2 Awesome Acrylic Paints For Beginners on a Budget

June 28th, 2010

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Do you love to work with acrylic paint but you just can’t afford professional supplies?  Keep reading, because this post if for you.

Not all artists realize this, but you don’t have to spend a fortune to find good quality acrylic paint these days.  You can find some great deals on quality acrylic paint supplies without leaving your home.

Some artist feel that because a paint has a low price tag, it must be of poor quality.  This is simply not the case.  Two  examples of this are acrylic paints by DALER-ROWNEY Known as System 3.

I have listed them both below along with descriptions and links to where you can purchase them from Dick Blick, one of my favorite online Art Suppliers.

Just below, you will also find a video from Blick Art Materials which talks more about these wonderful acrylic paints and also demonstrates how to use them. Enjoy!

View the rest of this acrylic painting tip on the best paints for beginners

3 High Quality Oil Paint Brands For Beginners on a Budget

May 22nd, 2010

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So you are ready to take your fabulous journey into the wonderful world of oil painting when you realize just how expensive supplies can be!   I know personally how frustrating it can be when you are not able to afford good quality supplies, but have no fear…  This post is going to talk about three great quality oil paint brands that will fit any budget.

I am sure you have heard of the saying “You Get What you Pay For”.  Well this is not always the case, especially when it comes to oil paint.   Today’s oil paint manufacturers have made awesome quality  oil paints available for every artist, no matter what budget or skill level…

Read the rest of this story on High Quality Oil Paints For Beginners

Free Gourd Craft Project – Making a Clock out of a Gourd

April 28th, 2010

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Pyroengraved Gourd Clock By Bernadette Fox

I discovered the art of gourd crafting a little over ten years ago and was captivated by how many wonderfully creative things I could make out of gourds.

As I continued to work with gourds I learned another fascinating thing about them. I am able to use pretty much any artistic technique on them from painting, to carving, to wood burning (often called pyroengraving), to beading, to weaving, and so on. I like to refer to gourds as nature’s pottery with endless possibilities!

I like to introduce you to the art of gourd crafting by showing you how to make a gourd clock with a wood burnt design. I think leaves complement the browns, yellows and golds of a dried gourd so I decided to put some leaf designs on the clock.

After collecting various leaves from outside I drew a picture with them. You can make your own leaf picture this way or use the one I made. The leaf picture will be our wood burning pattern.

View the rest of this free Gourd Craft Project Tutorial Here.

Mixed Media Demo – Acyrlic Paint & Collage

February 13th, 2010

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Step One

I am using Multimedia Artboard for this piece. I started out finding some pictures and papers that I wanted to use. The diamond pattern, the stripes, and the snake pattern came from tissue paper that I found. I added some musical notes from a music book with a copyright from the early 1900’s. The pictures were from some I found in the public domain. I cut what I wanted and “glued” them onto my 18 x 24 Artboard. I also use watercolor paper and canvas at times. Any of them will work. I glue the papers on with matte medium if they are very lightweight (like the tissue) or with soft gel gloss if they are heavier (like the paper with grass in it ). Then you need to let your paper dry. I usually dry mine over night so as to be sure it is very dry!

Acrylic Collage Demo 1

Step Two

After coming back to my painting, I first put on some acrylic glazes over the whole page. ( here I used Sap Green Hue, Quinacridone Crimson, and Quinacridone / Nickel Azo Gold) When the glazes were dry (you can dry them with a hair dryer), I added some thicker paint with a large piece of cork with the green (the cork is about 3 1/2 in. in diameter. I also used a small wine cork for the smaller circles. I applied Violet Oxide with a pallet knife on top of a piece of gridded plastic. and removed the plastic right away. Be sure to wash the plastic immediately after using it on one spot, and before you put it in another spot. You can use other found objects to stamp paint or use as a stencil. I often use things such as card board, bubble wrap, plastic wrap, gauze, etc. At this point, I decided to put some found objects on the papers to add more texture. I used gauze, skeleton leaves, and eyelash yarn. Again I let it dry over night

Acrylic Collage Demo 2

View the rest of this mixed media painting techniques lesson here.

Oil Pastel Techniques – Painting on a Photo

February 9th, 2010

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Oil pastels are quite versatile and can be worked using a variety of different techniques.  You can thin them down with a paint thinner just like oil paints to create washes or you can apply them thickly as an Impasto.  Like any other medium however, they can be a bit tricky to work with in the beginning.  It is often helpful to observe other artists using oil pastels to help inspire you to develop your own unique style.

I found some really interesting videos today during a Google Video search.  In the following two videos, the artists demonstrates a really cool technique that I never thought to try myself.  She takes a regular digital photograph printed on paper and instead of using the photograph as a reference, she draws directly on the photograph, sort of  using it as a guide.

It really is an excellent way to gain immediate experience handling and using oil pastels….

