Beginners Oil Painting Tips and Advice - One Basic Approach to Creating an Oil Painting

In this article I will give you an overview of my personal approach to the creation of an oil painting. There are of course many valid approaches to painting and with experience you will develop your own specific approach. But if you are a beginning painter you may want to try and practice the following approach.

The Drawing Phase - Usually I first execute a regular drawing on the canvas. This drawing can be anything from a few lines to a completely detailed map of all the forms. This may even include indications of where the lights and the darks are and what colors need to be used.

A good drawing tool for an oil painting is charcoal. Of course, the best tool is some neutral mixture of thinned paint and a brush. However, this takes some getting used to. Often, I actually use a graphite pencil and when the drawing is finished I spray the drawing with workable fixative.

The advantage of starting with a drawing is that many important decisions can be made up-front and that everything is in place by the time you finish the drawing. After that, all that is left is painting.

The Block-in Phase - This is the first painting phase. I use fairly thinned-out paint and a brush that feels a little large than it should be. Here you focus on the big shapes that you see in your drawing. Don’t pay attention to detail. What is important here is that you observe the colors of the shapes correctly and that you maintain the integrity of the drawing.

Usually I start out with the dark shapes. Then I proceed with the brightest colored shapes, always making sure the colors stay harmonized. Finally, I put in the more subtle colors many of which will be duller and more difficult to judge.

Again, in this phase hold back on painting details. Maintaining the correct geometry of the large shapes, their exact color (hue, intensity, and value), and their correct position within the composition is the task at hand. And don’t forget to include the background.

At the end of this phase my canvas is usually completely covered with paint, i.e., no white areas are left unpainted. This gives you a good idea of how all the colors look like relative to each other and if they harmonize without the influence of bright white areas.

The Shaping Phase - Now you can begin to model the large shapes and refine them so they start to resemble the actual objects you are trying to paint. In this phase I use a thicker paint than in the Block-in Phase and also a somewhat smaller brush. Also, I refine the color relationships in terms of hue, intensity, and value as best as I can.

This phase usually requires the most time and effort. Still, do not be tempted to put in fine detail. At the end of this phase you should already have a very good idea of how the end product will look like.

The Detail Phase - This is the last phase. This is the time to indulge in the details. Details include things like small twigs, pupils and irises for the eyes, small lines and curves, and highlight, in other words, anything that cannot be done with a large brush. Some details require thin paint (best done over a dry underground) and others, such as highlights, often require lots of thick paint right out of the tube.

The above guidelines are admittedly not complete in detail but are a good starting point for any beginning oil painter.

For more tips in the neighbor area - read how to draw with pencil.

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Beginners Oil Painting Tips - The Ideal Color Wheel

The simplest color wheel consists of a circle divided into six equal wedges. You color the top wedge, say, in yellow (the first primary color). Then going clockwise, you skip a wedge and color the next one in, say, blue. Finally, you skip another wedge and color the next one in red (the third primary color). The respective uncolored wedges will be filled in with the secondary color produced by the mixture of the two neighboring primary colors.

None of the tube colors you can buy in the art stores are pure. For example, both Lemon Yellow and Cadmium Yellow obviously look yellow. However, if you mix these two yellows with another color, say, Cadmium Red you will get two different oranges.

In general, tube color mixtures will yield secondary colors that do not always answer your expectations. Sometimes they will be really off. You may, for example, expect green but get a dirty brown instead.

This reason for this is that tube colors invariably have one or more undertones, i.e., colors that are different from the dominant hue and are present in small amounts. It is these undertones that can change the expected character of a mixture in often drastic ways. So, it is true that red and yellow, for example, generally make an orange but certainly not always a clean orange and sometimes even a color that cannot be called orange.

However, the palette consisting of the following three tube colors will always give you very decent secondary colors:

1. Lemon Yellow

2. Permanent Rose

3. Phthalo Blue (Red Shade)

Here are the properties of these three tube colors:

Note that White and Black are generally not classified as colors.

Lemmon Yellow - Lemmon Yellow is a cool, greenish leaning, and opaque yellow. This yellow is a medium-to-slow drier with medium to low tinting strength.

Permanent Rose - Permanent Rose is a cool, violet leaning, and transparent red. This red is a medium-to-slow drier and has a medium tinting strength.

