Tip For Painting Landscapes

Color Wheel
Basic Color Wheel

The secondary color scheme using green, orange, and violet are especially good at creating harmony, especially, when painting landscapes. Proper use of this scheme can give a viewer that inviting feeling of being able to walk right into the picture..
However, when using this color scheme, it is always best to allow one color to be dominant.  With greens and orange, you can see how this would be perfect for your nature scenes. The use of contrast builds color harmony and creates interest and exhibits an energy.

Lynn Burton: "Breakfast at the Cuckwagon" (Oil on canvas)
Lynn Burton: “Breakfast at the Cuckwagon” (Oil on canvas)

 

Just as complements side by side in a painting will intensify each other, mixing complementing colors will make their complement disappear.  In the disappearing stage of the mixing experience, you can take the neutral grays produced and keep them for the painting by creating values and temperatures for it.  Also, depending on the hues of the main colors and the amount of your mix, you can make several interesting colors.

 

Arlen Burton: "Signal Peak" (Oil on Canvas)
Arlen Burton: “Signal Peak” (Oil on Canvas)
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Art Center Information’s Weekly Review

R. D. Burton: Practice drawing for future painting
R. D. Burton: Practice drawing for future painting

In our article on Tuesday, titled: Artists: The Great Communicators, we said: the artist will find out that the more carefully and searchingly they look, the more they find the subject eluding their ability to record it on paper, the greater should become their ability to persist. For more, click on picture>

 

Maria Howard Weeden: Watercolor portrait
Maria Howard Weeden: Watercolor portrait

 

 

On Wednesday, we discussed one of our favorite mediums in the article titled: The Delightful Medium. We wrote: With watercolor, you can adapt the techniques that work for you and successfully incorporate your own aims and ideas once you have enough experience and have gained confidence. For more, click on the picture. >>>

 

 

Artist, R. D. Burton, Sketching "father time" for his drawing and painting.
Artist, R. D. Burton, Sketching “father time” for his drawing and painting.

 

In the article titled, Some of The Agony an Artist Goes Through to a Completed Painting, which we discussed on Thursday, we talked about some agonizing moments artist R. D. Burton is going through to prepare a new graphite drawing and then a painting. Click on the picture to the right to read more.

 

 

 

Artist, R. D. Burton, at work on new drawing
Artist, R. D. Burton, at work on new drawing

 

On Friday, we found Mr. Burton still agonizing, he said: “I am one of those type of artists that demands perfection. Some artist have said that I lose my artistic freedom being so restrictive.” …(then)… “It’s driving me wild thinking about it. For some time now, I have been creating it in my mind.” Click on the picture to the right to read more.

 

 

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Finding The Artist’s Zone

Artist, R. D. Burton, at work on new drawing
Artist, R. D. Burton, at work on new drawing

Here I am in my zone. I’ve determined that I will create a graphite drawing and a monochromatic painting of what I will call the Gears of Time. I’m working here on some sketches. I’m trying to capture the age of old “father time” surrounded by different gears that grind slow but sure.

There will be faces of clocks that are all set at a minute to midnight when (perhaps) time shall be no more.

It’s driving me wild thinking about it. For some time now, I have been creating it in my mind.

Artist, R. D. Burton, Sketching "father time" for his drawing and painting.
Artist, R. D. Burton, Sketching “father time” for his drawing and painting.

 

I am one of those type of artists that demands perfection. Some artist have said that I lose my artistic freedom being so restrictive, but I personally disagree. I feel it is depends upon the particular painting and composition that I select to paint. This particular subject and composition will only be done with determined, well thought out planning and accuracy. If not it will not work. Trust me. I know.

 

 

Artist, R. D. Burton, preparatory sketch of "Gears of Time"
Artist, R. D. Burton, preparatory sketch of “Gears of Time”

Below is a working sketch of the right hand of “father time,” the main focus of the drawing and painting I intend to create. This is about the third time I have attempted to get the hand correct. It may not be totally correct as of yet, but it is finally acceptable enough to feel I can make the next drawing the final drawing. It all depends on how well I can continue enough to portray the other hand and the left foot which will be resting on another clock.

