Tip for Painting People With Water Media

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, the more you work and become familiar with it, the more you master it.

Acrylic sketch
Acrylic sketch

To the right is one of many acrylic sketches I made in an attempt to become familiar with the effect an overhead sun had creating the shadows of a hat brim on the face of a man that I was trying to paint. The only source of information I had was a pencil drawing that I’d made. Unfortunately, I had made the value of the shadow so strong the eyes did not show up and would not have been natural from the position of the viewer. I was having to use my imagination while painting, trying to decide what it should look like. I was having a problem with this. I could get the drawing and expression right when using graphite, but when attempting to paint it, the colors were not exactly what I wanted. I finally realized that it was not that different than painting a portrait. I had to think about being a portrait artist (which I am not), and this would require more study.

Final painting
Final painting

When in doubt, I usually check my personal library to see if in those many pages and experiments there is a nugget of useful information. However, in this instance, it took a trip to the library. Fortunately, for me, the library is around the corner and a couple of blocks away. I checked out a book written by artist, Suzanna Winton: Realistic Watercolor Portraits. I was pleased with what I learned and was able to paint the man’s face well enough that it was acceptable (at least by me). The man’s face was only a small portion of the overall picture but it still had to be correct.

Tip: It takes a lot of practice to master anything. If you study hard, practice a lot, and keep a positive attitude, you can accomplish that which you will attempt.

 

Be sure to check out the Greeeaat Opportunity page at the top of this page and see if there is something there that would help you.

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. The drawing will be held very shortly.

 

 

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Weekly Review 9/10 thru 9/15

Pierre-Auguste Renoir: In The Woods (Oil on Canvas)
Pierre-Auguste Renoir: In The Woods (Oil on Canvas)

On Monday, 9/10: We posted: Renoir~The Inspiring Artist.  It can be said that Renoir continues inspiring artists of today. I realize this to be especially true when I daily search the internet for contemporary artist’s blog and web sights and study their works.

For more information, click on the picture>>>>

 

 

 

R. D. Burton: Winter Kindling
R. D. Burton: Winter Kindling

On Tuesday, 9/11: We posted: Light’s Awesome Responsibilities. In this article we wrote: to break through the unique challenge to paint light, an artist must first tackle its vague and abstract qualities. By its nature, light is the very essence of everything seen. The question is: how do we portray it properly in our paintings and drawings?

For more information, click on the picture>>>>

 

Lynn Burton: Untitled
Lynn Burton: Untitled (oil on canvas)

On Wednesday, 9/12: We wrote in our article: Art Questions Answered By Artist Brothers, Lynn and R.D. Burton that a member of our staff at Art Center Information caught up with artist brothers, Lynn and R.D.Burton, yesterday, and they were kind enough to answer a few questions that some of our readers have asked.

For more information, click on the picture>>>>

 

 

Vincent Van Gogh: Self-Portrait with Straw Hat
Vincent Van Gogh: Self-Portrait with Straw Hat

 

On Thursday, 9/13: We discussed The Post-Impressionists. In his painting, Daubigny’s Garden, Van Gogh used bight colors and heavy brush strokes in a simplified form which was the Post-Impressionists’ preference.  This exemplified the aim of the art movement to communicate emotion.

For more information, click on the picture>>>>

 

Friday, 9/14: There were no posts.

 

Lynn Burton: Black and White sketch-"Adam and Eve"
Lynn Burton: Black and White sketch-“Adam and Eve”

On Saturday, 9/14: In the post, As it Regards Art and Artists, we wrote that the artist has always been a special breed of person in the world, asking questions, looking for answers, but they have never been satisfied with letting things be. “The sun in my belly” is what Picasso called it.

For more information, click on the picture>>>>

 

 

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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As Regards Art and Artists

Vincent Van Gogh: Self-Portrait with Straw HatThe artist has always been a special breed of person in the world. Asking questions, looking for answers, but they have never been satisfied with letting things be. “The sun in my belly” is what Picasso called it.

  • It has always compelled the artist to create something out of nothing.
  • Under the artists hand, wood, stone, metal, charcoal and paint became the whole world.
  • All of human imaginings, heaven and hell, gods and goddesses, beasts in the field and fowls in the air, artists have been creating these over and over again.

No wonder artists for centuries have been the priests, teachers, explorers, and yes, even the magicians.