Phthalo Blue (Red Shade) - Phthalo Blue is a cool, green leaning, and transparent blue. This blue is a medium-to-slow drier and has a very high tinting strength.

These three primary colors are made from synthetic organic pigments and produce very agreeable and clean secondary colors. Lemon Yellow and Permanent Rose despite their respective leanings still make a clean orange mixture. Phthalo Blue (Red Shade) and Lemon Yellow yield an excellent green. Finally, Phthalo Blue (Red Shade) and Permanent Rose result in a first rate violet.

It is possible to improve on this three-color palette if we use two versions of each primary color. We choose them in such a manner that, for example, one version of yellow has an orange bias and the other version of yellow has a green bias. Similarly, one blue will lean towards green and the other towards violet. Finally, one red will lean towards violet and the other towards orange.

Here then, is the ideal six-color palette:

1. Lemon Yellow (green bias)

2. Cadmium Yellow (orange bias)

3. Cadmium Red (orange bias)

4. Permanent Rose (violet bias)

5. French Ultramarine (violet bias)

6. Phthalo Blue (Red Shade) (green bias)

Now, Lemon Yellow and Phthalo Blue (Red Shade) will give a superb green because both colors have a green bias. Similarly, Cadmium Yellow and Cadmium Red will give a brilliant orange because both have an orange undertone. And Permanent Rose together with French Ultramarine will produce an outstanding violet because they both have a violet bias.

Together with Titanium White and Ivory Black the above six colors form an excellent beginning palette that can produce an amazing number of excellent secondary and tertiary (i.e., a mixture of three or more colors) colors.

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Fundamentals of How to Draw with Pencil - The Form of Objects

Ultimately, it is the drawing of form that is most responsible for the reproduction on your drawing paper of the actual scene.

It is important to possess a simple but complete mental image or memory of the property of form. This mental image is very useful to you as a pencil artist because it will lead you to a simple and systematic way of approaching the drawing of any object under the sun. It will give you the essential tools of the first phase of a drawing.

The idea of dealing with the numerous forms that constitute any real scene involves a visual decomposition of the scene’s forms into a set of basic geometric forms followed by a reconstitution of those forms into a likeness of the original real object.

After analyzing the form of numerous objects, artists of the past came to the following conclusions.

All object forms can be seen as a composition of four basic geometric solids: the brick, the sphere, the cylinder, and the cone.

Of course, the actual forms will almost always deviate somewhat from these perfect geometric forms so that part of the drawing process will consist of adding the variations. But all that is done in a later phase of the drawing process.

Concentrating on those four large geometric forms allows you to much better see the overall structure or composition of the global scene you wish to draw.

The extent of these large forms is fairly easy to discern and the dimensions easily estimated. Therefore, the large forms can be drawn first without paying any attention to the myriad of details.

Drawing a real scene while constantly thinking of bricks, spheres, cylinders, and cones will automatically give your drawing three-dimensionality and a certain amount of gravitas.

This approach to viewing a scene, i.e., seeing the scene as a composition of basic solid geometric shapes, naturally separates the big picture from the details and gives you an excellent starting-point for tackling any drawing.

Once the large geometric shapes are in place you should already see a good likeness of the scene as a whole. You can then concentrate on the details without having to worry about whether or not all the objects are in the right overall position.

In this article we developed a method which initially views an arbitrary pictorial scene as a composition of four basic geometric shapes: the brick, the sphere, the cone, and the cylinder.

The task then is to render each basic geometric shape while at the same time reconstituting the overall scene, i.e., putting each geometric form in its correct position.

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Beginners Oil Painting Tips - Advanced Palette

In this article I will discuss the tube colors belonging to an advanced palette based on a basic 6-color palette. I find these colors the most useful and often necessary to round out a versatile palette.

The 6-color basic palette consists of the following colors:

1. Lemon Yellow

2. Cadmium Yellow

3. Cadmium Red

4. Permanent Rose

5. French Ultramarine

6. Phthalo Blue

To these 6 colors we, of course, add

7. Titanium White

8. Ivory Black

Note that you can already create amazingly diversified paintings with the above palette. But, for various reasons, artists tend to add a variety of other colors to their palette. One reason is that tube colors are, by and large, always brighter than mixed colors. Other reasons have to do with the tinting strength or the undertone of certain tube colors. Or, maybe just because a certain tube color looks particular good to the artist and can not easily be mixed.