View the rest of this oil pastel painting techniques lesson here.

Drawing Lesson – How to Shade Pencil Drawings By Miranda Aschenbrenner

December 23rd, 2009

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How to Shade Pencil Drawings

Understanding Light

Drawing Lesson - Understanding Light

In your drawings, you will generally have one light source, which determines the location of highlights and the direction of shadows. The spot where the light hits your subject directly is called the highlight, and is usually pure white. The side facing away from the light source will be in shadow. The midtones refer to the gradation of tones between the shadow and the highlight. Most objects will also have an area of reflected light. This reflection happens when light hits the surface next to your object and bounces back. You will notice that these values blend into each other smoothly, which communicates to us the shape of the object. The only time you will see a hard edge is when there is a cast shadow, otherwise the tones change gradually. The closer the cast shadow is to the object, the darker it will be, fading as it moves farther away.

Control Your Pencil

The key to smooth shading is learning how to control your pencil. You need to be aware of how you hold the pencil, how you apply your strokes, and how hard you press. For darker shadows, press slightly harder and slowly lessen the pressure as you work away. Keep in mind that you shouldn’t have to press very hard; if you want darker shadows, build them with layers of graphite. Your pencil strokes should be even and regular. You don’t want to be able to see the paper between your lines. Try to make your pencil strokes in the same direction to get smoother results. This is easier if you hold your pencil closer to the end and at an angle, using the side of the lead to shade….

View the rest of this drawing lesson on shading techniques here.

Acrylic Painting Tips & Techniques For Beginners

August 18th, 2009

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Acrylic paint, when compared with other mediums like oil paint, is a fairly new addition to the world of painting. It has only been around since the 1950’s . It has been continually under development and refinement since that time. Just because acrylic paint has not been around as long as oils, does not make these paints less important or enjoyable.

Some of the wonderful benefits of using acrylic paints are their versatility, permanence and ease of use. These paints can be applied thickly as an impasto or in thin washes similar to watercolor. Acrylic paint does not yellow or harden with age like oils.

Another reason artists love to work with acrylics is their fast drying time. Since acrylic paint dries so quickly, colors can be applied and layered quicker than oil paints. But with this fast drying time comes a few disadvantages:

1) The paint will not remain workable for very long, so you have to work fast.

2) Brushes can be ruined if you do not clean them right away.

3) If you plan to paint outdoors, then acrylic paint is probably not the best medium to use, especially on a hot sunny day. When you lay out your colors on a palette or other surface, they will begin to dry quickly forming skins on the surface, making them quite difficult to work with….

Click here to read the rest of this post on acrylic painting techniques

Learn How to Paint Beautiful Roses in Watercolor…

October 27th, 2008

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About Doris Joa

My name is Doris Joa and I am an artist from Germany.

My mediums are watercolor and oil. One of my special favorite subjects are Roses and figurative work. I paint roses and also other flowers in oil and watercolor. Beside Pansies, Rhododendron, Peonies, Daisies and Tulips, there are a lot of roses in my gallery on my website like Heidi Klum Rose, Sangerhauser Jubiläumsrose, Rose “Mein schöner Garten”, Rose Golden Celebration from David Austin, Rose Innocencia, Rose New Dawn, Rose Clair Renaissance, Rose Queen Mother, Rose Bonita Renaissance and more.

My goal is to paint in romantic realism. I am also doing figurative work, portraits, still lifes and in 2005 I have started a new series of colourful Horse paintings in oil. I also have started with doing postcard paintings in 4?x6? and other small studies .

I have a great passion for nature and her beauty and try to capture this in my paintings. The sunshine, the shadows, the light and the glittering of a raindrop I find most captivating.

I love it when people tell me that when they view my paintings they can smell the flowers, feel the velvet of the rose-petals and have the feeling of standing in a garden.

Please be sure to visit Dori’s website to learn more about her and to view more of her work.

Her websites:

http://www.dorisjoa.com/

http://romanticrosesinwatercolor.blogspot.com/

How To Paint a Rose in Watercolor Step By Step

The Star of this painting and Demonstration will be the Rose painting “Open Arms”.
It is a beautiful climbing rose, which I bought new this year for my garden and I was lucky to see a lot of blooms.

I love the colours in this rose and I am looking forward to paint this rose.
Since I need time for doing a rose painting, I cannot paint from life, no rose would live such a long time.

Another reason is that I have two small kids, so I usually only have time to paint in the evening when they are sleeping – so I work from photos. Since this rose is in my own garden, I had enough time to really observe it and understand more about the colors.

I work only from my own reference photos.

I used a digital camera, Olympus C -750 Ultra Zoom to take the photos in this demo. It’s a great camera. I am able to see the details on the wings of a bee. I can zoom up to 40 times.

Now let us get started:

What do I need for a watercolor painting?

