Think again: Watercolor painting isn’t difficult!

Contrary to what people think… Painting with Watercolors isn’t difficult to paint!

painting with watercolor

A5 watercolour: Basically a simple composition. Missed spots and finer details were filled-in and added during the finishing-off process.

Why do people think painting with watercolor is difficult?

When they first tried painting with watercolors, they felt they had no control. For three main reasons I have listed below. Things I have noticed while teaching watercolour beginners:

  1. They get impatient when things don’t happen as they expected and as quickly as they wanted.
  2. And got fed-up when the paint bleds all over the place into other previous wet painted areas. This happened because they wanted to paint a whole painting straight off, first time, without first learning the basics.
  3. So they just charged in, hoping somehow things would just happen miraculously with the switch of their brush.

So why is it that some people become great watercolorists?

  1. They loved colouring-in and drawing so much as a child, that they wanted to learn more about art.
  2. Over time they got the desire to paint with watercolours, because it looked so easy to do, and also that it created such exciting blends and washes of colour.
  3. Their realized even if it took time to perfect, that didn’t matter, because it would be a fun activity, they could and would enjoy doing for the rest of their lives.
  4. The more they got involved and learnt to control the thrilling idiosyncrasies of watercolour, the more they became obsessed with the technologies of painting. The `rollercoaster’ of failure and success to them, became an adventure, they just couldn’t stop!

So what is the secret to painting with watercolours:

  1. Simplify your composition. Avoid complex detail. Desire what is most impressive.
  2. Be patient with yourself. Don’t rush in like a `bull in a china shop’. Think before you act. Plan your moves and the possible stages required to achieve your goals.
  3. Watch what you are doing: Where your brush is going. How close your wet brush is to what is already wet.
  4. Why, because watercolour is liquid. Obviously and naturally water flows and runs more easily where it is already wet!
  5. Make sure you have the right mixture and strength of hue, and check the amount of liquid/paint on your brush, before you apply your brush to your paper.
  6. And observe the wetness or dryness of the paper and paint already there, before putting your brush to paper. Even if it means waiting a few minutes before you can add another colour. This is where artistic know-how and patience comes in.

Artistic know-how:

You can read books how things are done, but trying out those techniques for yourself, is the `proof of the pudding’. The more you practice those techniques the more you have control of them. Theory alone isn’t good enough… your passion and ability to master them is what counts.

Artistic patience:

When you’ve been an artist long enough, you realize art it is an emotional activity. That means using all your senses, to control and create all the things you imagine and desire to paint. Because you can’t reproduce what God created so beautiful, creativity is part reality and part fantasy. Therefore intuition is part spiritual and part knowledge. Something you gain through careful observance and enduring experience.

There are other further tips and free downloads, on how to paint with watercolour:

Check out the free eBooks on this website:

Drawing: It’s easy to DRAW things!

Here’s a SIMPLE drawing lesson strategy,

That will turn you into a profound artist overnight!

Select and draw simple basic shapes to begin with. Then move on to more complex shapes later, after you have learnt how to capture the basic shapes of objects:

Drawing and painting with simplicity

A5 watercolour: Simple painting of houses.

Oh, you say you can’t even draw, now!

That’s rubbish! Drawing isn’t hard. Anyone can draw and paint. If they stopped and observed things more carefully, before trying to copy what they decided to draw or paint.

Okay then. How?

  1. Do you remember when you learnt to write your ABC in grade one? How long did it take you to write your name or a sentence?
  2. Do you remember how long it took to write a simple sum at school and add it up?

Really it wasn’t long to learn the basics, was it! But perfecting your writing skills took a little bit longer didn’t it? So it is with art. To become a good artist means spending enough time practicing your new acquired skill.

So what are the basic drawing skills then?

First, recognizing basic shapes around you:

  • Look more closely, see cars and bicycles have round wheels.
  • Houses and buildings are made up of squares, rectangles and triangle shapes.
  • Fir trees and ice-cream cones have cone shapes.
  • Drinking glasses have up-side-down cone shapes, with oval eclipse bases and top-opening.
  • And body-parts of people basically consist of oval, round and triangle/wedge shapes.
Draw with simplicity

See the simple basic shapes in things.

Drawing simple shapes gives you confidence!

The next stage, is to link the ‘dots”

Have you ever filled in those exercises in the children’s section of magazines? Where you need to draw a line (with a pencil) from one number to another, until an object is recognizable? Well, that’s how you draw objects.

