Recently, I found myself without a studio space where I could use oil paints…and this lasted for a period of time; long enough for me to have to consider how to stay involved and continue working on basic skills which need continuous practice to maintain & to evolve. Since my ‘regular job’…I emphasize this because as a web designer, I am fortunate to be able to be working in a different medium; one which involves working on digitally designing websites on a computer. It seemed natural for me to find a way to utilize it for practicing and developing techniques that would be beneficial for both web design and oil painting.

I usually use GIMP, (GNU image Manipulation Program); for creating and editing design elements for web design (i.e. full-page designs, banners, logos, and image editing & enhancement), however; one day when I wasn’t working I decided to try working with Microsoft ‘Paint’ to work with colors.

View a Gallery of Color Studies Using Microsoft PAINT By Clicking on the Image Below

 [EasyGallery key=’4′]

The 1st thing I did was to choose a background color…this would determine what color ‘palette I would be working with. I then selected a fairly dark color for the ‘complement’ color to the background, (which can be determined by looking on a ‘color-wheel’). I intentionally choose one or more darker colors so that the other colors I will be adding will have what amounts to an ‘under-painting’. An under-painting is used to give a painting depth and contrast, and many oil painters will do an entire painting using just one color; varying the amount of darkness & lightness, thus producing the shadows, highlights and forms.

I then choose the type of brush I want to use from the choices in the top ‘menu’, which is usually the largest; and that also gives me the loosest brush stroke.

Once I have placed the darkest colors, I begin to add more colors on top of them. I usually place lighter, (but not the lightest of a particular color..I work up to that); in many areas of the ‘canvas’, so as not to be too repetitive and make the painting appear dull. Then it’s a matter of choosing the ‘correct’ colors that will go with those I have previously applied. The are many different colors that can be added to complement them, and at this point I make sure that the next colors I choose will enhance each of the ones adjacent to them. It sounds more complicated as I write this than it really is…to a large extent it’s just a matter of using your instincts, and many times as you’re finished adding one color, you are inspired as to which color should go next to it. Often times once I’m done with a color that a certain area ‘needed’ I will step back a bit and see where else it belongs. I work the background, by using slightly lighter & darker shades of the color I used originally, and gradually add some highlights and shadows where they are needed. Once I’ve exhausted using them on all the areas possible, I add very subtle accent colors here and there to help blend the edges of the complementary colors I used in the beginning. One important thing to note, as you’re adding different colors…make sure to use the brush in different directions as needed. Many times I’ll place several colors in one direction following the shapes of the ‘lines’ I ‘painted’ with the brush, other times I concentrate on finding colors to help break the edges to give it a more cohesive appearance.

Other exercises that painters may choose to work on color, include: creating color charts by placing colors across & down in rows similar to a checkerboard and then paint a circle or square of each from darkest to lightest and gradually add or decrease the intensity by adding a varying amount white. You can also add varying amounts of black to make a color gradually darker. You continue this process by adding the colors going across and again.

is my refuge. A dedicated space where everything stays exactly where it was when I used it last, and a place where I can just pick up exactly where I left off in a painting. Having moved several times since coming to Maine, I was no stranger to having to breaking-down & and setting-up my studio space again & again. This last time…which unbelievably was a period of 15 years…until about a year ago, and was the longest interval between the times that I last picked up a paintbrush. But even with such a long amount of time of inactivity, I have found that it is akin to riding a bike…something you never forget once you get back to it.

Each new space offers different opportunities and challenges regarding to the room’s atmosphere, arrangement, size, light and mood. The size of the windows and their placement, wall color, and dimensions of the room itself; all contribute to and affect the perception & ultimately the interpretation of all the elements that go into a painting, whether I’m sitting in front of a canvas to resume a previously begun piece…or starting one that is completely blank.

With each new space,  I attempt to re-create the former arrangement of all my materials…something I had already worked out soon after I started  painting with oils. These include, but are not limited to…my easel, brushes, palette & pigments, and fluids; (such as turpentine & or the medium that I use to give the paint the proper amount of viscosity), and of course my subject.  Placement of these elements, arranged in such a way as to have the freedom to devote all my thinking to using the skills I’ve already acquired; (spatially as well as those relating to form, texture, and the interpretation of colors and values as they relate to one another); is preferable to having to waste brain cells remembering where they’re located  each time I reach for a brush or palette knife.  The consequence of not spending the time to develop the space using what I’ve learned,  I believe would actually prevent me from being able to get to the place where I can access that place in my mind where I can be the most creative….a place where time and the distractions of everyday life are replaced, with the ‘world’ that I create on the blank surface of the linen.

