Planning a Painting - The Value Study
Jul 25, 2010 Painting
So, you have a great idea for a painting. You’ve done some thumbnail sketches and created an interesting, dynamic composition. You know exactly what you want to paint…
Time to jump in? Not quite!
Before you dive into the real thing, it can be extremely helpful to do a value study: a smaller, monochromatic version of your painting.
A value study strips your painting of all colour, letting you work with the lights and darks, which is just as important to your composition as form. This is also your chance to make sure you have a range of lights and darks to create good contrast. If your painting isn’t interesting at this stage, it won’t be interesting when you add colour! Stan Prokopenko does a great job of explaining how a value study can help you create an interesting composition.
Also check out this post where Stapleton Kearns critiques a painting where the artist has confused colour with value. According to Kearns, “Value is more important than color, as it is a part of drawing. Color is a decoration you hang on your drawing.”
If we digitally altered the painting on Kearns’ blog to make it greyscale, we would see a very dark, very flat painting. That’s a hint!
Doing a value study can help you solve these problems before you get to them in your final painting. It’s easier to match the value (not the intensity) of your colour to the study than it is to figure it out on the fly. The intensity of the hue can be very distracting.
When I did my African Sunset painting, I knew that getting the values right was going to be essential in making the sun look like it was shining. Doing a quick value study (above) helped me see just how dark the sky needed to be to make the sun look bright in contrast. This kept me from wasting time and paint on painting a too-light sky. Below is the completed painting converted to greyscale.
If you’re having troubles with the values within a painting, taking a digital picture and converting it to greyscale can really help. This lets you see the lights and darks without that distracting colour. A bright or intense colour doesn’t always make for a dark value. Solve these problems in a value study and you will have a much easier time with your painting!
Tags: acrylic painting, oil painting, paintings, value study
From Smooth to Extreme: Texture in Painting
Jul 20, 2010 Painting
Whether you want a super-smooth finish or a rough, grainy feel, there are strategies you can use to enhance the texture of your painting. Whatever style you prefer, texture is not an element to be over-looked.If you enjoy this article, sign up for our newsletter to get more art tips!
Smooth
If you’re painting style is highly detailed and realistic, you may want a smooth texture. To achieve a smooth surface for your paintings, you have to start with your support. Canvas has its own texture, so try a finer fabric like linen. Pre-stretched linen can be purchased from an art supply store. Another option is masonite board. This is what Lori McNee uses for her paintings. Read her tutorial on how to gesso a masonite panel.
Brushstroke Texture
One of the beauties of paint (oil especially) is the texture you can achieve simply by applying paint. Visible brushstrokes add another layer of interest to your work. From far away, the viewer can see the image you have rendered, up close they begin to see the paint and the way you’ve used it. Stapleton Kearns has an excellent article on how to prevent “licking,” the smoothing away of visible brushstrokes. I highly recommend reading this article!
Use Mediums
Gel mediums are a great way to add texture to your paintings. These are substances that you can use to prep your canvas to start with a textured ground or add to your paintings as you work. They come in a range of different textures. Read more about painting mediums.
Extreme Texture
Don’t be afraid to get wild and experiment with textures. You can use gel medium to glue almost any substance to your canvas and make richly textured paintings. Try things like tissue paper, saran wrap, sand, and anything else you can come up with. This can be an all-over texture, or localized to create a focal point. Take a look at Julia Trops’ still life painting. She is a great example of an artist using extreme texture.
The type of texture you use depends on your style and subject matter. Experiment with different techniques and decide what is right for you!
Show Me Your Painting Palette!
Jul 8, 2010 Painting
What does your palette say about you?
I’m just going out on a limb here, but I’d say that my palette says I’m messy and disorganized! Then again, I have the whole house to confirm that theory!
Palettes are strangely personal and unique to every artist. Lori McNee did a great post awhile back on the importance of organizing oil paints on the palette. A short video explains how she organizes her own palette. I remember being a little in awe and jealous of her perfectly arranged palette, until I looked at the kinds of paintings she was doing: precise, clean, delicate.
