Below are answers to questions submitted by members of the DPA Inner Circle. Click the "+" to view Dan's answers.
Full question:
Hi Dan, Thanks for your proposition. I have chosen the 3 attached photos for my next painting. Let me please know which one is the most appropriate and interesting to paint and also the less appropriate. Thanks in advance Jacob Eliav.
---
Dan's Answer:
Hi Jacob!
Some brief thoughts on each photo:
Photo 1 (Still Life)
A classic still-life composition. I would simplify the background and really focus attention on the flowers. I would also paint this from life rather than from a photo. Look at Vincent van Gogh’s Sunflowers series for inspiration.
Photo 2 (Cityscape)
I think you’d struggle to paint from this photo as it’s heavily edited. It would be better to have a normal reference photo to paint from and then use the painting to push a certain style or effect.
Photo 3 (Landscape)
This could make for a strong painting with a good sense of depth and atmospheric perspective. I like the interesting sense of scale that the “tiny” buildings in the distance provide.
I would paint from either the first or last photo.
Keep in mind, these are just my thoughts. You might have a completely different vision for each reference photo.
Thanks!
Dan
Full question:
Hi Dan.
What words of wisdom do you have for someone who wants to paint large?
I paint in oil on canvas panels of 8x10 to 11x14 inches. “Large” means 16x20 up to 36x48 inches. My subject is objects.
I want to continue painting objects but, on a larger scale. As part of growing my compositions, I’d also like to get practice in landscape painting. No pun intended!
Many thanks. Elaine Jones
---
Dan's Answer:
Hi Elaine!
Here are some tips I shared in a previous newsletter:
– Set aside sufficient time to paint without distraction. A few hours at least. Otherwise, you’ll struggle to get any fluidity in your work.
– Large canvas, large brushes. Save the smaller brushes for the finishing touches, if at all.
– Start fast and paint with instinct. Focus on capturing your initial impression—that’s the important one. As Joaquín Sorolla put it:
“I could not paint at all if I had to paint slowly. Every effect is so transient, it must be rapidly painted.”
You might find it refreshing to paint on a larger scale. It gives your arms and hands more room to move. It also allows you to fit in more detail (small paintings can be a bit finicky).
Good luck!
Dan
Full question:
Hello Dan, I am currently trying to decide which out of many photos of bluebell woods to use as a reference - any hints? I've attached a few of my many photos taken in the local wood.
I would try painting outside but I've been ill then the weather was too cold and wet! Also, I have recently (this last year) started pastelling and prefer this medium to oils ....I am however trying to keep up some oil painting.
I am very much a keen newish painter - been to classes locally to start myself with oils (about 3 years of short terms) and taken online workshops in pastelling.
My next step is to develop my confidence to paint my own reference photos and decide on my own color palette - other than 'just do it'.
Do you have any advice? Regards Sue Hudson
---
Dan's Answer:
Hi Sue!
All of those photos are stunning and could make for a great painting. I would personally paint this one:
I would focus on capturing the flowers, the path, the dark trees (they would help anchor the painting), and the play between negative and positive space (the sky and the leaves/trees).
As for the second part of your question, taking your own reference photos and choosing your own color palette might seem daunting at first, but it will give you full control over the process. It will also allow you to align the whole process with your vision for the painting.
Remember, what works for other artists might not work for you.
When deciding on a reference photo to paint, consider what the finished painting might look like. If you cannot see a finished painting at the end of the line, look for something else to paint.
As for your color palette, start with a limited palette of colors that you are familiar with. A red, blue, yellow, white, and an earth tone like raw umber is a good starting point. You can add more colors as you gain experience. You can also add colors that you see in the subject but would be impossible to mix from your standard color palette. If painting the above reference photo, I would add a rich purple to my palette, if only for convenience.
Good luck!
Dan
Full question:
Hi Dan. Greetings from Keyport, WA.
Do you have any knowledge regarding the use of solvents or oil paints such as cadmiums, magnesiums, etc. Can these chemicals be toxic with prolonged use?