Every movement is  designed to minimize any distractions from the vision of what I see in my mind, that emerges before me from every brush stroke…each affected by what was there before it, and again by those yet to be created.

Once I have all my materials set up…

It is time to personalize my studio space. I like to surround myself with inspiration…on the walls I have begun to hang paintings & prints; a few of which were done by my mother (who started as an oil painter and  is currently a watercolor artist).  Around the perimeter of the the room sit canvases of different shapes & sizes, some of which are paintings that have yet to be finished and others which are unopened and untouched waiting to become something. There are also various canvas boards with exercises I did using color & shape, such as color charts or experiments with color value & temperature, done by adding different pigments to one another to find out how many variations can be created.

Photos of my son are also on display, as well as my collection of art books for inspiration. Many of them were given to me by my mother after my father passed away, and she had moved out of New England…and some of which had been in our home since I was young. They serve as reference material, but many are art themselves since they contain not only informative text but photos of great works by famous & not so famous artists who’s work has had an impact on me in some way.

I found several things have to ‘be’… in order for me to have a successful painting session:

Whatever I am sitting on for a chair or stool, has to be comfortable enough to allow me to spend the sometimes 10 hours that I can end up painting.  I often use an office chair whenever I’m not standing, since I can adjust the height to accommodate the height of the canvas. It also gives me the option of choosing different sitting positions to allow me the maximum amount of time, without developing back & neck stiffness & pain. If I do spend long periods of time sitting vs. standing,  I make sure to get up and walk around every hour or so. I do this for another reason as well…I have learned that stepping back from a painting gives me a renewed perspective, which both inspires me to go in a particular direction, and often helps me to ‘see’ better where a painting may need more work.

Art is design, and it can take an unlimited number of forms. Anything you can imagine can be designed… from the smallest details in a pair of earrings to a full-sized mural on the side of an old brick building.

Art is not only what someone sketches, paints, decorates, arranges, cooks, molds in clay, photographs, prints, or sculpts… to mention a few.

Designing an event can also be an art…

Wedding Receptions, as well as Anniversary, Birthday, & Religious celebrations such as bar/bat mitzvahs; and even solemn occasions like post-funeral gatherings; are all opportunities to express creativity & an ability to design & plan a special event for family members, friends, colleagues, and other people in our lives. The time and effort that is spent coming up with an idea, searching for an appropriate venue, choosing materials that create a desired theme & ambiance, or the elements necessary to achieve a truly impressive & professionally executed presentation for an company function; will be reflected in the final product.

What really makes a successful event, after planning the important items such as; finding & reserving the location, knowing how many will attend, determining whether you will be providing food & refreshments, (including wine, or other alcoholic beverages such as champagne in the case of an anniversary or engagement party, a rehearsal dinner or wedding reception); is the attention paid to the details. This is where you have a chance to express your creativity and style, and bring all the elements together to make an event special; or a professionally executed business affair, a success.

Some of the details that require attention, in order to make the designated room or area look complete; include, using a color scheme or ‘palette’ that reflects the nature of the event & consider the time of year in which it is being held. Also, choosing colors that compliment & work with one another, as well as ones that evoke a certain mood or the personality of the person or persons you are providing the event for; will portray the effect you are trying to convey.

For example…

with wedding receptions or events;  there are many elements & details involved in even a small, intimate gathering. Wedding events usually have several traditional components, such as:

• Meals (which could be either a full-course dinner, formal luncheon, or a more casual buffet).
• Dancing, which means you need to address where to have a designated area for this activity & in the case of an outdoor wedding, how you want to have it styled with options of different materials, such as parquet flooring; or an already existing area, such as a wooden deck, stone or gravel patio.

For a child’s birthday…

you would either be using bright colors, (possibly in the primary spectrum; or colors that are intrinsic to the type of theme chosen. This would of course depend on whether it’s being held for a boy or a girl, however; it is also important to keep in mind the type of personality of the child, when deciding on a theme and the choice of colors.

