensive than ordinary mineral spirits. It is used for thinning paint and cleaning brushes. OMS is available in different grades, depending on the amount of aromatic properties removed from it. The more refined the OMS, the safer it becomes.

Paint thinner. Paint thinners are synthetic-based solvents. Contrary to its name, it is more effective in cleanup than as a diluting substance of oil paints.

Citrus-based thinner. Citrus-based thinner has a pleasant smell and is used to clean brushes and dilute oil paints. It has a yellowish color and a citrusy smell. Use it with oil paints to dry the painting faster. It is a more environmentally-friendly solvent than turps.

Turpenoid. Turpenoid is a popular synthetic solvent that is odorless and colorless which is used as a substitute for turps. It is great for diluting oil paints as well as cleaning brushes.

Image source: http://www.huffingtonpost.com/

July 6, 2013

Tips for the Maintenance and Handling of Oil Painting

maintenance_Evans — Maintenance by David Larson Evans, 2012.

Oil paintings, whether you created yourself, acquired from an auction or an heirloom, have much value. You have to take care of its maintenance, handling, and storage. Paintings last a long time and to lengthen its beauty and life, proper care must be given to them. Museums and art galleries spend a lot and they go at great lengths just to keep and safeguard their paintings. As a painter or as an art collector, you must know some information on the maintenance and correct handling of your pieces. Here are some tips:

1. Handle the oil painting by the frame. Don’t touch the painting surface to avoid leaving natural oils from your skin.

2. An oil painting canvas is pliable, so don’t put an object at the front and behind the painting which could press the painting and leave a dent, or worse, cause a tear. If there is damage in the painting, you could do your own repair but if the piece is an heirloom or has much value, it’s better to ask a professional art restorer to do the repair.

3. When transporting an oil painting, place cardboard or thin plywood on both sides of the painting and put bubble wrap around it to secure the painting. Don’t stack paintings on top of the other.

4. When you are permanently storing a painting, put it in a custom-sized plywood container and brace the painting to avoid movements. Don’t store the painting in your attic or basement since the environment in these rooms are not favorable for paintings.

5. Don’t expose your painting under direct or extreme sunlight, cold, or humidity. These conditions will cause the paint to fall off, weaken the canvas in time, and ultimately damage your painting.

6. The best place to “store” a painting is by displaying it on a wall. Paintings are created to be viewed and admired, not to be hidden under the basement. Hang it in a place without extreme temperatures. Don’t hang it near or across a window, fireplace, or any room with much humidity.

7. Don’t hang paintings in hallways or any room where there are lots of movements and where it can be knocked or scratched. The best room for a painting would be a room where people are comfortable, a room where the temperature is controlled, not much heat or cold. Keep your paintings away from fireplaces, heaters and radiators.

8. Use two hooks when hanging a painting to provide enough support and balance. The painting should be high for people to see but not too high to put a strain on the viewer’s neck. If you are hanging a painting in your living room, the best spot is above the sofa, above head height of anyone sitting.

9. Use a soft-bristled brush to dust the surface of the painting to prevent dust from accumulating.

Image source: http://www.dailypainters.com

July 3, 2013

The Most Reproduced Oil Paintings in the World, Part 1

Poppy_Fields_near_Argentuil_Monet — Poppies, Near Argenteuil, Claude Monet, 1873.

Art students can learn painting techniques and styles by copying famous paintings in art history. Copying trains your hand and eye coordination and lets you get a deeper appreciation of the arts. You can learn the different styles and painting techniques by studying these notable paintings. It inspires you to create something beautiful as well.

In 2010, OverstockArt.com, an online business that sells painting reproductions, revealed the top 10 list of most reproduced paintings. If you are thinking which painting to copy, check out this list for inspiration.

1. The Starry Night by Vincent van Gogh
The Starry Night is among Vincent van Gogh’s most celebrated works. The subject of the painting is the night scene in the village Saint-Rémy-de-Provence, southern France. It was painted during the time Van Gogh spent inside an asylum in the same village. The painting is filled with movements and contrasts, from the colors used to the quietness of the village vis a vis the swirling night sky.

2. Café Terrace at Night by Vincent van Gogh
Vincent van Gogh was fascinated with nocturnal motifs and Café Terrace at Night was no exception. He was known for his innovative use of lines, textures, and colors. You can see the contrast between the yellows and blues to black paint he used in this piece. The roughness of the cobblestone street is a direct contrast to the smoothness of the cafe.

3. The Kiss by Gustav Klimt
The Kiss is an oil and gold leaf on canvas. It depicts a couple embracing with elaborate robes and ornamentation. Gustav Klimt used the Art Nouveau style in this painting. The male figure is identified with squares and rectangles while the female figure has circles and soft lines. The couple is intimately entwined while the rest of their bodies dissolve in a shimmering flat pattern.

4. Poppy Fields near Argenteuil by Claude Monet
Claude Monet lived in Argenteuil, France from 1871-1878. The countryside became a great inspiration for Monet. The vast, bright landscapes around the region allowed Monet to experiment plein-air painting. In the painting, you’ll notice that he used blobs of paints to represent the poppies and trees, creating just an impression of the landscape.

5. The Mona Lisa by Leonardo da Vinci
One of the most famous paintings in history, The Mona Lisa has been reproduced and copied by many artists. Leonardo da Vinci used the technique called sfumato wherein he used subtle gradation of tone and color. This technique blurs and softens the contours of the outline, creating an atmospheric effect and the facial features seem real.

Image source: http://www.webexhibits.org

June 30, 2013

Learn the Oil Painting Technique: Wet into Wet

Also known as Alla Prima (Italian for first attempt), wet-on-wet means you simply paint over wet paint. The goal in this technique is to finish the whole painting before the first paint dries therefore working fast is the key. Here are some things that you need to know about wet-on-wet painting.

• You start the wet-on-wet technique using thinned oil paint for drawing. Then you place spots of colors all over the painting to fill it in because the sketch usually dissolved or over-painted as the painting progresses. The painting can be adjusted slightly with glazes and highlights after it dries.

• Blending colors is easy with wet on wet technique. You can directly place one color onto your canvas, and then add other colors and blend with brush or knife to you desired shade. But you have to make sure that you mix colors rapidly and with clear understanding of color theory and keeping in mind the form that you’re trying paint. Expertise with brushwork is very important to do the trick.

• The beauty of wet-on-wet technique is that it sustains the fresh and spontaneous inspiration that come as you paint. For me it is the most intuitive way to paint. Creating a portrait with the technique will require expertise in mixing colors to match your subject.

• It may require few layers of paint to complete the painting, in which case it is easy to overfix the paints, which can look labored and weak. This is the stage where many beginners give up, but if you press on, you can master wet-on-wet technique and create works with the amazing freshness and spontaneity that only wet on wet can provide.

• When working wet-on-wet pull the brush along its length with the handle close to the surface. You get two strokes with a flat bristle brush, one side then the other, look at the brush for any paint it picked up and wipe it. Think of the brush hairs as if they were the fingers on your hand stroking the surface. This method allows wet paint to go over another (wet) color with clean results.

Using this technique have its advantages. One is you don’t need fine drawing skills. Blending is also quite easy in this technique so you don’t need extensive blending of colors. Lastly, your paintings can be completed quickly (about 2 hours to 2 days only) because you have to make sure that you’re working on wet paint.

This technique is quite advanced and requires a bit of painting experience. Using the Wet-on-Wet method, a dedicated practice and experimentation are all that is necessary to achieve masterpieces that you never imagined you can possibly do.

Paintings by Morris Hinson http://www.thumbartsguild.com/artist/mhinson.html