I ask this because of my wife who says that when I return from my weekly painting day, she can smell fumes on me and always says I look overly exhausted and haggard. I've been painting with oils for about 25 years, never using gloves, and we paint in a poorly ventilated garage area.
I always look forward to your wonderful and informative instructions in my email.
Sincerely, Michael Graham
---
Dan's Answer:
Hi Michael!
To be honest, I’m probably not the best person to ask about this, but I’ll give you my thoughts. If you want something more concrete, I would email one of the top paint manufacturers, as I’m sure they have done extensive research on this matter.
I will say first and foremost, err on the side of caution with this stuff. No need to take unnecessary risks when it comes to your health. Try to paint in a well-ventilated area, or if that’s not possible, take regular breaks outside. Paint outside if that works for you. I don’t think gloves are necessary unless you have had any reaction previously.
I know oil paint is toxic, but I’m unsure of the extent. When I picked up painting again in my early 20s, I painted at night in my bedroom and often fell asleep with the wet, unfinished painting still on the easel. I certainly wouldn’t do this now. But I don’t regret doing it back then, as it was a risk I was willing to take in order to paint. And back then, the most important thing for my mental well-being was that I kept painting, despite any risks to my long-term health.
As far as appearing exhausted and haggard, that might be because painting is incredibly demanding. Not so much physically, but mentally. I feel the same way after a long painting session. Whenever I complete a challenging painting, I almost certainly go into a state of flatness and emotional numbness, as if I have nothing left to give. This sometimes lasts for up to two days. That’s not to say this is what your issue is, but it might be.
Hope this helps!
Dan
Full Question:
I am a new painter with no real experience or tuition; I started in lockdown and have learnt a bit since then, I think.
I have attached the painting I have on the easel at the moment.
This painting is inspired by a Kurt Jackson piece, a Cornish artist I love, because it reminds me of both Cornwall and Ireland and both are special to me. I have done the underpainting and put in the sky and water.
I would really appreciate your opinion on what I have already done and your advice on how to tackle the land.
Many Thanks
Teresa
---
Dan's Answer:
Hi Teresa!
I’ll provide some thoughts on what I would do next, but keep in mind I don’t usually like to give advice on uncompleted work as it might muddy your ideas and what you envision the finished painting will look like. I prefer that you see that vision through and then seek advice on the completed work if needed.
At the moment, you have a good foundation. From here I would continue working on the big-picture shapes and relationships. Things that really push the needle. For example, the value relationships between the sky, distinct land, water, and foreground. Once satisfied, I would move on to the more particular details. When you start with an underpainting like this, it's important that the foundation is rock solid before you proceed to the more particular details. Errors in the foundation are not easy to fix once you have moved passed them.
Good luck Teresa!
Dan
Full question:
Hi Dan, a newbie here. I am looking to do an oil painting using the pointillism technique. I love impressionists and pointillism.
I have seen work by a Dutch artist named Ton Dubbledam using a lovely technique with his backgrounds to achieve this atmospheric look that blends the oils together using white spirit then adding the dots over that background.
My question is would that be artists' turpentine or something else? Would you use transparent or permanent oil colors? I would love to do an oil painting using this technique, it looks amazing on images of water with reflections of trees or objects showing light and shade. Do you use brushes or a palette knife or a combination of both for pointillism?
---
Dan's Answer:
Hi Penelope
I was not familiar with Ton Dubbeldam’s work. Thanks for bringing him to my attention. What a unique style!
I’ll start by saying this: the best way to answer those questions is to experiment. See if you can recreate the effect in a painting. Find out what works and what doesn’t. You might find the answer, or you might find your own unique approach. Remember, just because he does it one way doesn’t mean that’s the only way.
I’m not sure how Dubbeldam works, but if I were to try and replicate his pointillism technique, I would paint thin washes of color over the surface (oil paint plus odorless solvent). Then, whilst the surface is still wet, I would use brushes to apply dabs of undiluted paint (no medium or solvent). There would be slight mixing on the surface which would produce a hazy, atmospheric effect. There’s a Russian artist who does a similar thing in some of his paintings, Chirun Ilya. Check out his work if you haven’t already.