Lynn Burton: Untitled
Lynn Burton: Untitled (oil on canvas)
Lynn Burton: "Adam and Eve"
Lynn Burton: “Adam and Eve”

 

 

 

 

 

 

 

 

 

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The Post-Impressionists

Paul Cezanne: Flask, Glass, and Jug
Paul Cezanne: Flask, Glass, and Jug

 

Paul Cezanne: Design and shape were the features in which Cezanne approached his paintings.  He was the central figure for the Post-Impressionists, and his work influenced the rest of the group.He was more focused on showing the volume and space the objects in the painting inhabited than capturing a convincing likeness.

 

 

 

Paul Gauguin: Where do we come from? What are we? Where are we going?
Paul Gauguin: Where do we come from? What are we? Where are we going?

Paul Gauguin: Gauguin’s focus was also design.  He painted in flat areas of color while abandoning spatial depth and effects of light.  He conveyed what he thought was spiritual truth in his works by giving his subjects symbolic and emotional meaning.

 

 

Vincent Van Gogh: Daubigny's Garden
Vincent Van Gogh: Daubigny’s Garden

 

Vincent Van Gogh: In his painting, Daubigny’s Garden, Van Gogh used bight colors and heavy brush strokes in a simplified form which was the Post-Impressionists’ preference.  This exemplified the aim of the art movement to communicate emotion.

 

Maurice de Vlaminck: The River Seine at Chatou
Maurice de Vlaminck: The River Seine at Chatou

 

 

Maurice de Vlaminck: It is easy to see the influence that Van Gogh had on Maurice de Vlaminck’s landscape paintings, the colors and brushstrokes. As with the other Post-Impressionists, de Vlaminck ignored detail, opting out for mood and emotion instead.

 

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Art Questions Answered By Artist Brothers, Lynn and R.D. Burton

James Frederick: Still Life
James Frederick: Still Life

A member of our staff at Art Center Information caught up with artist brothers, Lynn and R.D.Burton, yesterday, and they were kind enough to answer a few questions that some of our readers have asked.

Art Center Information: What tips would you give for an artist wishing to draw or paint a still life picture?
Lynn Burton: Once you decide on the center of interest, wisely use balance in the composition with different objects around it. Remember, variety is very important to any still life composition; and, finally, be sure to use a well composed area of light to emphasize the focal point of interest.

"Music, Politics, and History"
Lynn Burton’s Mural: “Music, Politics, and History”

Art Center Information: What do you say when asked about foreshortening?
Lynn Burton: Foreshortening flattens out and shortens the length of an object to stimulate perspective. Anything you see at an angle, not straight on, is foreshortening. It is easy for us to think of foreshortening when considering round objects such as fingers, arms, legs, and even tree limbs, but rectangular objects are foreshortened as well–their sides are seen as shorter than they are. Everything has to be kept in perspective. The best example I can think of when considering foreshortening is the poster where Uncle Sam points his finger at you.

graphite study
R.D. Burton: Graphite study for painting

Art Center Information: What tools do you use in your graphite drawings?
R.D. Burton: Most of my graphite drawings are done with a 2H or 4H for the lighter areas. For the darkest value, I seldom use any lead softer than a 4B. My favorite paper is a Strathmore 4-ply plate finish Bristol board. I sharpen my pencils with a single-edge razor blade, tapering the wood and leaving a little more than 1/4″ but less than 3/8″ of graphite exposed. Then I give the lead a conical shape using a sandpaper block. The graphite dust is removed from the point with a soft cloth (critical). I never start a drawing without several sharpened pencils of each. I hate having to stop and sharpen pencils when taken over by the passion to draw.

R. D. Burton: Knobby Tree (graphite on paper) 8"X11"
R. D. Burton: Knobby Tree (graphite on paper) 8″X11″

 

We appreciate the questions coming in, please keep them coming, and we will try to get to them in a prompt and efficient manner.

 

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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Light’s Awesome Possibilities

Lynn Burton: Untitled
Lynn Burton: Untitled (OIL on canvas)

To break through the unique challenge to paint light, an artist must first tackle its vague and abstract qualities. By its nature, light is the very essence of everything seen. The question is: how do we portray it properly in our paintings and drawings? Our success depends on the ability to handle the subtleties of light, and I am sure nearly every artist in their own creative nature have experimented with it endlessly.

