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Watercolor Goat in Pasture

by Caroline , April 8, 2011—12:00 AM

Topics: Landscape, animals, composition, nature, painting

A goat in the foreground looks directly out of the picture plane to the viewer. Further into the field a cluster of three go about their goat business. The greens of spring color the field along with a scattering of wildflowers. I find it interesting that animals will give you that arresting stare and judge whether you are a danger. If they mistrust, they are out of there. If you seem okay, the stare may continue as if in pure curiosity. This goat looked up as I parked the car along the roadside, watched as I took the photo, and didn't lost interest until I was ready to go. In that instance, we both had about the same attention span! The setting had enough bucolic, spring time peace and beauty to have set a romantic poet, such as Wordsworth or Keats, to creating a new ode… Continue reading… 1 comment

"If the weather outside is frightful..." at least it's warm and cozy inside, and a perfect time to paint some comforting subjects like this artichoke. For the palette, I used a restricted selection of Azo Green, Serpentine, Perylene Green and Dioxanine Purple. I love the feel of the purple as a complementary shadow for the green subject. I find Daniel Smith's Serpentine a very useful mid-tone green that doesn't have an equivalent in traditional green pigments, of which there are so few. It's more transparent than Chromium Oxide, and can easily be pulled to yellow or blue, but it's more "natural" than a Phthalo or Viridian… Continue reading… 4 comments

This Painting was completed quite quickly by my usual standards. I used a mask to preserve the white areas, then poured pink and pale green. Once dried, I applied more mask and poured more watercolor paint and so on... Overall the painting took two days to complete. I think the hardest part was first applying the mask and them removing it. Still have not decided if I like mask or not. I usually carefully paint around things… Continue reading… 0 comments

I do not often follow the impulses generated by ads that appear on the front page of magazines, or the home page of websites, but I am glad that I did for once. I tried Signature Canvas, that offers a special discount to ArtId members, and the result I got was very satisfying. This canvas is really strong, smooth, with just he right "tooth". It is perfectly gessoed, and ready to be painted on when it is delivered. The frame is thick, the spine is well conceived, and the canvas stapled with a generous edge. I ordered some canvas stapled, and some spline-fastened. I found that the spline-fastened looked neater, and allowed the painting to hang flat on the wall… Continue reading… 0 comments

Acrylic paintings and techniques have the advantage over other media in that they are long-lasting, yet less costly than oil paintings. Oil and pastels for paintings have drawbacks, pastels being more ephemeral and possibly giving rise to breathing issues due to their chalk residue, and oils for the length of time needed to dry being quite lengthy, perhaps up to months__™ worth of drying time, as well as the turpentine fumes being bothersome to many. Acrylic paintings are synthetic paint made from pigments blended with synthetic materials. They are water-soluble and can be used on a large range of surfaces; they can be mixed as can oil paints and they clean up easily. In an indoor studio, their smell is less overwhelming than is an oil-based paint… Continue reading… 4 comments

All Dressed Up...

by Shideler , August 15, 2010—12:00 AM

Topics: Iris painting, aquaboard, botanical, floral, flower, nature, painting

And to think I said no more painting with purples for awhile after painting the two Lilacs. After finishing the "Amethyst Lilac" painting, I was determined to paint something less complex and not purple. Well, being who I am, gravitating towards complexity in everything I do, I started this painting on Aquabord. Aquabord is a relatively new hard surface for painting with watercolours. The beauty of this surface is that the completed piece is sprayed with acrylic Krylon archival varnish when completed and framed without glass. This piece is protected. As so many people now prefer to purchase paintings with out glass in order to eliminate glare from lighting and windows - this is a nice option… Continue reading… 0 comments

Oil painting using an underpainting

by eleanormcintosh , July 18, 2010—09:27 PM

Topics: All Posts

Most of my paintings are done using an underpainting in the style of the Old Dutch and Flemish Masters. The underpainting shows the light and the shadow - it is not a monochrome in the usual sense of the word. It is more of a value statement. This is a picture of the finished underpainting of the third painting in my Gallery #1, titled Getting Educated . It is a very interesting process and, if done correctly, adding the color is the easiest part of the painting. There are three stages when you do a painting this way - the underpainting, which should take the longest because it must be correct, the color stage and the adjustment stage - highlights, grounding marks, etc… Continue reading… 1 comment

"Everything is Just Peachy" is a watercolor on Aquabord. Aquabord is a beautiful absorbent product by Ampersand. Watercolors are rich and luminous on its surface. And it is easy to layer and lift paint on Aquabord. "Everything is Just Peachy" was a commissioned work for a client who wanted a painting that she could fasten to her kitchen cabinets. I chose an 8 _ 8 Aquabord panel and when the painting was finished I sprayed it with UV resistant clear acrylic agent to protect it from moisture. Aquabord can be sealed and framed without glass. So this was the perfect support for this project… Continue reading… 0 comments

In celebration of the BOMB

by lynnehurdbryant , May 5, 2010—05:09 PM

Topics: All Posts

This painting is a bomb, but not a total bust. Artists are not perfect and we make mistakes, some we can fix and many we can't. As long as we learn from our "bombs" they have a place. This painting was doomed from the start. The photograph I used was lovely, but rather lacking in a defined light source. I made matters worse with color choices that clearly didn't work. I let the pigment "break" and I got the background entirely too dark, entirely too soon in the process. The branches are not light enough on the lit side. However... The leaf shapes at the center top are about the prettiest and most interesting I have ever painted. That dark background gave me a chance to experiment. I lifted out color in interesting leaf shapes, a technique I will use again… Continue reading… 7 comments

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