Learn to… Art!

Tips for Mixing Oil and Acrylic Paints

Mar 28, 2010 Painting

When painting for the first time, mixing colours can seem very complicated. If you freeze when faced with a palette full of nice, new, fresh-from-the-tube paints, then these tips are for you!

• Go slowly and add little bits  of colour at a time. Some paints are “stronger” than others and you only need a tiny bit for tinting.
• Mix dark into light; the dark colours will quickly over-power the lights.
• Make sure your palette is large enough that you have a decent space for mixing. A yogurt lid may not be big enough!
• A tiny bit of solvent for oils and water for acrylics can help make your paint go further. If you find your acrylics are drying much too fast, you can get a retarder to slow it down some.
• If you want to mix a “clean” secondary, choose primaries that lean toward that colour. For example, for a clean orange, choose a red and yellow that leans more towards orange (you should be able to tell just by comparing two reds which one leans more towards orange or violet).
• Try not to mix too many pigments all together; you will likely end up with mud! Remember that the three primaries mixed together will create grey, so if you’re using three pigments that contain the primaries between them, you will get grey too.
• If you do end up with grey, stop. Don’t try to add more and more paint to fix it. The easiest thing to do is wipe it off your canvas or palette and try again.
• Experiment with mixing using a brush and with a palette knife; see which one feels better to you.

On the Palette or On the Canvas?

When painting with oils and acrylics, you have two choices of where to mix your paints.

Mixing on the palette is probably the most common way to start out. This lets you mix and mix and mix until you feel ready to apply the paint. The problem with this technique is that you won’t truly know that you’ve mixed the right hue until you put it to the canvas and see it against the rest of your painting. To get around this, periodically hold your brush up to the canvas while you mix to make sure you are getting the right colour.

Mixing on the canvas is when you apply a pigment, then add another into it to create a new colour. This lets you instantly react to the painting as it progresses, but it’s trickier to do. You need to work quickly, especially with acrylics, and you run the risk of over-mixing and making mud.

Each technique has its pros and cons, but I encourage you to try both and see which one is more comfortable for you.

Finding the In-Between Colours

Sometimes it can be a challenge to see beyond the basic hues of the colour wheel: red, yellow, blue, green, orange, and violet. In reality, there are an infinite number of colours that can be mixed with the three primaries and some neutrals. The trick is to train yourself to see the colours that fall inbetween the tubes of paint you have; in other words, the colours that you can mix.

In general, it’s best not to use colours straight from the tube. These pigments are very saturated and are not often found in nature. Even if you want a very intense red, for example, it is a good idea to tint it slightly with a neutral colour to create an intense red more suited to the colour palette of your painting.

A great way to learn what colours you can make with the paints you have is with a colour chart. When you have some spare time, sit down with your paints and start mixing them all, keeping track of your combinations. When you’re finished, you’ll have a chart that shows you all your colour possibilities!

Have a look at this excellent article that goes into much more detail about creating a simple colour chart.

PS: As the end of March draws closer, I’m working on the next issue of the Learn to… Art! newsletter. Get it here!

Tags: acrylic painting, mixing, oil painting, paintings, palette

Writing an Exhibition Proposal

Mar 23, 2010 Promotion and Exhibition

Just to clarify: an exhibition proposal can be one of two things: the entire package you submit to a gallery for an exhibition, or an individual document within that package.

I’m sure there are different names for each, but this is what I’ve always known them as… sorry for any confusion!

Today we’ll be talking about the exhibition proposal, the individual document. This is probably one of the lesser well-known elements of the proposal package, but it’s very important!

You’re probaly more familiar with the statement and artist CV, which discuss you as an artist and your artwork in general.

The exhibition proposal should address details specific to the exhibit you are proposing, including any practical concerns.

Consider these questions:

• Which art pieces will be included? (if different from your submitted portfolio)
• How many pieces?
• What size, or what is the range of size?
• What is the depth?
• What is the physical form of the work?
• Is there a specific way you’d like the work displayed? Arrangement, lighting, or any other unusual considerations.
• How does the work hang? (By wire, by the canvas frame, etc)
• Is the work framed?
• How heavy is it?
• What type of hardware is needed? (nails, screws, reinforcements, etc)
• For sculpture, do you need plinths?
• For multi-media work, do you need electronic equipment or plug-ins?
• Anything else the gallery may need to know about the physical and practical properties of your show.