I don’t know about you, but this has been one of my greatest challenges. The quest to properly represent the bold, the bright, the shadowed, and the soft have became my greatest exhilaration or disappointment depending upon whether I’ve succeeded or failed. All I know is that when it works, it can literally “blow you away.” I’m confident that as artists many of you have shared these feelings.

Because of the limitations of this blog post, I do not profess to solve the problems presented by accurately painting light. Rather, I will only bring up the challenges. To do otherwise, it would take a very large book or several painting classes on a DVD.

Lynn Burton: Untitled
Lynn Burton: Untitled

 

  • One of the great techniques an artist needs to acquire is learning to properly represent transparency. How does light pass through a glass of water, or any other transparent object?
  • The delicate way light effects translucency–for example the back-lighting of the sun shining through the petals of a flower or leaf, the upper curve of a person’s ear, stained glass in a church, and much more.
  • A good artist must examine the relationship light has with reflection. This is vital because, without a good understanding of this, a painting or drawing can be ruined. Imagine a painting of waterscapes when the reflection on the water are improperly portrayed.
  • Imagine painting the soft glowing light of a burning candle, or the effect of sunlight on a landscape, without a clear knowledge of properly portraying luminosity.

Mastering light and its effect on transparency, translucency, reflection and luminosity can literally transform your artwork and is well worth the study and practice. You may have already mastered the techniques, and, if you have, I feel you will agree with me to not take it for granted.

Lynn Burton: Parrots
Lynn Burton: Parrots (Oil on canvas)

 

 

To read an interview with artist, Lynn Burton, click on the picture to the right>>>>>>>>>>

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Renoir~The Inspiring Artist

Pierre-Auguste Renoir, Girl With a Watering Can (oil on canvas)
Pierre-Auguste Renoir, Girl With a Watering Can (oil on canvas)

Matisse and Picasso were not only fervent admirers of Pierre-Auguste Renoir, but over and over again turned to him for inspiration as they extended the characteristics of painting in the early twentieth century.

It can be said that Renoir continues inspiring artists of today. I realize this to be especially true when I daily search the internet for contemporary artist’s blog and web sights and study their works. I’m not certain they are aware of the influence Renoir has had on their art work, but influence he has had. Many may name a more contemporary artist as their influence and inspiration, but in many cases it can be tracked down through the decades of artists inspiring artists to the last quarter of the 19th century when Renoir painted the plethora of art work that he did. He accomplished some of his most striking Impressionist effects and his most arresting color discoveries while painting landscapes side by side with his colleagues, Monet, Sisley, and Ce’zanne.

Pierre-Auguste Renoir: In The Woods (Oil on Canvas)
Pierre-Auguste Renoir: In The Woods (Oil on Canvas)

Renoir’s subject, in many cases, was figure  painting, but some of his most “free” flowing Impressionist works were his masterful landscapes. Here he became a genius of color and mood.

In his painting, In The Woods, the human form is eliminated, and the entire canvas is given over to a tangled and complicated arrangement of dots and dashes of colors representing leaves. Colors of dark green and blue tones are on the right side of the canvas, the bottom features red pigments, and the upper left side glows with golden highlights. All of these dominant colors merge in the center with a more or less pastel haze. There seems to be a sense of space and depth as the visitor’s eyes are drawn down the path. It almost gives off the atmospheric effect suggestive of moist, pungent mists of an afternoon walk in the woods. I’ve walked this path of woods before.

Over the past century many great artists have given credit to Renoir as the one artist they admire. Jackson Pollock was a fan of Renoir, giving credit to his Impressionist style of landscapes and use of color as being most inspiring to him.

 

 

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Art Center Information Weekly Wrap-Up 9/3 Thru 9/8

Monday 9/3: There was no entry on this day.

R. D. Burton: Winter Kindling
R. D. Burton: Winter Kindling

 

Tuesday 9/4: For your art information, in post titled, Painting Light in Open Shade, we wrote that as a vantage point, open shade is the best choice from which to paint. It’s far better than placing a canvas (or whatever substrate) in full sunlight. However, when painting in open shade, the light generally is very cool, since it occurs in sunshine on a clear blue sky day, and the light striking the canvas is mostly blue. For more information, click on the picture >>>

R.D.Burton: segment of painting, "Red Truck"
R.D.Burton: segment of painting, “Red Truck”

 

Wednesday 9/5: In Tips for Manipulating Acrylics, we wrote: Manipulating acrylics on a surface can be interesting and rewarding, resulting in delightful effects by using such tools as various brushes, palette knife, old credit card, razor blade, and even an icepick, as well as, almost anything you can imagine that might give you an effect you wish to portray by scraping, scratching and abrading. For more information, click on the picture >>>

 

R.D. Burton art library

Thursday 9/6: There was no entry on this day.