There are many ways to ‘introduce’ yourself  to the world of art in order to gain experience & insight that will help you to find resources; whether you are looking to make art a career or a hobby.

One way to gain some exposure as an artist, is to join your local artist’s association. They usually offer classes in Oil Painting, as well as in other mediums.  You can often start by taking classes there & then become a juried member,  (i.e. submit your artwork for approval by a juried panel…usually made up of other juried members);  & you will be supporting art in your local community at the same time!

To find information on oil paintings resources for artists…

Read books on Oil Paintings about  Techniques, Composition, Color, or about the materials you’ll need to get started.  A good example of a self-help book that I got a great deal out of,  is:  “The New Drawing On The Right Side Of The Brain“; written by Betty Edwards.  Her book addresses an issue that is very close to my heart, which is that people give up their chance to become artists either professionally, for their own enjoyment; or to at least have the ability to render a decent drawing of even everyday objects that they may want to illustrate to others in their daily lives…as I mentioned earlier, this occurs at a very young age; when they compare their stick figure drawings to what they see on paper. 

“The New Drawing On The Right Side Of the Brain”  by Betty Edwards.

Another venue available to artists that I have become involved in… is artist web design.

The internet has become a huge resource for artists of all mediums.  Online galleries are numerous and offer artists ways to express their creativity in the both the design of their website… where they can reflect their unique style by offering artistic web design to individuals & companies looking to express their style & vision; as well as a place to showcase the artist’s own work, whether it’s oil paintings, watercolors, and many others.  These are examples of oil paintings resources for artists that you as an oil painter may find especially helpful.

If you were to really look at a piece of furniture, perhaps a wooden table or chair…

you would probably notice some of the details such as the color of the wood, (most likely some ‘shade of brown’) and maybe whether it has a grain or not.

Or…if you take a a minute to look at an article of the clothing you are wearing… (maybe a pair of jeans made of denim or a white t-shirt).  You might think that the jeans were ‘just blue’; or in the case of the t-shirt, that it is ‘white’.  If these things are only what you did see…there are other things about them that you probably didn’t see.

Unless you were in a dark room when you looked at the wooden furniture, there was some kind of light coming from a source such as a lamp or a nearby window.  A few of the elements of the surface would appear differently than others, such as areas where the light is hitting it directly, or reflections made by objects on the surface or directly adjacent to it.  You might be able to discern that these are not the same color as the wood itself… or as any of the dark color(s) that the shadows create.  In fact the light that is hitting the surface, as well as; the reflections are much lighter than the surface.

Consider your jeans…

With clothing, there are numerous folds that contain areas which have light and dark properties. If you look closely at one of the folds, you’ll notice that the top of it, although still blue; it is the lightest part, and might even appear to be almost white.

I feel it is necessary at this point, to say that ‘white’  is almost never only ‘one’ specific color;  and that it will actually appear very differently when various examples [of white] are viewed next to each other.

The elements…

that are white in color, which make up the wedding dress and the bouquet; in the photo to the left. Not only can you see the difference between the various shades of white contained in this dress vs. the ones in the floral bouquet she is holding, but as you can see; there are also different white shades comprising each of those elements.  The dress has two distinct shades of light & dark, resulting from the way the light is ‘hitting’ & highlighting the right-side of it;  & the rest is in shadow.  In fact, the highlighted area on the right-side of the dress, is a color of white that contains quite a bit of warm yellow hues; which occur from having the sunlight shining directly on it… whearas; the shadows in the left-side of the dress are of shades of white that possess more cooler tones.  If I was to mix this color, I would first start with white from the tube, adding very small amounts of blue, trace amount of black,  & even some red to achieve the desired result. (Black of course, being the least concentrated of these).

In most cases, in order for an artist to create interesting paintings that will keep a viewer’s attention… unless they are intentionally trying to minimize colors for a specific effect or to convey a certain message or feeling, (often seen in modern art pieces); the use of color is one of the major elements  an artist will employ in their painting.

Although this article is titled: “Learning to See From An Artist’s Perspective…

This article does NOT describe the techniques necessary to master issues in a painting related to the visual term ‘perspective’. Perspective in visual terms is defined as how the object or objects in a composition appear from different angles & at certain distances in relation to where the viewer is located.  Instead what I have attempted to illustrate in this article regarding ‘perspective’, is related to how an artist ‘sees’ the details of objects in the world around them.