Here are a number of tube colors I like to work with beyond the ones already mentioned:

Burnt Sienna - Burnt Sienna is a warm, orange-red, and transparent brown. This brown is a medium-to-fast drier and has a medium tinting strength.

Cerulean Blue - Cerulean Blue is a cool, green leaning, and opaque blue. This blue is a medium-to-fast drier and has a medium-to-low tinting strength. Mixed with Lemon Yellow it yields a spring green.

Cadmium Orange - Cadmium Orange is a warm, red or yellow leaning, and opaque orange. This orange is a slow drier and has a high tinting strength. Mixed with Permanent Rose it yields a sharp hot orange.

Cadmium Yellow Light - Cadmium Yellow Light is a warm/cool, somewhat green leaning, and opaque yellow. This yellow is a medium-to-slow drier and has a high tinting strength. Mixed with Cadmium Red Light it yields a bright orange.

Cadmium Red Light - Cadmium Red Light is a warm, orange leaning, and opaque red. This red is a slow drier and has a high tinting strength. Mixed with Cadmium Yellow Light it yields a bright orange.

Yellow Ochre - Yellow Ochre is a warm, brown leaning, and opaque yellow. This yellow is a medium-to-fast drier and has a medium tinting strength. Mixed with Cadmium Yellow it yields a glowing sandy color.

Burnt Umber - Burnt Umber is a warm, red leaning, and fairly transparent brown. This brown is a fast drier and has a medium-to-high tinting strength. Mixed with Cerulean Blue it yields a series of colors from green-gray to green-brown.

Viridian - Viridian is a cool, blue leaning, and transparent green. This green is a medium drier and has a medium tinting strength. Mixed with Burnt Sienna it yields a nice fall green.

Cobalt Blue - Cobalt Blue is a cool, violet leaning, and semi-transparent blue. Mixed with Permanent Rose it yields a glowing violet.

There are few more colors I use occasionally, such as Dioxazine Purple, Permanent Sap Green, Raw Sienna, and Raw Umber. But the palette here described has more than enough colors in it to paint just about anything as long as you also use mixtures of these colors.

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In my quest for better color printing from my computer (for the Raleigh, Cary and Apex NC area), without going to extreme expense, I have discovered that refilling inkjet cartridges and toner cartridges is the best option. My investigation led me to an outstanding business that specializes in inkjet ink refills and laser toner refills and they have given me a great deal of quite beneficial information that I would like to now share with you.

Cartridge World of Raleigh has raised the bar in the inkjet cartridge refill industry. Once this work was done mostly by local businesses with no technological support. Now, Cartridge World USA is a world wide company with the extensive R&D and support necessary to provide results as good, or better, than the original manufacturers.

Using the most cutting edge technology and processes, this company is constantly striving for the perfect refill. They carry over 150 different inkjet inks and laser toners to ensure their products deliver at least the same quality than the original.

When you bring your empty cartridge to Cartridge World of Raleigh, they will perform a rigorous process to deliver that quality, here’s that process:

Laser Toner Cartridge

1. A Cartridge World of Raleigh employee will most likely ask you how long your inkjet cartridge has been empty or out of use.
2. The inkjet cartridge will then be given a “footprint test” to see if the printhead has dried up.
3. The inkjet cartridge will be weighed to see how much ink needs to be replaced.
4. The inkjet cartridge will be cleaned with special solutions that allow the printheads to open again if previously clogged.
5. The inkjet cartridge will then be filled with the appropriate type and amount of ink that is specific to your cartridge requirements.
6. After refilling, your inkjet cartridge will be put into a live printer and tested 3-7 times to assure the highest quality standards;
7. After successful testing, your inkjet inkjet cartridge will be packaged and ready for you to take home.

Inkjet Cartridge Refill

1. Your empty toner cartridge will be completely disassembled.
2. Every part of your toner cartridge will be cleaned and inspected for damage.
3. After replacing the parts that are damaged or worn, the toner cartridge will be reassembled.
4. The toner cartridge will then be filled to its capacity with toner specific to your cartridge requirements.
5. Your toner cartridge will then be tested in a live printer for ten to twenty pages to assure the highest quality standards.
6. After successful testing, your toner cartridge will be packaged and ready for you to take home.