And as for the final part of your question, you can use a brush or palette knife for the pointillism technique. The palette knife will give you a rougher finish.
Hope this helps!
Dan
Hi Janell!
I haven’t done that myself (paint from black and white photos) but I’ll do my best to answer.
It will be a challenge.
The good news is value (how light and dark the colors are) is more important than hue in conveying realism. If you get your values right, your painting will appear somewhat believable even if you get the hues wrong. So focus on value.
You’ll have to make logical assumptions about the local colors of objects. Some objects will be easier than others. Red is a safe color for an apple. Green is a safe color for leaves or grass.
What you’ll need to consider is the overall color theme and mood. That’s more important than the individual colors. If you get the values right and have a solid color theme, then that will go a long way.
Also, I’m sure there are some tools that will colorize black and white images for you. A quick Google search found a few possible solutions:
https://www.img2go.com/colorize-image
https://hotpot.ai/colorize-picture
I cannot vouch for how effective these are, but they might give you some ideas.
Let me know how you go!
Dan
Hi Sue!
Taking a good reference photo is the same as if you were looking for a good subject to paint on location. Look for something that catches your eye that you can build a painting around. It could be as simple as an interesting play between light and shadow.
Since you are mostly a studio artist like me, try to incorporate small studies done on location. This will help with finding subjects and exploring their nuances, particularly in relation to color. It complements studio painting from reference photos nicely.
As for the second part of your question, I always think it’s wise to paint for yourself first and foremost. I don’t think I would paint if I couldn’t do that. Public opinion is fickle and trying to please it can be a frustrating and futile exercise. If you paint for yourself, at least you will be happy and that will show through the quality of your work.
The only exception might be if your sole focus is on making art sales. But even then, the quality of your work will diminish if you only paint what you think people will like.
Thanks Sue!
Dan
Hi Mia
This response may not come in time for your contest, but perhaps it can help in the future.
I’m going to assume it’s a contest where artists all paint on the same day. Like a plein air painting contest. Please correct me if I’m wrong.
The best medium would be the one you’re most comfortable with. I would also avoid mixing different mediums together to keep things simple.
Also, I know watercolor and gouache go well together, but I’m not sure about acrylic and gouache.
As for what scene to paint, find something with a big, simple idea to focus on. It needs to be clear and concise. Avoid scenes with too many moving parts.
Hope this helps!
Dan
Hi Tamara!
I rarely try to fix old work.
The main issue is that you have likely changed and improved as an artist and as a person. How you see the painting today is different from how you saw the painting back then. Going back and reworking it might lead to a clash between your past and present self.
An exception to this would be if the fix is trivial. Like adding a dash of color to the focal point. Nothing fundamental.
I also feel it’s better to look forward and create new work than to constantly look back and revisit old work. I doubt I could go back to my early paintings and rework them to the point I would be happy with them. My time is better spent trying to make the next painting better.
Change how you perceive your old work. Consider them as part of your journey. Your unhappiness with them just means you have improved since then, which is good!
Dan
See below my further updated response.
My answer assumed the question was about fixing and reworking old paintings. But, as some of you have pointed out, the question might be more simply about painting over old, discarded works in an effort to be more economical.
Here are my thoughts on that matter:
- Painting is expensive and it only seems to be getting worse. Every time I visit my local art supply store, my usual paints and brushes are a little bit more pricey. So, if funds are tight, it’s certainly a wise idea to paint over old, discarded works. Whatever it takes to keep you painting.
- Be aware that the surface won’t be as responsive as a fresh canvas.
- Before you start, remove any dust and debris with a cloth.
- Start by covering the old painting with a flat color. Raw umber or yellow ochre are good, balanced choices for this. Make sure to use an opaque color if you want to completely hide the old painting (raw umber and yellow ochre are fairly opaque). Make sure the paint is dry to touch.