In this section on Oil Painting…

I will share some of the things I did while pursuing an career as an artist…Perhaps you need a place to ‘start’ when you feel that the artwork you’ve done is ready to be considered professional and would be considered ‘ready’ to sell.  Also included in this section are some helpful resources for those who have always wanted to LIKE the things they try to draw or paint; but at that early age when they saw that their rendition did not resemble what they saw in real life… and gave up.

At a certain point I asked myself… so you want to be an artist???

As I mentioned previously in my “Artist Biography” I decided to pursue art professionally when I had some success selling  the painted furniture and reproductions of folk art portraits I had been painting using acrylics… however;  I felt that the market I was interested in was oil painting.  It wasn’t until after becoming involved in oil painting classes that I learned that I needed a way not only to have my artwork cataloged as well as put into another medium (i.e. photographed so that I could have a ‘portable’ way of showing it to galleries without lugging the finished canvases and risking damaging them). For more info. on this, refer to the article “Building an Artist Portfolio“.

I feel very fortunate…

to have been exposed to artists early on,  and I have come to realize that it played a HUGE role in why I became an artist myself.  I recognized from hearing other people I knew who have told me., “I can’t draw…all I can manage is to do a ‘stick-figure!”  that this is often the experience of most people who have not had been fortunate enough to have had the influence of artists in their lives.  I also realized that people who have not had that luxury; that there are books out there that can help them to find ways to discover their hidden potential as an artist or at least someone who is able to render a decent illustration.  In reading a very resourceful book…  “Drawing On The Right Side Of the Brain” written by Betty Edward’s, which addresses the fact that most people do not get the opportunity to move from the point of drawing stick-figures to the next level, Betty outlines this concept; as well as offers drawing exercises designed to help you get from ‘the stick-figure’… to being able to do a more accurate rendering of the subject that you are attempting to recreate.  She does this in part, by having you look at examples of subjects from different directions, or in other ways for example;  by not having readers look at the subject directly…. and instead drawing WITHOUT looking at the object at all.  This may seem odd and not particularly comfortable to do at 1st, however; following these types of exercises, get you to ‘see’ things in a totally different manner than you are accustomed to… a new way of  ‘seeing’ things.

Deciding to sell your artwork can be a scary thing… putting yourself  & your work out there for others to see is a big step for most artists.  Doing some research before you proceed can lessen the anxiety associated with doing so.  You can also check out art shows, artist exhibitions & even view what’s available online; to see that you are pricing your paintings appropriately for the art market.

 ~ Example of GOOD photo quality  ~

~ Example of BAD photo quality ~

Correct Photo Selection of an Oil Painting…

is essential in order to recreate a photo successfully as an oil painting;  (I will be referring to a photo as an ‘image’ from this point), and you should understand that this step is one of the most important parts of insuring that your oil painting will have an outcome that you will be happy with.  Consider a comparable analogy… Suppose you go to your hairstylist or barber to get your hair cut, the stylist asks you how you want it cut, and you show them a  2″ x 2″  picture from a magazine of a model wearing the style you prefer; (the size of the model’s head is of course even smaller). Do you think by using that picture, the result would end up being the exact haircut you were expecting?

In Selecting a Photo for an Oil Painting …

You should consider the quality of the image and how well focused and sharp the image appears,  since it will play a major role in the quality & the outcome of the painting.  Some improvement can be achieved by scanning the image into a computer and enhancing it; however, this can only be altered o a certain degree.  (You will be familiar with this if you have tried to do this in a photo program on your computer).

That being said, with any custom oil painting that I render; many of the elements have needed to be changed or enhanced to some degree.  This of course is subject to a lot of different factors & would most likely require email or phone contact to determine it’s viability as a painting.  Recommending whether it would be worth it for you, to have an artist attempt to  re-create it; would depend on the amount of deviation there would need to be from the original image.

