Does every painting need a focal point? Some artists would say no, while others consider them an absolute requirement. But what is a focal point? And why do we use them in our paintings in the first place?. . . read more
In normal life we hardly ever notice the light source’s temperature - but as artists, we should always understand the temperature of the light, since it controls the color of everything else we see.. . . read more
Have you heard of alternation? A rarely discussed design tool, alternation can sometimes be the very method you need for moving the viewer’s eye through your painting, or making dull areas interesting.. . . read more
Most of us realize that if we put too much visual information into a single work of art all at once, our viewers won't know where to look. But just as a musical composer guides what his audience hears, a painter can guide his viewers' eyes. . . . . . read more
Cast shadows contain the following three pieces of information: The direction of the light in a scene, the shape of the object casting the shadow, and the topography of the surface where the shadow is cast.. . . read more
Close your eyes for a second, then quickly look in any direction. Now ask yourself: what is the first thing you saw? And more importantly. . . what was it that caused you to see it? . . . read more
How much description is necessary in a painting? There's no easy answer, but for starters, let's dust off the economy principle: leave out what you don’t need. Let's look at some examples of economy from three different time periods.. . . read more
Even though life is full of vibrant contrasts, a painting that contains too many of those contrasting elements can be a rude awakening to the senses. For many painters, the answer to this problem lies in the use of gradation.
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Boredom, believe it or not, can unravel an artwork as quickly as chaos. There are a number of strategies painters use to keep their work interesting, but one of the most important ones is to vary your intervals.. . . read more
It’s always exciting to encounter a painting where every shape and image play an important role within the total composition. One simple method for making this happen is by observing and manipulating edges to achieve a specific result.. . . read more
Sometimes it’s fun to use a painting strategy that's foreign to our usual approach. It refreshes the mind, recharges the brain and might open a creative thought or kindle a new direction in your art.. . . read more
If painting from photographs or sketching from life just isn't working out, there's another option to consider - why not make a sculptural reference out of clay and create a little scene, or diorama, to paint from?. . . read more
The following article was written by David Patterson: I had such a fantastic time at Desmond O'Hagan's three day workshop in June of 2007, that I thought I'd write down a short review of the event. Desmond paints in both soft pastels and oils, so his techniques work in either medium.. . . read more
The following paragraphs explain my three-step process for adding unbelievable texture to any acrylic painting with acrylic heavy gel and acrylic modeling paste. There's only one secret—the texture comes first. . . . read more