- Avoid painting over canvases with thick, impasto brushwork.
- Don’t paint over all your old works just because you’re unsatisfied with them. Only do this for the ones that really didn’t work out.
I also found this article on Artists & Illustrators that provides some more information on painting over old works.
Click here to see the painting.
Hi Joy!
Looks great. It doesn’t appear odd in terms of perspective. Maybe put the painting aside for a few days and see what you think when you return. Sometimes, our perspective of our own work can get warped, especially after we have spent hours or days creating it.
You did well combining two reference photos. I haven’t done this myself and I would only do it with two reference photos that were basically the same in terms of perspective.
My main suggestion with your painting would be to make the ocean colors slightly richer and darker. This would help pull our eyes through the landscape and would give it more depth. Look at the work of Ken Knight for inspiration. He paints some stunning Australian seascapes.
Dan
Hi Allan!
I assume you are working in oils. The goal is to make it look like you painted in a single session, wet on wet. You don’t want it to look labored or disjointed.
You have a few options:
- Stop at the end of a hard edge or segment that doesn’t bleed into the next area. This typically means working on one segment to near finish, then moving on to the next. This is the approach I take for more complex scenes that I know will take several sessions.
- Add a touch of linseed oil to the dry surface to artificially create the feeling of working wet on wet. Be careful not to overdo it with the linseed oil. I don’t use this approach as I find it overly complicated and I don’t like using linseed oil.
- Rework parts of the dry area and continue from there. This works better if you paint in an impressionist style.
- End the session by tapering off your strokes around the edges, making it easier to continue later.
Hope this helps!
Dan
Hi Sue!
Great question.
You need to constantly remind yourself that it’s just a painting and it’s ok if you stuff it up. Most of the time, you’re better off taking a risk if it means you might improve the painting. Sometimes it won’t work out, but take comfort in the fact you tried and at least found out what didn’t work in that particular scenario.
If you play it too safe in painting, you will plateau. And that’s no fun either. I would much rather fail a few paintings than hit a long plateau. You need to constantly push yourself into these uncomfortable areas to keep improving.
It might also be the case that you are reaching a point in the painting where you simply don’t know what options you have. You might know something needs to be done, but you aren’t sure what. Experience will help with this. More paintings under your belt will mean you will have more tools and solutions at your disposal.
So, keep painting and take those risks. It will get easier. And get comfortable with being uncomfortable. That’s how you know you’re progressing.
Thanks!
Dan
Click here to see the painting being discussed.
Hi Maria!
Below are some of the ways you can draw attention to your focal point:
- Hard edges
- Vivid colors
- Intricate patterns
- Bright highlights
- Dark accents
- Changing the perspective (zooming in on the focal point)
You could also restrain the surroundings, making the focal point appear stronger by comparison. It’s all about contrast.
In your case, the car stands out by nature with its fiery red paint and prominent position. You could draw more attention to it by simplifying the background more and changing the composition so that the car takes up more space.
Hope this helps!
Dan
Click below to see the reference photos being discussed.
Image 1 Image 2 Image 3 Image 4 Image 5
Architecture is tricky!
Mistakes tend to be more obvious. If you get the perspective wrong, people notice. Landscape painting is much more forgiving. So do your best to get the shape and perspective of your architecture right, or at least believable.
I have also had trouble making architecture “fit in” with the rest of the painting. Especially since I paint in a more impressionist style. I think the key is making sure you paint the architecture in a similar style to the rest of the painting. That might mean using soft edges for parts of the architecture, which can feel awkward and against the nature of the subject. Claude Monet’s Rouen Cathedral series is a great example.
You should also look into the work of Jeremy Mann for inspiration. He has some stunning cityscapes.
Hi Robbie!
I had to relocate my studio about two years ago when we moved home. It was a lot of work but it also gave me a chance to clear out stuff I don’t need and improve my setup.
My main suggestion is: don’t aim to have it all done at once. Just get the basics sorted (your easel, paints, brushes, a chair if you use one, a place to clean) and worry about the rest later.