Simplifying your drawings:

  1. Your object may look somewhat complex at first, but once you have observed its basic outline and simple shapes within it, it doesn’t look so complex after all.
  2. Start drawing your object, with those simple basic shapes and leave out the detail. When doing this for the first time, try doing only bold objects at first, like balls, apples and fir trees.
  3. Don’t hold your pencil tightly and be finicky, in the effort to perfect or neaten your lines. Lightly draw those shapes softly and loosely. Don’t put pressure on your pencil.
  4. Let your pencil flow ‘lazily’ around and over the basic shapes as you draw around, joining and linking the shapes, until the object’s outline is recognizable.
  5. Don’t worry about defining details yet. Reiterated lines are okay for the time being. The reiterated lines allow you later to select which lines really want, to embody the shape or not. It also gives the object an animated appearance.
  6. At this point, your soft synopsis allows you to judge its possible position in the composition. What’s so great about this way of working lightly; is that the light synopsis sketch can be eased-out or adjusted, before perfecting the shape or its proper position.
  7. The human form is more complex. When it has been broken down to basic shapes, it looks may look somewhat like a robot at first. But once you have linked and rounded off the body parts, it starts to look more realistic.

Drawing results and conclusion:

  • Been more observant is important. Judging what you look at, by shape and tonal, contrast helps to define what is important and what’s unnecessary.
  • The Chinese recognized this principle of painting simple shapes many centuries ago. They also understood the symbolic outlines of their brushstrokes said it all.
  • Like toilet and road icon signs, symbolic shapes are far more quickly recognized by people when they look at your paintings. That’s why modern artists realize that bold shapes have more impact in their paintings.
  • Having started with soft simple outlines, reduces your composing time and also makes it easier to capture quickly moving objects.
  • It also proves that outer outlines are symbolically recognizable. And if outlines are symbolic that means internal details aren’t so important. The internal section only needs a few details added, if really necessary, to create mood or if the object is the main point of interest.
  • So learning to draw like this, with this guileless `ABC’ method; proves you can draw even the simplest of objects, if you really want to.

Last retort on drawing:

Being an artist doesn’t happen by accident! If you practice often enough, you will become a good artist, in spite of what you think at the present moment!

Want colour?

Want to be an artist, do you?!

How badly do you want to be an artist? I hear people say, "I want ...
Read More
Finding new concepts

Want new ideas of what to paint next?

Addressing artists’ creativity blocks: Finding new ideas of what to paint  next, isn't easy. But ...
Read More
painting with watercolor

Think again: Watercolor painting isn’t difficult!

Contrary to what people think… Painting with Watercolors isn’t difficult to paint! Why do people ...
Read More
Draw with simplicity

Drawing: It’s easy to DRAW things!

Here’s a SIMPLE drawing lesson strategy, That will turn you into a profound artist overnight! ...
Read More
How-to make bown

ART: Want to know HOW-TO make GREEN?

I often get the questions how-to: “How do I make Black?” “How do I make ...
Read More
Spiritual light

Master artists intuitively create by LIGHT!

How does artistic intuition work? First of all lets discuss: Perceiving spiritual light is different ...
Read More

Colour: Famous artists’ best kept secret

Selecting Colour Combinations: Want to know the best and easy way to select colours for ...
Read More
Took photo of beach first

Photos & Painting of Dolphin Beach Dunes

Christmas holiday trip: Ada took photos while in Cape Town over Christmas 2016 We spent ...
Read More
Created illusion

Fact or Fallacy: Illusion works faster than reality!

Fact or fallacy: I came across this saying: Illusion can never go faster than the ...
Read More
Gallery acceptance

Art: How to Get Gallery Acceptance

Want to sell your art in galleries? "The gallery is sure to like this painting...." ...
Read More
Azaleas at Cheerio Gardens, Soutpansberb

Wildlife & Flowers of the Soutpansberg

Adventure through the Soutpansberg: The Soutpansberg this and the Soutpansberg that... How many times I ...
Read More
Wild natural reserve

Wild Natural Reserve Painting

Wild open space behind our cottage: Ever wanted to have a wild open space behind ...
Read More
Alongside the road to Drakensburg Gardens

Road to Drakensburg Gardens

Location adventures: The road to Drakensburg Gardens was the start of my I love for ...
Read More
Paarl Rock reserve view

Paarl Rock: Painting of Stone Tree!