 

 

 

 

 

R. D. Burton: Practice drawing for future painting
R. D. Burton: Practice drawing for future painting

 

 

 

 

Artist, R. D. Burton, sketching for "Gears of Time"
Artist, R. D. Burton, sketching for “Gears of Time”

 

 

 

 

 

 

 

 

 

 

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Some of The Agony an Artist Goes Through to a Completed Painting

R. D. Burton: graphite sketch for future drawing and painting
R. D. Burton: graphite sketch for future drawing and painting

The hands are all I am trying to get right here.  I did not do them quite right, and it makes me Cra-a-a-a-azy! However, I  will get it right or else. I have to make “Old Father Time” lean his head to the right (from viewers sight) rather than to the left as the exhibit to the left because his left foot is lifted onto the clock. This will shift him opposite of what I originally drew him (see below). These are some of the technical things that an artist goes through.

The hands! The hands! What an artist must go through to complete a painting or a drawing! These hands will not work. They are not quite what I am trying to do here. If I don’t get them right, they will ruin the entire composition. Yes! It is back to the drawing board. I will get them right, or they will not work in the drawing.

A-a-a-h-h-h-h!  It’s making me crazy! Okay, I will keep working until they are right. As so many of you know, if you have no passion, you will not have art.

R. D. Burton: Practice drawing for future painting
R. D. Burton: Practice drawing for future painting
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Watercolor: The Delightful Medium

Winslow Homer: Fisherwomen (Watercolor on paper) 1881
Winslow Homer: Fisherwomen (Watercolor on paper) 1881

With watercolor (what I call the delightful medium), you can adapt the techniques that work for you and successfully incorporate your own aims and ideas once you have enough experience and have gained confidence.  It will not take long (after you’ve destroyed some of your most desirous works that failed) for you to learn that watercolors is the least forgiving medium of all the mediums.  There is very little chance of correcting errors.  But take heart!  This fact works for you and not against you; especially, when you are attempting other mediums.

It was Homer that I preferred over all watercolorists when I first started painting in the medium.  I realized, at that time (almost forty years ago), that he was far too advanced for me to attempt to emulate, but it was fun trying.

Maria Howard Weeden: Watercolor portrait
Maria Howard Weeden: Watercolor portrait

 

One of my favorite masters of the medium was the self taught artist Maria Howard Weeden, who painted portraits. The Civil War left her impoverished, however, not only was she a great and talented artist, but she made a unique contribution to an era in the history of the South with her watercolor portraits. She spent many years portraying servants, gardeners, cooks, nannies, and children.  Her portraits were often devoid of background, but the subjects were given a sense of formality and dignity, which up until her time had been portrayed only as comical characters.

 

 

R.D.Burton: "Woman In The Field" (watercolor)
R.D.Burton: “Woman In The Field” (watercolor)

 

 

To the left is a watercolor painting that I did some time ago. I hope someday to redo it in acrylic paints. However, it does bespeak that I practice what I preach.  Remember, once you have learned to handle this wonderful medium, you will find your experience to be exciting and very satisfying.  Watercolors offers potential for all kinds of subject matter.  As you practice and gain confidence, you will succeed.
The main thing…just keep painting!

 

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Artists: The Great Communicators

R. D. Burton: Practice drawing for future painting
R. D. Burton: Practice drawing for future painting

In conversation we often say, “I see what you mean,” meaning, “I understand what you mean.” It can be said that seeing and understanding are one and the same thing. They are interchangeable. In the presence of most pieces of art an unconscious communication goes on between the work and the onlooker; at least, most artists wish it to be so. The artist cannot communicate unless he or she understands, and the moment of understanding becomes the moment of communication.

The artist will find out that the more carefully and searchingly they look, the more they find the subject eluding their ability to record it on paper, the greater should become their ability to persist. All this is a somewhat complicated way of saying that drawing only comes about by drawing, not by theory or shortcuts. An artist has to do the hard work, but they will find in the long run that disappointment and disgust at their attempts will give way to a tolerant acceptance.

 

 

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Weekly Wrap-up For Week of 9/17 Thru 9/22/2012

To visit the blog-posts, simply click on the picture to the right of each daily entry.

Monday, 9/17:There was no new Blog Post.

Final painting
Final painting

 

Tuesday, 9/18: Our Blog Post was titled: Tip For Painting With Water Media. We said that it is fun painting with water media whether it is acrylic, gouache, or watercolors. You have to practice, sketch, study, and learn to accept the challenges it gives you. However…

 

 

Wednesday, 9/19: There was no new Blog Post.

 

Lynn Burton: Study for Mural (oil on board)
Lynn Burton: Study for Mural (oil on board)

 

Thursday, 9/20: We gave you some art tips for self-critiquing.  One of our resident artists said: “I have come to use the following procedure when finally deciding one of my paintings is worth framing and hanging.”