Friday 9/7: We asked: How Important are Art Books?
We wrote: VERY! However, nothing will be a greater teacher than trial and error experience. The good thing about many art books is… For more information, click on the picture >>>

 

 

Olivia: Untitled (graphite pencil)
Olivia: Untitled (graphite pencil)

 

Saturday 9/8: In post article, The Why of Drawing, we wrote: The word drawing seems to be one that most professionals and students use freely, but which no two ever seem to use in quite the same way. For more information, click on the picture >>>

 

 

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Use sign up form in the upper right hand corner of page.

 

 

 

 

 

 

 

 

 

 

 

 

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The Why of Drawing

Olivia: Untitled (graphite pencil)
Olivia: Untitled (graphite pencil)

Many artists will say they draw because they can’t help it. Often, throughout the day, I reach for a pencil and a sketch pad to draw that quick moment in time that needs to be recorded in pictorial form.

The word drawing seems to be one that most professionals and students use freely, but which no two ever seem to use in quite the same way. Too many artists fail to see the pencil and chalk studies of the old masters as applicable to their present day problems. They frequently end by paying lip service to excellence without delving further into it. Furthermore, the trends of contemporary painting seem to by pass draftsmanship as a means. This is regrettable when considering that many of the artists we know as masters were very adept at drawing.

Pablo Picasso usually started his paintings with careful, rather realistic drawings, which he later over painted and “destroyed” (his words) as his study of his subject deepened and progressed.

Picasso: The Old Guitarist (1903)
Picasso: The Old Guitarist (1903)

Many artists rely on photography as a substitute for drawing, and arguments can be made that a positive use of the camera can be very helpful for an artist.  However, using it without going through the helpful steps that a drawing can give an artist shows a lack of understanding of what the ability to draw means. The two have little to do with each other when considering the discipline of drawing. They are not in conflict because there is no similarity of purpose. The mastery of drawing can be a release to the imagination and not, as photography sometimes is, a realistic aid.

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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How Important Are Art Books?

R. D. Burton's Art Library
R. D. Burton’s Art Library

I took some quick photos of my art library. Some of these books were purchased in the past year, but most were purchased over the past four decades. As a matter of fact, some of the pages are turned yellow and brittle in the older books. I still refer to the aging books but turn the pages very carefully.

How important are art books for the artist? VERY! However, nothing will be a greater teacher than trial and error experience. The good thing about many art books is the author (assuming to be a professional) gives sample instructions step by step. This gives a self taught artist an opportunity to experience the freedom of paint and brush on a canvass, paper, or other substrate. It’s a wonderful and usually rewarding experience.

R.D. Burton art library

I often present myself as a self taught artist. I say this because I have no formal education in art and not taken but a recent art lesson from a local gallery. This was a very basic course and although I learned a few things–not much. However, I’ve never gotten off the long distance phone call that my brother, artist, Lynn Burton, didn’t give me a brief lesson and usually some assignments. So, considering this, perhaps I’m not a self taught artist after all.

However, I certainly would not know much about art if it were not the mountains of books on art that I have referenced. I’m sure I could probably qualify for having completed many courses taught in college art classes today. I am an avid reader and passionate student of art. But nothing means nothing without practice, practice, practice.

I do not show much of the artwork I’ve completed because they are practice paintings or drawings coming from art books. I’ve found most of these books that I’ve chosen to use are written by artists that go to great effort to show their sincerity and passion to pass on what they know. I also do not show this work because I may have used it as a means of learning only, and because I have a deep respect for the hard work an artist goes through to create the original composition.

Library books

I’ve just recently placed an order on the internet for the three library books on the right:

  • Color Mixing for Artists~John Lidsey
  • Dramatic Light~Patrick Howe
  • Mastering Light & Shade in Watercolor~Ong Kim Seng

How I make my decision of whether to buy a book or get it from a public library is how often I keep checking the same book out of the library. Over the past six months I’ve checked these three books out several times until they seem to be part of my big stack of books pictured above which make up my personal library.

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