Plein-air painting of tree in Paarl: This plein-air watercolour painting of an umbrella stone tree ...
Read More
Cosmos flowers in Delta Park

How to paint Cosmos Flowers

Cosmos flowers on a rainy misty day: Want to paint cosmos flowers? With each blog ...
Read More
Make yourself a great artist

15 Things That Make Great Artists

MAKE YOURSELF A GREAT ARTIST There are so many good artists out there that are ...
Read More

ART: Want to know HOW-TO make GREEN?

I often get the questions how-to:

  • How do I make Black?”
  • How do I make brown?”
  • How do I make olive green?”

These how-to questions may seem silly to some. Considering at school we learnt about primary colours, for example: RED apples, BLUE sky, and YELLOW bananas . And then also told how to mix yellow and blue to make green, etc.

How-to make bown

A5 watercolour: Autumn trees displaying different shades of brown, orange and golds.

But new aspiring artists do ask those questions above. It generally happens with their first art class exercise, when they have trouble producing different shades of green. Or when making up colour wheels.

So if students are having trouble making different shades and hues of green, brown or even black, we need to have a greater understand how the primary colours work and how neural and grays are created.

Starting with the best selection of primary pigments, to make those shades and hues.

We often hear the theory, “ You only need the three primary colours to make a simple palette!” That is referring to: a small selection or amount of pigments, which can make a whole range of different colours.

HINT: The best and largest range of colours is made from a cool selection of the primary colours. For example: cool lemon yellow, cool thalo blue and cool Alizarin red.

How-to mix colours

Several primary colour wheels, illustrating how-to make green, brown, black and gray.

So  now let’s move on, and learn how-to answer those questions above:

BLACK: is basically made in theory with the mixture of dark red and blue, and a little yellow. Using less yellow is understandable when you consider nighttime doesn’t have full sunlight.

So that is why some artists include a green pigment instead of yellow.  Because it is a clearer darker colour than an opaque yellow pigment. And because green is made up of yellow and blue.

Of cause the resulting shade of the mixture, will depend on which primary is more dominate. That is, a cool bluish black will have slightly more blue in the mixture. A warm black will have slightly more red in the mixture.

BROWN: is basically the equal mixture of red & blue, and more yellow in the content. This is logical when you see brown sand easier in the daytime! The shade of brown of cause also depends on which primary colour is the most dominate.

  • Warning: Now if you have been fiddling, stirring with your brush, mixing in more and more colours into your painting in the attempt to get your colours just right, you most properly wondering why your painting turned into a murky muddy colour! Because all three primaries were equally involved!

OLIVE GREEN: Is the mixture of orange and green. The shades of green you want depends on which colour dominates the mixture. Please note, yellow is the in-between colour of olive.

Please note:

  • The fact olive green, teal and russet are neutral colours.
  • Russet that is made from orange and violet, is also has a brownish shade! That is, it’s a mixture of the three primary colours: Red being the dominant primary colour. And orange having a touch of yellow. And violet having some blue in it.
  • Teal is a mixture of green and violet. Thus blue been the in-between dominate colour. And to add an interesting fact: putting a touch of violet or magenta in tree foliage complements the green mass and makes it come more alive with colour.

And while we are at it, let’s go deeper and also talk about creating simple grays.

To start with grays are generally made with opposite colours, often referred to as complementary colours. Basically how-to make:

  • Orange mixed with blue makes battleship gray.
  • Yellow and violet makes golden grays.
  • But sadly red and green makes ugly grays.

And here again the shade depends on which of the two colours involved, is more dominate!

But you often hear professional artists make beautiful colourful greys, and wonder how they do it!?

To make such beautiful grays, they use off-centre split complementarys. That means using colours not quite directly opposite. For example how-to mix grays:

  • Violet and yellow-green or sap green.
  • Violet and raw sienna or raw umber.
  • Thalo Winsor green and orange or burnt sienna.

PS: I hope this discussion on mixing colours has been simple to understand, and will help you paint the most exciting beautiful paintings from now on.

Want colour?

Want to be an artist, do you?!

How badly do you want to be an artist? I hear people say, "I want ...
Read More
Finding new concepts

Want new ideas of what to paint next?

Addressing artists’ creativity blocks: Finding new ideas of what to paint  next, isn't easy. But ...
Read More
painting with watercolor

Think again: Watercolor painting isn’t difficult!