The palette reflects not only the colours you are using in your work, but also the way you paint, and to some extent the way you think.
My palette is ridiculously messy because it doesn’t need to be organized. I paint quickly, responsively, haphazardly. For better or for worse!
I also don’t clean my palette, just like I neglect cleaning brushes. And if you’re wondering, I use an old dinner plate to mix my paints on… It’s not ideal, but it works!
So now that I’ve showed you mine, show me yours!
Post a link to a picture of your typical palette!
Drawing and Painting Glass
Jun 27, 2010 Drawing, Painting
Question: How do you draw something that’s clear?
Answer: You don’t.
Confused?
The key to drawing or painting glass is not to render the actual glass object but to render the way the glass distorts and reflects the objects around it.
Glass is clear so we see through it, but glass can be many different shapes. What we see through the glass gets warped. This warping is what gives us the information we need to determine the shape of the glass.
In the painting above, you can see a glass bottle sitting in front of some blinds. The way the blinds are seen through the glass tell us about the shape and volume of the bottle. When I painted this, I didn’t paint the bottle, I painted the blinds as they are seen through the glass. This is key!
When rendering glass, you’re going to need a reference image, either from life or a photo. You will also need to use your artistic observational skills. You really need to pay attention to what’s going on within the glass. That being said, don’t get too caught up in the myriad of tiny shapes that you can see. You will need to simplify and edit the shapes. Pick out the major light and dark areas, then work the mid-tones.
The other thing to remember is that glass is reflective. This means that shapes and objects in front of the glass may be seen in it, but it also means that there will be bright highlights. These highlights are what communicate the shiny, reflective nature of the glass.
Drawing and painting glass is not as tricky as it looks. Pick a simple object to start (the more complex your glass object, the more difficult it will be to draw). Focus on the lights and darks, pay close attention to the way the glass distorts the background, and observe the subtle variations in tone. As you draw the visible shapes, you will begin nto see your glass objects take shape.
Good luck! I’d love to see the results of your efforts!
Tags: art tips, drawing tips, drawings, paintings
You Have Your Paints… What do You Paint On?
Jun 13, 2010 Painting
Although paper can be used as a painting surface, canvas is the most common choice. Fortunately, there are many choices when it comes to canvas, one to suit every artist’s level and budget.
1. Canvas Paper
This is a synthetic imitation of real canvas. The paper has more of a plastic-like sheen than a feeling of fabric, but it does have the texture of woven fibres. Canvas paper is available in pads, and is great for artists new to painting and for those looking for an inexpensive surface for studies and sketches. It’s also very easy to frame.
2. Canvas Board
This is a gesso-ed piece of canvas stretched over cardboard. You can buy these or make them yourself. This is another good option for beginning painters, but they can be tricky to hang.
3. Pre-stretched Canvas
Personally, this is my favorite. These can be bought from any art-supply store in a variety of sizes, dimensions and depths.
Painting on a stretched canvas is completely unlike painting on any kind of paper or board. As one of my instructors once said, the canvas paints back. The stretched fabric has a give that can take some getting used to.
When buying pre-stretched canvas, make sure you get the ones with the staples on the back, not on the sides. Also, double check for any dents in the stretcher bars.
4. Stretching Your Own Canvas
This allows you to customize the size and dimension of your canvas to your exact specifications. It also allows you more control over the tension of the canvas. Many artists prefer using their own stretched canvas for these reasons.
There are two ways you can make your own canvas: you can buy pre-made stretcher bars, which you assemble and then stretch the canvas over, or you can build your own canvas stretcher bars.
It’s important to note that there is a definite hierarchy when it comes to these four options. Most “professional” artists will tell you that an artist should make their own stretchers. This isn’t always practical, or possible, though. If you are selling your work, or trying to get into a gallery, I would recommend that you work on stretched canvas even if they are pre-stretched. If you approach a gallery with works on canvas board, you may get sneered at!
Tags: acrylic painting, canvas, oil painting, paintings
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