All of Cartridge World refilled and re-manufactured cartridges are backed by the Cartridge World 100% Satisfaction Guarantee, which you can check out on their web site.

Once you get back to your home or office printer with your refilled inkjet cartridge or toner cartridge you can quickly and simply reinstall it into your printer.

Of course no matter how careful we are sometimes mistakes happen and you spill toner or ink.

If that happens and your hands or clothes become stained with toner, wash them with lukewarm water and soap. For toner on your clothes, simply brush off outside in the open air. Do not wash toner-stained clothes in hot water as the toner will set into a permanent stain, use cold water only.

I hope this was beneficial.

Photography is an artistic skill adopted by some as a hobby while as a professional job by others. It is not only a specialized skill, but can also be a profitable one as well.

Professional photographers capture amazing moments of our lives, and some gain a following of fascinated viewers over their great pictures. They display their work in newspapers, art galleries, and leading magazines.

The Growth of the Profession

Professional photographers nowadays have excelled to the point of providing great development to both the world of media and digital photography. Many have “stumbled” into it as a profession only because of its commercial value, such as photographers who are hired to take pictures of weddings, birthdays, graduations and other memorable life events.

Though potentially a profitable profession, photography is not just a skill learned through training but the really creative ones tend to have a natural talent as well.

Despite that, it is still important to learn different techniques to achieve good photography results. Learning different skills also complements and enhances natural talent.

Tips for Securing Photography Work

Below are some optional fields for those who might pursue photography as a profession:

1. Advertising is a good area where a photographer is hired to provide photographs of market specific materials such as promotional brochures, catalogs, and annual reports.

2. You navigate through the bio-medical field. In this specialization, a photographer produces illustrations of different images related to medicine.

3. Digital imaging firms provide another source of photography needs.

4. Setting up a photo laboratory and studio is a possibility. You can use it to produce printed digital photos. This also helps you learn to manage equipment. From this experience, you will be able to provide services in other commercial studios, including schools located close to you.

5. You can find a job in the entertainment industry where a photographer takes on-set shots for various projects.

6. You might consider opening an art gallery where you allow other photographers to exhibit their work along side of yours.

7. Specialization in photojournalism. You can post your work on human interests, nature, behavior, etc. in magazines and newspapers.

8. Image editing and archiving are skills that can be learned as a profession. For example, you might catalog photographs in city libraries and even in schools. You can also become a photograph editor for some online web sites related to imaging.

9. Another means of earning an income is through portraiture. In this photographic profession, you typically earn commissions through public engagements and other commissioned works.

For those interested in a photography profession, the earnings potential is high. However, that projection is tempered by the fact that the photographer needs to develop expertise and a significant depth of understanding in the technology of this field.

Many beginners receive good advice from experts or mentors and religiously adhere to it. Others learn primarily through training and practice on their own. The best way to decide which specialized field to pursue is to tap into available professional resources who can provide details and clarity to your inquiries.

Tips for Beginners Oil Painting - Supplies

Of course, before you can start a painting you have to have a number of art supplies. There are hundreds if not thousands of supplies and gadgets related to painting and on top of that many brands to choose from. Here, we will list the most essential tools you need to create an oil painting, that is, at least the way I create such a painting. Here we go.

Brushes - Again, there are hundreds of kinds of brushes and many different brands. But to start, you really only need a few filbert brushes of fairly good quality (if you can afford them).

1. One large no. 10 or 12

2. One or two no. 8’s

3. One or two no. 6’s

4. One small no. 2

The reason I suggest filbert brushes is that they more or less combine the capabilities of a round and a flat brush. Also, the main reason we need two brushes of the same size is that we can then use two colors at the same time. That means, less brush rinsing.

Canvas - A bunch of canvases. At this time I suggest you buy pre-stretched canvases so you can start to paint immediately. Good standard starting sizes are 16″ x 12″ or 18″x24″. You can also use canvas panels which might sometimes be cheaper depending on where you buy them.

Easel - You need an easel to put your canvas on. Try to buy a sturdy easel. In fact, you could even make your own easel out of wood if you are a bit handy.

Palette - I prefer to a paper palette of at least 16″x20″. I actually use an 18″x24″ which gives me even more room. These palette sheets come in pads of 50 sheets and are not very expensive. You use them to mix your paints on.