In setting up my studio, I encountered many problems that did not have easy solutions, particularly in relation to the lighting. Give yourself time to solve these problems one by one.
You can find more information in this post: https://drawpaintacademy.com/my-2022-studio/
Hope this helps!
Dan
Hi Susan!
This is just one of the many constant challenges of painting. It doesn’t necessarily get easier as you gain experience, but you will be able to better spot opportunities as they arise.
What works for me and might work for you, is to travel to new areas. It doesn’t need to be a grand trip overseas. A visit to a local park or mountain or hiking trail or lake will do. Go out and experience nature. Try to see the world in terms of basic elements: colors, shapes, lines, forms, and patterns. If something captures your eye, take a few photos that you can assess back in the studio.
Also, action leads to more action. So paint or draw something, anything, to get your hands and mind moving. My creative juices dry up fast if I stop painting.
Thanks Susan!
Dan
Hi Patricia
Plein air painting is a unique experience. Challenging, exciting, and raw.
All of my plein air equipment is from New Wave. It’s pricey but has worked well for me.
If you want something a bit more substantial, a French easel will do the trick. I use one in my studio for smaller paintings. It’s still going strong after 8 or so years.
Thanks Patricia!
Hi Elaine
Experience will help. I remember these feelings many years ago, but they have become less and less frequent.
Your work already on the canvas will provide you with hints as to what to do next. Maybe you just painted the sky and there’s an opportunity to push down into the distant mountains.
The colors on your palette might provide other hints. If you have been mixing various greens for the grass in a landscape, maybe the next step is to paint the leaves on the trees.
It can also be worth taking a short break when you hit these points. Time away from the canvas can often reveal the answers to your problems.
Hope this helps.
Thanks Elaine!
Dan
Hi Diana
I’m jealous! I’m sure it will be stunning.
Here are some tips:
- Take lots of photos for when you’re back in the studio.
- Pack the essentials. Don’t overdo it. A limited color palette, a few of your best brushes, small easel if you use one. Traveling and painting can be troublesome if you pack too much stuff.
- I would focus on doing small artworks. You then have the option of doing larger versions back in the studio.
- Watercolor and ink are a great idea. Use the watercolors to lay down a thin wash of vague shapes then ink to add detail and clarity. You might also want to look into gouache. Steve Huston does some great work with watercolors/gouache and ink. Here is a link to one of his sketchbook videos.
Hope you have a great time! Feel free to send photos of the island and anything you paint.
Dan
Hi Tess
Great question.
The directional brushwork you are describing is a way of feeling out the subject and building structure. When I’m painting like this, I tend to be painting with instinct rather than calculated thought.
The brushwork tends to follow the general contours and nature of the subject. For example, curved brushwork for round forms; short, jabbing brushwork for grass; long, sweeping brushwork for the sky. And I use my brush to follow the forms up, over, and around.
A few years ago, I was far more inefficient with this way of painting. I often had to scrape down and redo areas. But today my directional and exploratory brushwork is more in line with the vision in my head, so there is less redo work. So yes, experience helps greatly with your efficiency. You could paint with a more regimented and methodological style, but I found that to be tedious.
What you might be looking for is some kind of step-by-step blueprint to follow, but that doesn’t really exist in painting. Each subject is unique and should be approached as such.
Hope this clears things up for you.
Cheers!
Dan
Hi Kristine!
Unfortunately, there will always be some mixing when using a brush, unless you thoroughly clean it between strokes. Here are some tips for dealing with it:
- Use good quality paints and brushes. It makes a big difference.
- Can you compensate for the mixing on the canvas? For example, if I know the colors will get a bit muddy on the canvas, I might use stronger colors than usual on my brush.
- Consider combining palette knife and brush in the same painting. This way you get the best of both worlds. I know Richard Schmid did this in many of his flower paintings. He used brushes to build the foundation and then added a few crisp palette knife strokes for the key features.
Thanks!
Dan
Hi Karen
I know how you feel! Life can feel like a juggling act of priorities at times.