I need:

  • watercolor paper
  • brushes
  • paints
  • paper towels
  • and of course water.

And I will show you later some helpfool tools.

I am using only hotpressed paper. Most of the time I use 300 g (140 Lb) Arches hotpressed watercolor paper, but I am also using Lanaquarelle, also 140 Lb (300 g) and also hotpressed.

I do not see a difference between both brands, only that one is more expensive than the other.
I like the surface of this paper, it is wonderful for describing the finest detail and it is possible to paint the whole spectrum of texture. Hotpressed paper allows you also to paint in layers without disturbing underlayers.

One thing: As you know, I am a german girl, so please be kind with me about my english. When I do not explain good enough or when you do not understand things, what I am saying, please let me know. Thank you.

Back to the first steps:

I always stretch my paper.

You will need: your paper, a board, stretching tape, jar of clear water and paper towels.

I wet my paper in the bath or shower , place it on the board and wet the measured pieces of tape by wetting them in the jar of clear water. I then place the tape around the sheet of paper (it is half over the paper and half over the board). With the paper towel I go along the stretching tape to absorb the moisture.

Do not worry if there are still some buckles in the paper. When the paper starts to dry they will disappear.

I have a lot of colour tubes in my paintbox, but I do not need them all. Also I work with different palettes.

In the next photo you see these small porcellain palettes. These are my favorite. I always use a small palette for my flower colours, one palette for the leaves and one for the background etc.

My favorite brushes are Da Vinci Maestro brushes. I have them in several sizes, but most of the time I work with sizes 2, 3, 4 and 6. The points of these brushes are excellent.

Before I start, I would like to show you some helpful tools. I am sure you know what masking fluid is. I prefer to not use it as I do not like the hard edges that you will get. Also it is easy to ruin your brushes with it. When you use masking fluid, use only old brushes. When I have tiny highlights in my painting, which are very hard to save, I prefer to use Masquepen. It has a very fine point applicator.

Another helpfool tool is Aquacover.

Here is the excact description: Aquacover is a revolutionary new product from Creative Mark! Aquacover is a versatile product that will provide new avenues of creativity and alleviate a problem that has plagued watercolorists since the beginning of time. It is available in 5 shades of white that perfectly match the most popular watercolor papers used today. Aquacover is the perfect cover up allowing you to fix small or large areas quickly and painlessly. Once applied it dries in seconds and is permanent, non-cracking and non-yellowing. You can then apply color directly over it without bleeding! Aquacover is sold in 1oz bottles with dropper caps and is sold with our unconditional guarantee of complete satisfaction. Get a bottle today. We know you’ll love it! (Due to its thick consistency, Aquacover is best applied with a brush. We do not recommend the included dropper for direct application.)

I use Aquacover rarely, but it helps me to get highlights back. You can use it with your brushes, it doesn’t ruin them.

The next helpful tool is an eraser from Faber Castell called the Perfection 7057. It is a very hard eraser, which helps you to get highlights back when you later decide to add dewdrops and you have not saved the highlights before. It is a great tool.

Click Here For Part 2 Of This Watercolor Painting Lesson >>

Getting to Know Your Watercolor Palette By Angela Fehr

October 17th, 2008

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Getting to Know Your Palette Part 1

These are the colors that are currently in my watercolor palette. I use mostly Winsor & Newton tube paints, and I squeeze them on to my palette and allow them to dry. This makes my palette portable, and shortens my prep time. I also find I waste less paint this way.

Click Image For Larger View

Some colors here look quite similar – for example, the cobalt blue and ultramarine. They are different, but similar enough that I could probably use one or the other. I use about 3x as much cobalt as ultramarine, but I keep ultramarine in my palette because it is a granulating color and so it has a different texture when dry than cobalt. But I use cobalt for mixing with burnt umber to obtain my favorite gray.

Speaking of burnt umber, I really don’t like Winsor & Newton’s burnt umber. It is lighter than I am used to (not sure what my previous brand was) and also more orangey. I bought a tube of sepia recently, in search of a darker brown, but I need to make space for it in my palette. Maybe I’ll get rid of the Winsor Yellow light – I rarely use yellow, and when I do I use Gamboge or Raw Sienna. Not sure if Raw Sienna counts as a yellow.

My quinacridone and permanent rose magenta are also very close in hue. I will remove one from my palette, but I’m not sure which yet. I’ll check the labels to see which one is most lightfast, and which one is most staining, and decide from there.

I’m planning a part two of this post, showing a sheet where I’ve mixed all the colors. And a part three comparing staining & non-staining, opaque and transparent might also be a good idea.

If you are starting out in watercolor and aren’t sure what to purchase, don’t feel like you need to copy my palette. Get some basic colors and familiarize yourself with them. Make some swatch charts, one of pure colors like the one above, one showing gradation of each color from dark to light, and one mixing each color with the other colors in the palette. Then paint a lot and get used to the colors you have.