 

 

 

 

R. D. Burton: Segment of Graphite drawing

 

 

Friday, 9/21: We had an interesting discussed with artist R. D. Burton about his preparation for a new painting and drawing.

 

 

 

R.D.Burton: segment of painting, "Red Truck" (Acrylic on Board)
R.D.Burton: segment of painting, “Red Truck” (Acrylic on Board)

 

On Saturday, 9/22: We briefly discussed acrylic painting, pointing out that there are a great many artists using acrylics, and there are a great many artists that encourage painters to stay away from them. Because of the unfounded arguments and differing opinions….

 

 

 

 

Be sure to sign up for the Art Center Information newsletter and enter the drawing to win a free coffee table art book>>>Upper right hand corner of page. Drawing to be held soon!

 

 

 

 

 

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Acrylic Painting

R.D.Burton: segment of painting, "Red Truck" (Acrylic on Board)
R.D.Burton: segment of painting, “Red Truck” (Acrylic on Board)

The virtues of acrylic paint are purity of color and short drying time. There are a great many artists using acrylics, and there are a great many artists that encourage painters to stay away from them. Because of the unfounded arguments and differing opinions, novice painters usually start their training with oil colors.

Originally, acrylics were developed as industrial paint. However, the medium became so popular with artists because of the purity of color and drying time that now it is one of the most widespread painting media on the market. It has its own identity, and is no longer used to compare with other techniques, nor is it used singly to imitate the effects of oil. watercolor, and other mediums.

By their very nature, acrylic paints work well with mixed media painting. They can be manipulated with all possible textures and fillers. Imagine painting wile using pieces of carbonized wood, lead, clay, dust, stones, straw, wires, and much more (probably limited by only your imagination). If you have any doubt about this, I would recommend you look up the acrylic – mixed media – works of Anselm Kiefer.  Because these are copyrighted paintings, I cannot show his work here. However, it is highly recommended that you read about them. He is definitely a master at the use of acrylic paint.

Be sure to sign up for the Art Center Information newsletter and enter the drawing to win a free coffee table art book>>>Upper right hand corner of page.

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Artist Preparing for a Painting

Artist posing for picture prep for painting
Artist posing for picture prep for painting

I’m sure most all artists do strange things in an effort to capture some idea for a drawing or painting. Here is artist, R. D. Burton preparing a pose for a painting of father time. In the right hand will be a deformed Salvidor Dali like clock and in the left hand will be a scroll with names on it. He intends to do a gallery quality graphite drawing as well as a monochrome acrylic painting. They both will be 18″X24″. At the moment everything is in the planing stage. He has done most of the planning of the composition of the picture as well as a 5″X18″ segment practice sketch (below). We wish you Luck, Mr. Burton.

R. D. Burton: Practice sketch for "Gears of Time" (5'X18")
R. D. Burton: Practice sketch for “Gears of Time” (5’X18″)

 

 

 

 

 

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Five Tips for Self-Critiquing

James Frederick: "The Empty Chair" Oil
James Frederick: “The Empty Chair” Oil

 

An artist needs to develop a ritual (if you may) that helps them determine the very best they can do when painting a picture.

Over time, I have come to use the following procedure when finally deciding one of my paintings is worth framing and hanging. I consider it my self-critiquing check list.

 

 

Lynn Burton: Study for Mural (oil on board)
Lynn Burton: Study for Mural (oil on board)

Tip: Spot the weakness: Overall, It is easier to identify weaknesses in your painting than the strong points. Weaknesses jump out at you and are very obvious.

Tip: Find your strength: To recognize the strong areas of your painting requires more concentration and understanding. You are trying to make sure the composition gives a unified and pleasing whole to the painting. Are the colors and values harmonious? Do the scale and relationship of shapes and objects relate and make sense?

R.D.Burton: "Winter Farm" (watercolor on paper)
R.D.Burton: “Winter Farm” (watercolor on paper)

Tip: Use the mirror trick: A good idea is to hold a mirror up to the painting. Any compositional inaccuracies should be visible.

Tip: Give it a rest: Some times you need a fresh view of your painting. How can you be fresh? Put the painting out of sight for a few days (or weeks). After the rest, you may notice areas that need more attention.

Tip: Be critical: Don’t assume you can get away with anything. Be honest with yourself. Never suppose the viewer will not see a blunder in your painting. If you know it is there, so will everyone else.

 

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