These details will help the gallery’s selection committee decide if they are equipped to host your show, and also lets them know what they will need to do and provide to display your work.

Read my other articles to find out how you can get your work into galleries and learn about the other essential elements of your exhibition proposal.

Tags: exhibitions, galleries

Learn to… Art! Nominated for a Kreativ Blogger Award

Mar 19, 2010 Special Bulletins

Pay It Forward With Blogging!

I am so pleased to be writing this! I was recently nominated for a Kreativ Blogger Award by Daniel over at Art Marketing Secrets.

Some info about the award:

Kreativ Blogger originated in May 2008 in a post by Huldas Verden. The Kreativ Blogger award comes with the following requirements:

The Rules

1. You must thank the person who has given you the award.
2. Copy the logo and place it on your blog.
3. Link the person who has nominated you for the award.
4. Name 7 things about yourself that people might find interesting.
5. Nominate 7 other Kreativ Bloggers.
6. Post links to the 7 blogs you nominate.
7. Leave a comment on each of the blogs (or Twitter) to let them know they have been nominated.

My 7 Things…

1. At one point in my life, my ambition was to be an astro-physicist. I didn’t even know what this was, I just thought it sounded cool! Then I got to high school and discovered that physics went right over my head.
2. I sometimes wonder if I’m too honest for my own good.
3. There’s not many TV shows that I watch faithfully, but I will get sucked into just about any reality show. The lamer, the better. Call it a guilty pleasure; I know it’s stupid, but once I’m there I can’t get away!
4. I used to be a big coffee drinker, but since traveling to England this summer, I’m all about the tea!
5. One of my favorite breakfast foods is Life cereal with cheese. When I was a kid, I had an aversion to anything soggy, so refused to eat this cereal with milk. My mom, wanting me to get my calcium, thought to add little chunks of cheese. Of course, I didn’t know anything about this, I just thought it was a fun way to eat my breakfast!
6. I read a lot. I love a good story, regardless of its genre, but my all time favorite is fantasy. I have a collection of my favorite series and I re-read them every few years.
7. For several years I was involved in a Medieval re-enactment group.

My Nominations

Nemo - no-nonsense tips from the artist called Nemo.

Fine Art Tips - great advice from Lori Mcnee.

Creative Influences and Musings - thoughts and musings about creativity by Kim Rodeffer Funk.

The OrbisPlanis - art advice and musings from Byrne Smith.

Dirty Footprints Studio - how to live a creative, juicy life with Connie Hozvicka.

Kirsty Hall - art advice from the artist and curator.

The Studio Source - art and marketing tips from Stacey Cornelius.

Thanks again, Daniel, for thinking of Learn… to Art!

Tags: messages

Getting Involved in Your Arts Community

Mar 17, 2010 Art General

There are many myths about artists, one of them being that the artist is an isolated shut-in, madly working on his masterpiece without a care for the outside world.

For some of us, this myth might sound tempting, and for some of us some of the time, it might even be a reality. But the truth is that there is much to be gained by getting involved in your arts community.

By getting involved, you get your name out there. The more people recognize you, the more authority you will have in the art world. When you apply for that exhibition, the curator will look at your proposal and think, “Isn’t she the one who was involved in (fill in the blank) last year?” This gives you a bit of an edge because now you have created a small connection between the curator and you. It’s like the difference between e-mailing your resume to apply for a job and walking in to submit it in person.

Getting involved in the arts community also gives you better access to the opportunities available to you. Just by mingling and talking to other artists, you will hear about what’s going on. You will also find that people go out of their way to fill you in about things you might be interested in.

I’ll be the first to admit that there are a lot of snobby artists who hold to their elitist persona and won’t help other artists out. For every one of those, though, there are probably ten other artists who will go out of their way to share their knowledge, to offer support, and to pass on information about various opportunities.

My Experience

One of my goals in the last year or two has been to get more involved in my arts community. I started volunteering at the local art gallery and looking for teaching opportunities, as well as reaching out online.

Volunteering at the gallery has been a great experience. I’ve gained a lot of insight into how a gallery works, what it takes to put on an opening, and ways to integrate exhibitions with art activities for children. I’ve become familiar with many of the people working at the gallery, and they have become familiar with at least my name.