The paint colors I would recommend for a beginning watercolorist are:

Raw Sienna

Gamboge Hue

Burnt Umber

Sap Green or Hooker’s Green

Cobalt Blue

Cadmium Red Med. or Dark

Quinacridone or Permanent Rose

From these you can mix nearly every other color you might desire.

Getting to Know Your Palette Part 2

Click Image For Larger View

Color Mixing Chart for Watercolor based on Angela Fehr’s palette

Part two of getting to know your palette is all about color mixing. In part one you used water and paint to lay down a block of each hue, and if you did as I recommended, you went a little further and varied the ratio of water to pigment to gradate each color from dark to light, and are now familiar with the pure colors in your palette.

However, in watercolor (and perhaps in all painting disciplines), the artist almost never uses pure color - at least not in representational art. While pure Hooker’s Green will look phony and plastic for foliage, when mixed with a little red or brown, it rings much truer and more natural.

In order to know what colors to mix to get the hues you desire you need to experiment and get familiar with the results of different color combinations. With only a few colors, the combinations are vast, and I have used only six colors from my palette for the sample color mixing chart above. Click on the image to enlarge it.

I painted each of the six colors twice, once along the left side of the paper, and once along the bottom. Then I mixed each color along the bottom with the colors along the left, stopping before I started repeating mixtures or mixed a color with itself.

As you can see, some of the hues are pretty predictable, or are not too visibly altered. Some colors (like cadmium red) are opaque and dominant their more transparent companions. The interest is in the colors that dramatically change – like the browns created by mixing hooker’s green with the two reds. Used in its most saturated form, cadmium red and hooker’s green would make a great black, don’t you think? Like many watercolorists, I prefer mixing my darkest (black) values from two opposite colors, making a richer, deeper, more “alive” hue than using black paint.

Also, look at the green created by mixing hooker’s green and new gamboge. Another example of a color brought alive by adding another hue. Hooker’s green is a gorgeous green anyhow, but when combined with other colors it just gets better.

My standard gray is also here on this chart – the combination of cobalt and burnt umber. I’m not overly enamored of my Winsor & Newton burnt umber – it’s too light and orange-y, in my opinion, but it still makes a rich grey shade that I use frequently. By varying the proportions of burnt umber to cobalt blue, I get a wealth of grays, and when I have a little purple in my palette, I throw that in, too!

You can expand this exercise by mixing your palette’s colors in a variety of saturations. Try increasing or decreasing the water in the mixture to see the resulting color when lightened or intensified. Increased familiarity with color mixing and what each color can do will increase your confidence as a painter.

Step by Step Portrait Painting Instructions By Karin Wells

October 5th, 2008

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There are a LOT of ways to paint a portrait. I use several different methods (and sometimes combine them) depending on what I think is best at the time. Sometimes I even remember to take pictures of the process.

Gwyneth Demo 1

This portrait of Gwyneth (20″x24″, oil on linen) won the Certificate of Excellence at the Portrait Society of America’s International Portrait Competition in Philadelphia this year (2008).

Here’s how I did it:

Gwyneth Demo 2

This a drawing on Acetate. I use prepared acetate instead of tracing paper because I can see through it. Believe me, it comes in handy later in the painting if my lines begin to “wander” and I need to correct.

I use a “Sharpie” Permanent Marker as it makes a clean line and doesn’t smear.

I use a sheet of graphite paper and a ballpoint pen to transfer the drawing to the canvas. Acrylic paint will cover graphite (pencil). Oil paint will not cover graphite so if I were painting in oil, I’d need to erase my original lines and replace them with a Sharpie line.

Gwyneth Demo 3

I used acrylic paint for my first layer. In order to do this, I needed to use an acrylic primed linen – acrylic paint will not stick to oil primed linen and will not be archival.

I use Golden Matte colors. I try to stick to the dull halftone, neutral earth colors.

For the color “white” I choose a dull warmish neutral – about the value of a brown paper bag. Nothing will be lighter in value than this.

If my subject has light skin, I use the same paint and color for the skintones as my “white.” If my subject has darker skin, I deepen the value accordingly.

Gwyneth Demo 4

I may need to put on more than one layer of paint in order to cover the canvas and make it flat – like a poster. It is a good way to lay down my basic composition and make a definite statement of shape.

Two thin layers are much better than one thick layer. And I try not to leave ridges.

Posterizing is a good way to see if a composition works. This layer could be in oil but acrylics are a faster way to saturate the canvas.

I chose a medium value paint for all the objects and was thinking “halftone” (the space between light and shadow). Once the white of the canvas is covered up – it doesn’t look so dark.

I always establish black and white immediately in an underpainting. It will help all the other mid-range values fall into place.

Gwyneth Demonstration Part 2 >>