Here are my thoughts:
- If possible, set aside some hobby time first thing in the day when your mind is clear and uncluttered. This works well for me. As the day goes on, it becomes harder to set aside time for yourself.
- Since you have limited time for hobbies, focus on things you enjoy. If you enjoy landscape painting, do more of that. If you enjoy portraits, do more of that. If you enjoy drawing, do more of that.
- Work on your fundamentals. Value, drawing, brushwork, color, and composition. These are your bread and butter aspects of paintings and it always pays dividends to work on them. And you can go a long way by mastering the fundamentals. Like a boxer with a masterful jab.
- Drawing is a time-efficient method of practice that will also be reflected in your painting. There’s a reason why drawing plays such a prominent role in all the top art schools and ateliers.
- Can you overlap activities? Perhaps you could watch an art documentary with your parents. Or you could take reference photos when out and about. Or listen to an art audiobook when in transit.
Hope this helps!
Dan
Hi Tom!
I’m surprised to read that you don’t like Rosemary and Co brushes. They are my preferred brush brand and they have been good to me so far. Which ones did you try?
I also like Winsor and Newton and Neef artist-quality brushes. Perhaps give them a try. I will keep a look out for other top brands and will let you know if I find anything.
Dan
Hi Lynn!
I have not done this myself, but I will provide my thoughts on what I would do.
I would first make sure to remove any dust from the surface using a fine cloth. Of course, be careful not to damage the surface.
I would then paint directly on top using high-quality oil paint straight from the tube (no thinners or added medium).
You could also dab a touch of linseed oil over the top and work into that. This will provide more of a wet-on-wet appearance.
If you have any old paintings that you don’t like, you could always test the approach there.
I also found this video that might be of interest.
Thanks!
Dan
Hi Jayne!
I personally don’t bother with varnish. Maybe one day I’ll varnish some of my favorite paintings, but they are fine for now. This way I can just focus on painting. You might want to adopt a similar approach.
I haven't used water-based oils yet, but my understanding is they dry much faster than traditional oils. The rule of thumb is that you must wait for around 6 months because varnishing applies to traditional oils.
So, if you do want to varnish, you should be fine to do so within a week or so. Just make sure the painting is at least dry to touch and wait longer if the painting is particularly important.
Thanks Jayne!
Dan
Hi Gail!
I don’t actually use any mediums other than odorless solvent. I prefer to work with paint straight from the tube.
I did find this forum discussion on Wet Canvas.
It seems neo megilp is generally preferred. But both options seem fine. If you enjoy using the neomegilp, I would continue using it.
A general tip: Don’t go creating issues for yourself. If something works, keep doing it.
Cheers!
Dan
Hi Andrea!
Sounds like an interesting way of painting. It suits the acrylic medium. Back when I used acrylics, I painted in a similar way to this.
The main disadvantage would be the lack of blending with colors on the canvas. But this does not matter if you prefer a more broken, impressionist look.
If it works for you, keep doing it!
I think you’ll find glazing to be a challenge with acrylics. The paint dries too fast. It is more of an oil technique.
Your options are to:
- Switch to oils (or even water-based oils); or
- Rely on other acrylic-friendly techniques like scumbling and layering. You could also add more complexity by varying your brushwork and the types of brushes you use. And don’t forget about the palette knife. It can produce some wonderful strokes.
Hi Elaine
I assume you painted with oils? If so, the paint will not be completely dry and may cause cracking with the varnish.
I would let them know that it is unvarnished and to set a date in 5-7 months' time to have it varnished. Or, just leave it unvarnished. I don't varnish my paintings. Adds too much complexity to the process for me.
Hi Barbara!
Have a look into floating frames for deep gallery canvases. You could also have your local framer restretch the painting to suit the frame I’m sure.
I paint mostly with Ambersand Gessoboard these days. The main downside is that they need to be framed (they cannot be hung straight up like deep gallery canvas). But they are flexible in terms of framing options.