So…

Correct photo selection is a key element for a successful oil painting.  Selecting an ‘image’ that is too small, may actually not work well as a painting where the main subject… i.e. the ‘person’, ‘house’,  ‘pet’,  etc. is intended to be the focus.  To a certain degree, enlarging the image may remedy this, however; images can only be enlarged to a certain size without losing the degree of detail that you would want to retain.  The best way to do this would be to send either a scanned image of the photograph via email, or a copy of the original through the regular mail,  & I would try to enlarge it to the appropriate size for the painting desired.  With an emailed image, I would employ a computer graphics program;  (or in the case of a mailed photo, I would scan the image into my computer 1st).  In either case;  I would need to assess whether it will be a viable image to re-create; and if so, make any necessary changes in the composition.

Using a computer graphics program for  photo selection…

gives me the ability to ‘crop’ the image so that it will have the same proportions as the canvas I will be using for the oil painting.  This way I can make sure all the elements are the correct size in relation to the area of the surface I’m painting on.

NOTE:  I should mention at this point, that this is the extent of my use of a computer in the process of my rendering an image as an oil painting.  There is absolutely NO digital recreation of any of the elements of my paintings, using any means other than an entirely hand-done method. There are many websites that do offer re-creations of images in photographs that look like original oil paintings, such as ‘Giclee’, which is the process of making fine art prints from a digital source using ink-jet printing; but these are NOT handcrafted by real artists.

Now that you’ve finished some  ‘successful’  pieces of artwork,  (in other words… when you look at what you’ve painted you really like what you see); you might have reached the point when you are considering the possibility that you’re ready to submit them for consideration, & maybe even for sale; to people other than your friends & family…

You truly are at a crossroads!

Some artists never get past the fear of having their technique, style, & impression of a composition critiqued by other artists or art professionals…in fact, some never even try, for fear of that type of rejection.  This is a BIG step for most artists… and once you’ve made the decision to proceed, you need to know how to present your work  as well as yourself as an artist;  in a professional manner.  You can do so with a professional, attractive, artist portfolio.

Building an Artist Portfolio :  Introducing Your Artwork… Getting started

First, you’ll need some photographs of your work… that will show your work in an artist portfolio  accurately & in a flattering manner, unless you are physically bringing examples of them with you to a place where they are to be ‘juried’;  (i.e. submitted for consideration for entrance into an art show, association, gallery, guild, etc.)  to be accepted or rejected by their panel of judges.  Many artists find that they can take decent photos with a digital camera, however; if you’ve never done so, once you have the finished product; compare how they look to others you see online.

Building an Artist Portfolio :  Introducing Your Artwork… Choosing Images

Are the images sharp? Do they represent the colors as close to what they really are when you see them in person?  Do they have any defects that could detract… such as showing the camera’s flash, etc.?  If so, and by changing a few things; such as lighting or the settings on your camera, (you may want to have them taken by a professional photographer or by someone you know, who has the ability to make them look professional).  Having an artist portfolio of printed & digital photographs of your artwork are a good way to show others what your work consists of, as well as for submitting them to galleries, or displaying them online.  Online galleries & artist websites are a new way that artists are now exhibiting their artwork, and there are also sites that promote the work of many artists by providing them various ways to do so.

Building an Artist Portfolio :  Introducing Your Artwork… Resources

Some of these all-inclusive art/artist websites, provide artists with a free customized website, with an … “Ecommerce” shopping cart, (click on this link to visit an eCommerce Web Developer) which makes it possible for visitors to purchase your artwork… tools for converting your artwork into print media, (limited-edition prints, posters, greeting cards, etc.); as well as exposure on the internet that allows you to ‘get your feet wet’, so you can tell how well your artwork is received before venturing to create a website that will be showcasing your work alone.

Your artist portfolio  should contain a variety of subjects and styles, and should not be limited to only one type of media if you engage in several.  Choose the most colorful, interesting ones that demonstrate your ability as an artist.  One tool that artists use to promote themselves & their work,  is a biography or ‘bio’; which describes how they got started in art or other venues.  An artist bio gives a description of their background in art, & will often explain how they arrived at choosing the subjects and the techniques they used to achieve their results in their finished work.

Building an Artist Portfolio : Creating An Effective ‘Bio’

Other elements that you can include in your artist portfolio  ‘bio,’ to let people know about you as an artist, include things  such as:  the types of art classes you’ve taken & the names of the places where you attended them; as well as awards you may have received as a student or in artist shows and exhibitions.  Finally, it can be a good idea to also include a section in your artist portfolio bio, about your impression of your artistic experiences… past,  present & future.