Category: Tips and Techniques

Today’s art audience is a pretty savvy group. Good art is more accessible than ever. So, the question is: how does an artist today even hope to catch anyone’s attention with their painting?  I have 2 suggestions. First, good painting is often an emotional experience, for the painter and for the viewer. If your painting can bring forth an emotional response from the viewer, they are more likely to take notice. To help accomplish this, early in the painting process the painter can define a specific emotion that they hope to express – e.g. peacefulness, anger, joy, loneliness, hope – and work toward having each element of their composition – line, colour, shape, edges, etc. – support this common goal. Another way to catch attention is with an element of surprise. Surprise can happen in a painting in many different ways. One common technique is to use a surprise colour. For example, today’s paintings often vibrate with unusual colours – purple hills, yellow skies, green skin tones – no holds barred when it comes to colour these days in painting. Surprise also comes into play when you have a dominate element in the composition, with an accent expressing the opposite – for example lots of smooth areas and one smaller area with lots of texture. Or, predominately very light colours with small area of strong dark accent. Surprise can also be in the subject matter: flying pigs, distorted features, square balloons, – just whatever tickles your creative fancy. In conclusion, don’t be afraid to think way outside of the box with your art. If you are putting strong emotions into it, or just having a lot of fun with it, chances are that the viewer will enjoy it too! Your ideas are welcome, both painters and non-painters. How do you think a painter can stand out today? 

The mood of any painting is determined by many of its different attributes. One aspect is the main direction of lines. A horizonal flow is considered more peaceful. A vertical emphasis is considered strong and stable. And a diagonal is considered energetic and more liable to indicate movement. When you first plan a painting, it’s good to consider the overall mood that you are wanting to capture, and then see if you can emphasize the direction of lines that will most enhance that mood. When you think about this aspect in the painting here, the distance trees and fence posts give strength and stability. The horizontal lines in the nearest path speak of peace, and the diagonal movement of the more distant path would indicate movement and adventure. Still, any one of these would speak more strongly if the others were not there as well, but it does make for an interesting combination. 

I am happy to announce a new page on my website. It contains all the art videos that I have produced by topic. There are lots of art tips there for fellow artists, and a section where student work is featured too. I hope you will enjoy it! Here’s the link: Videos by Cheryl O Have a look, and I would love to hear what you think. 

This same important principle applies to painting… 

I have been thinking about painting and happy accidents, wondering what makes artists prone to these. Here’s what I think is going on with those. The term ‘accident’ implies that it was unplanned, and whatever happened will add new parameters to that work, which can then lead to new creative expressions. I find that any type of paint can do some wonderful things when it mixes and mingles, and too much control prevents some of that. Next time your paint does something unexpected, take a moment to consider if you want to keep that ‘accident’ rather than assuming that your initial vision was the best way. Perhaps a new direction is just what that painting needs to be a fresh and dynamic work of art. 

If you are like I am, and tend to get paint all over your hands at times, you should be aware of some health hazards. When products say “non-toxic”, it means when they are used in the manner that is usual for them. Artist paints are not meant to be painted onto your skin. Certain pigments, such as phthalos and cadmiums, contain toxic chemicals that can be absorbed into your skin and be detrimental to your health. Wearing gloves is one good solution. I don’t like to wear gloves when painting, and so instead I use a silicone barrier cream on my hands. This comes in a tube in the baby department of the drug store – they sell it to put on babies’ bottoms. You need to see the word “silicone” on the tube. Putting this on like a hand cream before painting helps your skin not absorb paint. Make sure that your hands are very dry after putting it on, before touching your canvas or your watercolour paper or you will make some spots that may resist paint there too! 

It’s about controlling those mixtures. Certain colours mixed together are going to make mud. It happens easily… here are some of the common reasons that mud happens: 1. Too many colours on the palette – and they are doing their own mixing with very little help from you. 2. The brush didn’t get completely clean, and you are mixing colours without even knowing it 3. The rinse water is – well – muddy. Even just a little. 4. Using a black pigment in mixtures. Since black is already a mix of several colours, it’s a recipe for disaster in most mixtures. 5. You are painting a swamp scene :). And here’s an important point that flows from #5 – there are definitely times you want muddy colours. They can be beautifully expressive and give a lovely contrast when used near more intense colour. It’s about being able to control when the mud happens – that’s what makes for happy painters and pleasing paintings. 

 

Imagine: the most delicious dessert you know of is in front of you. Are you going to take one little tiny bite and set it aside? Imagine: it’s a sweltering hot day and you are beside a gorgeous pool. Are you going to only put one foot in? Sad to say, that’s what it’s like to try to paint with teeny tiny bits of colour on your palette or your brush. Why not put out generous gobs of luscious colour and load up that brush? It’s the only way to really enjoy painting. 

It doesn’t really matter whether you paint quickly or slowly, as long as you are enjoying it. However, there are some real advantages to giving yourself some timed exercises. This is how it works… You need a timer, the stove one would be fine. Have your reference near by, get your paints out and ready with a medium sized brush (no little brushes), set the timer for 20 minutes (or shorter), and push ‘start’. The idea is to see if you can capture the essence of your reference in a short period of time. This forces you to move the brush quickly and concentrate on the main shapes. It doesn’t give you time to fuss with details. Try doing several of these in a row with a different reference each time. You may be suprised by how well they can turn out, and what a fun way this is to hone your painting skills.