You could paint on thin-edged stretched canvas. But I would only recommend this for small to large works (not giant works).
Good question Lynn.
A painting with a strong value structure will have true, clear, and simplified values.
You can tell a painting has a strong value structure if:
- It has a wide range of values;
- It appears true and realistic; and
- It is clear and concise.
In short, it will just appear to work.
It’s easier to spot a painting with an incorrect value structure. The colors will look wrong and muddy.
A painting does not need a strong value structure. Just look at the glimmering Impressionist paintings. But, if you are painting with a wide value range, then it certainly helps.
Cheers!
Dan
It can. But be careful to paint like this.
Usually, we start a painting with a big idea, or an impression of the subject. We then spend the rest of the painting trying to hold onto that idea. As you paint, other things will capture your attention. But are they worth changing the focus of your painting over? Usually not.
With that being said, there is no one way to paint. If you want to let an idea change and evolve, go for it and see how it turns out.
Hi Joanne!
Good question.
Night scenes are tricky in that:
- Photos are not that effective in capturing dark or subtle colors.
- Painting on location is of course a challenge. There is no effective way to clearly see the subject, your paints, and your painting. You could paint under light, but that will still change your perception of the colors.
Here are some suggestions:
- Take note of your observations in person. Even try to do a few color studies in person if possible. They might not be good, but they will be honest.
- Take photos, but be aware that the colors might not be true and honest.
- Look at famous night paintings for inspiration. I am currently writing a post on this. It should be done within the next month - keep an eye out for it in your emails.
- When painting, draw inspiration from all these avenues: your observations, any color studies, photos, famous paintings, and your imagination.
Let me know how you go!
Whatever you feel comfortable with. I like to keep things simple - just a standard shape in a medium size. I would pay more attention to the quality. Avoid cheap knives that are overly rigid or flimsy.
Palette knives are also more effective with oils. Acrylics dry fast, so you have much less time to work. That diminishes one of the key benefits of palette knife painting: the ability to scrape away paint and rework areas.
Below are some palette knife painting videos you might find helpful:
Thanks!
Dan
Hi Sujata! Yes I have lost my fair share of paint tube lids.
Wrapping the end with plastic will be a temporary fix. I would then focus on using it up as fast as you can. Perhaps do some paintings with that color as a priority.
And always remember, paint is there to be used. Don’t worry too much about wastage. Chalk it up to the creative process.
Hope this helps!
Dan
I consider staining the canvas a tool at my disposal. It can be helpful, but I don’t always do it.
The idea behind it is basically to kill the white of the canvas. White is a hard color to paint on, as it can be difficult to accurately judge your colors. Every color looks dark on a white surface.
Staining the canvas can also give you the option to leave parts of the stained surface exposed in the finished painting. Say you are painting a typical landscape. A burnt umber stain can be effective for giving an earthy feel.
Thanks!
Dan
Hi Kathi!
Nope. I just mix the colors I need as I go.
I prefer to make my color decisions based on the colors already on the canvas. If I mix color scales on the palette, then I might end up basing my decisions on the palette colors rather than what's needed in the painting.
Also, I find color mixing to be a fluid dance that you cannot prepare for. Each color and decision needs to be made on the spot.
With that being said, I DO recommend doing color scales or charts as practice. See this post on Richard Schmid's color charts.
Hope this helps!
Dan
Perspective is a complex area and it’s not something I can properly summarize in a short answer.
It’s essentially the position of an object in space relative to the viewer. Your job as an artist is to identify the position and convey it through your artwork.
A simple way to improve is to practice drawing (or painting) basic forms in perspective with some shading. Boxes, spheres, cones, and cylinders.
Steve Huston has some good notes on perspective in his book Figure Drawing for Artists. He cuts straight through to the important and practical stuff. You can see my cliff notes here.
I would also look into doing figure drawing in your spare time. You can draw along with videos by Glenn Vilppu. In particular, watch how he goes over, around, and through forms with his pencil (he usually talks you through these motions as he does it).