As a bit of an introvert myself, I find that making the commitment to volunteer at openings is a great way to make sure I actually go. Openings are the perfect opportunity to network and get to know other artists in the community.

Last year, while working an opening, I was able to re-connect with one of my professors from University. That contact has led to an ongoing professional relationship, including several critiques of my work and an invitation to possibly exhibit at the University next year. All opportunities that I would not have had if I hadn’t been pouring wine at that event!

In the online world, I began by getting in touch with other artists I had met briefly at openings. It was through one of these connections that I learned of a teaching opportunity at another art gallery. I now have a semi-regular gig there, doing art workshops for kids. It’s a small thing, but that too has led to other opportunities. I have developed a professional relationship with the director there, and she has recently invited me to submit a few small pieces to their gift gallery.

Twitter is another amazing resource for artists. I have been able to connect with local artists who move in completely different art circles than I do. I first became acquainted with the talented Julia Trops, who was kind enough to refer me to a friend of hers who was looking for a portrait artist. That portrait turned into two when the client’s co-worker also commissioned a drawing. All thanks to Julia! I’ve also gotten to know Kendra Smith, an amazing landscape painter, and through her I’ve become familiar with the work of Carrie Harper and Nikki Balfour. While this is a professional network it is also, I hope, the beginnings of friendships with other like-minded people!

As I read through this, it sounds like a self-serving list of my accomplishments. I apologize if this sounds like I’m bragging: that’s not my intention! The point is that I wouldn’t have even been aware of these opportunities if I hadn’t gotten involved. 

Now that I’ve convinced you that it pays to get involved, what are some ways  you can do it?

• Volunteer: most galleries have a variety of volunteer opportunities, find one that suits you!
• Attend openings: mingle and talk to people.
• Go to workshops: you get to know the instructors and students, as well as learn a new skill!
• Look for teaching opportunities.
• Keep in touch: don’t let those connections fade away, maintain your network.
• Join an arts group.
• and don’t forget…

Pay it Forward

If you want people to be helpful  and forthcoming with you, do the same in return! When you hear of an amazing opportunity, pass it on to others who you know might be interested. This is where it all comes full circle and you get to help out those who help you.

What kind of experiences have you had with getting involved in your arts community?

PS: The photo today has nothing to do with art, but I wanted to share with you guys the amazing view I had as I wrote this post. What a beautiful day!

Tags: artists, motivation, promotion

Exploring Warm and Cool Colours

Mar 14, 2010 Colour Theory

We touched on warm and cool colours a little bit when we talked about colour theory, but let’s go into more detail.

It’s really important to understand the difference between warm and cool colours and how you can use them. In general, the warm colours are reds, yellows, and oranges. These colours are bright and energetic, fiery and passionate. The cool colours include the blues, greens, and violets. These are calm and soothing, more mellow and relaxing.

The colours you use in your paintings will have a huge impact on the overall feeling of your work. At Lori McNee’s blog, Fine Art Tips, she discusses how to use the hidden meaning of colour.

Although a red is always warmer than a blue, reds can be different temperatures in relation to each other. When looking at the temperatures of the same hue, it’s all relative. A cadmium red, for example is closer to orange and therefore warmer than an alizarin crimson, which is closer to blue. A cadmium yellow is a warm yellow, and a hansa yellow is a cool yellow.

This is good to keep in mind when mixing secondary colours. If you want to mix a pure orange, you will want to use two primaries that are already warm: cadmium red and cadmium yellow. If you want an orange that is less intense (more grayed) you might use a hansa yellow or an alizarin crimson. You will need to experiment with these combinations to find the colour that you’re looking for.

Warm and cool colours can also be used to depict depth. Cool colours have a tendency to recede on the picture plane; they fall back and appear farther away. Warm colours come forward and appear closer. Keep this in mind as you’re painting and see how you can achieve a greater illusion of depth.

Warm and Cool Colours in Action

Borbay is a New York location artist who, through his collaged paintings, effectively uses the properties of warm and cool colours. Take a look at the documentation of his painting process. You can see how he begins with a sketch, then covers the entire canvas in collaged elements. As he lays in the blues of the background, it appears to fall back. Then he starts working red and orange into the foreground and you can actually see the building jump forward. Don’t forget to peruse the rest of his work; blue and orange feature dominantly in most of his paintings!

Tags: Colour Theory, paintings