Paints - Yes, you do need paints! Try to buy tubes containing at least 37 ml of paint. Some brands have tubes of 200 ml and for certain colors (such as white) they may even offer larger containers. The totality of tube colors you use is also called a palette. As a starting palette I suggest the following colors.

1. Lemon Yellow

2. Cadmium Yellow

3. Cadmium Red

4. Permanent Rose

5. French Ultramarine

6. Phthalo Blue (Red Shade)

7. Titanium White

8. Ivory Black

Of course, as you get more experience, you can add some tube colors. But for a start use as few colors aspossible. The above colors let you produce very clean secondary colors and all sorts of tertiary ones as well. Secondary colors are colors that are made with two colors and tertiary ones are colors that are made with three colors.

Turpentine - If you use real oil paints then you need at least a quart of turpentine or a substitute. If you use water soluble oil paints then all you need is regular water.

Odds and Ends - If you use real oil paints you need a small container of linseed oil. You could also get a can of retouch varnish spray. And finally, also a few rolls of paper towel.

This is about the minimum you need to start oil painting. I suggest going to a few art stores and see what they have. You can even check out some of the Internet stores and maybe purchase some of the tools that particularly useful to you.

For the tips about how to draw with pencil - read the tips on this site.

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Pet Art: Creating Great pet canvas prints

It’s a fact: we all love our pets. It’s not surprising, then, that more and more pet lovers are buying canvas pet prints in order to display and preserve their favorite images of their four legged, feathered, and finned friends. But getting great digital photos of pets can be about as frustrating and time consuming as getting a three-year-old to look at the camera, so maybe you could use a few tips and tricks for taking digital pictures of your pet.

Fit in with your pets Schedule

No point asking your Alsatian to “turn to mummy dear, that’s it smile now” unless you are Doctor Doolittle, better to think natural, consider taking pictures of your pet in their natural environment, does your dog maybe wake you in the mornings, or its tall wags to tell you it’s feeding time, maybe your cat plays with the cushions on your sofa, does your parrot sit on your husbands or daughters shoulder almost every time he is let out for his/hers flight. Spend a few moments observing your pet’s behavior and pretend you have your digital camera handy, size up the shots, once you have an idea for a good shot, get snapping, and be prepared to take 5 to 15 pictures, this way one of your pictures will most likely be “the shot” and perfect for your canvas pet print.

Use Available Light

Even humans aren’t crazy about flash photographs, and for pets the sudden, blinding light can be demoralizing, if not downright scary. For that reason, try every way possible to take your pet’s pictures in a place with lots of natural light. If your koi pond is in heavy shade, you may need to set up some sort of light stand or, at the very least, tape a piece of cheesecloth over the flash attachment to diffuse the light for a more natural look.

Get some help

Not unlike young children, pets have not the longest attention spans (except cats, who know exactly what you want, but won’t do it, just to make you crazy). For that reason, if you know someone who can try to keep the pet’s attention with a favorite toy or treat, that can help you capture the perfect image to make your canvas pet print.

Choosing Your Canvas Pet Print

If you’re working with a professional canvas printer, chances are that you’ll have a choice of finishes, effects, and other aspects of your canvas print in order to bring out the very best in your pet’s image. “Brushstroke” finishes can lend an extra artistic touch to your canvas pet print. Using a “charcoal” or “watercolor” effect may be just the right way to accentuate your cat’s personality or bring out the graceful lines of your angelfish and black mollies. Once you select the provider for your canvas pet prints, ask about frames, print sizes and special options offered. You’ll also want to inquire about photo editing services, as well as the type of canvas and ink used to make your canvas pet print. If you expect your image to look beautiful for many years, be prepared to pay more for the highest quality archive-grade canvas and pigment based inks that have the greatest levels of light resistance. Size of the finished canvas print also affects pricing. For the highest quality pet canvas prints, turnaround times can range from 20 days to a couple of months, unless you opt for the additional expense of express processing. You may also want to inquire about framing options.

Some photographers need to get special clothes for their subjects or bring makeup artists to fix the faces of their subjects. Some have to use air brushes to make their subjects appear younger or prettier. Nature photography strives to capture the beauty of the natural world, and there is plenty of material for their quest. The artists of nature photography seek out the glorious creatures and scenes that appear in the natural world. They do not usually have to apply anything to make their subjects more glorious. The stripes on a zebra or the markings on a lion provide plenty of material for the great photographers of nature.