You could spend your whole life trying to master perspective. But for most art forms, you can get away with just a good understanding of it.
Cheers!
Dan
Hi Wolfgang
I don’t have any sophisticated solution for this. I usually just leave the wet paintings scattered around my studio until they are dry to touch. I might even leave the painting on the easel and take a few days break.
You could get some kind of painting rack, but they are expensive and hard to put together. If you find an easier solution, let me know!
Cheers
Dan
Hi Dubravka!
Drawpaintacademy.com runs on WordPress. The upside of it is its customizability. You can do almost anything with it. But, it takes a while to pick up and it is not pretty out of the box.
My personal website, danscottfineart.com, runs on Squarespace (affiliate link). That was a breeze to set up and it looks clean and stylish out of the box. What you see on that website is a basic theme (I did no tricky web design or anything).
If you are just looking for somewhere to showcase art online, you might want to look into Smugmug. It is aimed at photographers, but I see no reason why it wouldn’t work for artists. I looked into it some time ago for the reference photo library but decided against it as I wanted to keep it all on WordPress for simplicity.
If you want to sell art online, then Shopify is your best bet.
If you stick with WordPress, I could give you some suggestions as far as plugins and themes go, but it is a bit tricky. You could also post a job on https://codeable.io/ to have someone set up the WordPress site for you. It might cost a few hundred but save you the hassle. I get them to do web development stuff for me and have had great experiences with them.
Hope this all helps!
Dan
That is the first main challenge of creating a painting!
My main suggestion is to always be on the lookout for painting inspiration and always have a camera ready (phone cameras are great for this).
Don't worry so much about looking for specific objects (trees, mountains, etc.). Rather, look for interesting patterns, colors, shapes, forms.
Usually the photos I like to paint from have a big idea of feature that I want to capture. Perhaps it is an interesting shadow pattern, or a stunning contrast in color temperature. You will probably know it when you see it. You will have that feeling of... I need to paint that!
First, you are still fairly new on the painting journey. So I would not worry that much about finding your style. Instead, focus on painting well and mastering the fundamentals. Style will come over time.
With that being said, I would look more into any of the American illustrators like Norman Rockwell, plus realistic painters like John Singer Sargent, Winslow Homer, Ivan Shishkin, and Edward Compton.
Hi Mary!
There is no set journey that you must take. The idea of the membership is to provide you with a range of distilled and valuable information about painting.
At a minimum, I suggest you read the featured artist, painting breakdown, and training report I send out each month. This information is designed to complement your other learning.
I also provide you with additional resources that you can go through as needed:
- Over 1,500 referenece photos for you to paint from.
- 45+ ebooks.
- Newsletter archive.
Hope this helps!
Dan
Hi Yoly!
Study the work of Frederick Waugh. He was a masterful seascape painter.
Spend as much time as you can at the beach observing how the water moves and changes. Do quick studies if possible.
Let your brush follow the general movements of the water, up, down, over, back, forth.
Simplify all the "noise" into basic shapes, colors, and contours.
That should give you a good start!
Cheers!
Dan
Hi Sue
Sorry to hear that!
It happens to us all. Here are some suggestions:
- Take a break. Do something else you enjoy. This can often reignite the spark you had in painting.
- Paint a few simple studies or sketches. Don't worry about the outcome with these. Just enjoy the process.
- Reflect on early work. Sometimes I need to remind myself where I came from, rather than compare myself to others.
- Remember that learning how to paint is not a linear process. Rather, it feels more like 2 steps forward, 1 step back. And there might even be short periods of 2 steps back, 1 step forward.
The good times will come.
Thanks Sue!
Dan
Great question!
There are a few things at play:
- Isobel Rae clearly exercises her artistic license.
- The front of the girl would be getting hit with reflected light, making it a touch lighter than the cast shadows on the ground.
- Nature is remarkably complex. Sometimes what we see goes against the "rules" of painting.
As you pointed out, it works beautifully. That's all that really matters. A painting might break many rules of life, but if it works, it works.
Thanks Amy!
Dan