The beauty inherent in nature and Female Model does not mean that these photographers can just point their cameras and shoot their subjects. Their passion for nature photography leads them to find aesthetic angles for their photographs. Nature photography usually uses natural light to capture the images. The light from the sun is their ally and also their enemy. The great photographers of nature photography must know and use this resource for the most spectacular effects. A magnificent mountain photographed at dawn will probably provide a more glorious photograph than the same mountain photographed at noon.

Nature Photography Captures Diversity

The photographers devoted to capturing the images from nature and Model Posing have a wide variety of subjects. They have black bears in the mountains or white bears on the ice. These photographers capture the vicious lions devouring a helpless, gentle creature. These photographers capture images of towering mountains or the barren deserts around the world. Their subjects are everywhere. Photographers devoted to nature have subjects in Kenya and others in Mongolia. There are wonderful photographs from Timbuktu and others from Los Angeles. These photographers capture delicate orchids in Bangkok and sticky cacti in Phoenix.

The great photographers of nature have provided information for generations to come. Their subjects include exotic monkeys that might not survive until the next millennium. They capture the prairies that might be filled with housing developments in twenty years time. Their subjects that roam free currently may only appear in zoos a hundred years from now. Some of their subjects are easily viewed today but may be controlled by a ruthless dictator who outlaws tourists next year. The work of the photographers of nature provides the current population with images from nature that has been changed since they snapped those pictures. The photographers devoted to nature and Model Posing Techniques now capture scenes and creatures that may disappear before the next generation gets to see them.

Beginners Oil Painting Tips - The Skill of Seeing Color

Color is the central component of painting. It is what makes it a unique art form. Therefore, it is essential that we develop the skill of seeing colors as they really are. Here are some tips to help you with this.

Prejudice - The first step in learning to see color correctly is to get rid of all built-in preconceived notions about color.

The brain (luckily) has the ability to filter the myriad of visual impulses and often fills gaps with stylized memories of reality. Unfortunately, stylized color memories are often very wrong.

So, we must learn to approach the observation of each color as if we see it for the first time without prejudice.

Local Color - Each object has its own color which is sometimes called the object’s local color. It is the color of the object when seen in normal daylight.

Light - The local color of an object will be affected by the light that shines on it. We must realize that all surfaces are to some degree reflective. In other words, the local color of an object changes when subjected to light and we must be aware of those changes.

For example, let’s we have a perfectly red apple. That is, the local color of the entire apple is red. When a yellowish light shines on this apple sideways we will observe that the lit side takes on an orange undertone and that the side in the side receives a violet bias which is the complement of yellow.

Harmony - A lit scene is naturally harmonized. The light that spreads over the scene has the effect of changing all the local colors in such a way that all colors become harmonized (i.e., simply put, the colors go together).

For example, the colors you observe in an actual landscape will always be in harmony. This is because the light source (the sun) drenches the entire scene. This is not the case when you put together an imagined scene in your studio. Indeed, it takes a bit of color theory knowledge to produce a harmonious painting.

Nomenclature - There is also the matter of nomenclature. People tend to use special names for certain colors such as lemon green, navy blue, etc. This is not the best way to go about describing colors.

A better way is to start with the three primary color names: red, yellow, and blue. Add to these the names of the three secondary colors: orange, green, and violet.

Then, a color that looks like red but has an orange bias is called orange-red. A color that is clearly yellow but has a green undertone is called green-yellow. Or, a green that has more yellow than blue in it is called a yellow-green. And so on.

Tertiary colors often have a clear secondary nature with a bit of a third color added. For example, we can speak of an orange-red with a touch of blue or white.

This way of thinking about color also aids us with color observation. When you see a color you can start by identifying the overall primary color. Then you can try to judge if there is a bias to that primary color. And finally, you can try to gauge if there are touches of additional colors visible in the mix.

At the same time, this approach also gives you a methodical approach to mixing the observed color on your palette.

In the end, as is the case with so much in painting, learning to observe colors correctly is a matter of practice and experience. The above tips, however, should help in this endeavor.

I am also giving useful tips about how to draw with pencil here.

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