Contrary to what people think… Painting with Watercolors isn’t difficult to paint! Why do people ...
Read More
Draw with simplicity

Drawing: It’s easy to DRAW things!

Here’s a SIMPLE drawing lesson strategy, That will turn you into a profound artist overnight! ...
Read More
How-to make bown

ART: Want to know HOW-TO make GREEN?

I often get the questions how-to: “How do I make Black?” “How do I make ...
Read More
Spiritual light

Master artists intuitively create by LIGHT!

How does artistic intuition work? First of all lets discuss: Perceiving spiritual light is different ...
Read More

Colour: Famous artists’ best kept secret

Selecting Colour Combinations: Want to know the best and easy way to select colours for ...
Read More
Took photo of beach first

Photos & Painting of Dolphin Beach Dunes

Christmas holiday trip: Ada took photos while in Cape Town over Christmas 2016 We spent ...
Read More
Created illusion

Fact or Fallacy: Illusion works faster than reality!

Fact or fallacy: I came across this saying: Illusion can never go faster than the ...
Read More
Gallery acceptance

Art: How to Get Gallery Acceptance

Want to sell your art in galleries? "The gallery is sure to like this painting...." ...
Read More
Azaleas at Cheerio Gardens, Soutpansberb

Wildlife & Flowers of the Soutpansberg

Adventure through the Soutpansberg: The Soutpansberg this and the Soutpansberg that... How many times I ...
Read More
Wild natural reserve

Wild Natural Reserve Painting

Wild open space behind our cottage: Ever wanted to have a wild open space behind ...
Read More
Alongside the road to Drakensburg Gardens

Road to Drakensburg Gardens

Location adventures: The road to Drakensburg Gardens was the start of my I love for ...
Read More
Paarl Rock reserve view

Paarl Rock: Painting of Stone Tree!

Plein-air painting of tree in Paarl: This plein-air watercolour painting of an umbrella stone tree ...
Read More
Cosmos flowers in Delta Park

How to paint Cosmos Flowers

Cosmos flowers on a rainy misty day: Want to paint cosmos flowers? With each blog ...
Read More
Make yourself a great artist

15 Things That Make Great Artists

MAKE YOURSELF A GREAT ARTIST There are so many good artists out there that are ...
Read More

Art: How to Get Gallery Acceptance

Want to sell your art in galleries?

“The gallery is sure to like this painting….” Once we have completed a painting, we think it was such fun to paint that in your estimation everybody will love it too, only to find out:

Gallery acceptance

A5 watercolour: Dynamics of spray as wave hits cliff and rocks.

It isn’t easy to get accepted into a gallery.

The fact is, gallery owners won’t take in your art if they think it isn’t sale-able! Obviously they need to steady sales to stay in business. So you need to know what protocol, quality and type of artwork they will accept:

  • Check out what each gallery has in their gallery: Depending on where the gallery is, they have a particular clientele milieu. If you want your work displayed there, your style of work must fit the niche.
  • Prominent galleries chiefly look for unique original works of art. Why, because they want to be THE GALLERY, upfront promoting new trends. Not only can they ask higher prices and commissions, but that their gallery becomes well-known, and thus attract prominent art lover investors.
  • Your personality also plays a big part. And how your portfolio is presented.
  • Some people say you must have membership in a renowned art club to be accepted. But in my experience, this hasn’t been necessary. If your work is fantastic they will be only too eager to have your work in their gallery. But they will inquire resume history to satisfy their curiosity as to the worthiness of your talent.
  • Future business arrangements: Find out what their commission rate is and how you relate to the owner of the gallery. Be aware of deals and contracts that are impossible to espouse or maintain.

It’s wise to assess your paintings before rushing off to the galleries:

  • We need to look at our art work through the eyes of the general public. What would they think of it? What will make impact on their senses? Is it dramatic enough?
  • What is the quality of your brushstrokes? Did you fiddle too much until it looks fussy and overworked?
  • If you plan undercoats and each layer of paint in the first place, you won’t need so many layers to get the right effect. And you will achieve the effect that much sooner as well.
  • Your paintings must have impact. Consider where do you want or need the greatest impact? Use the greatest contrast of tone and colour there to give the painting more oomph.
  • Also ask yourself: Is the subject matter, composition or style, unique? Is it a carbon copy of what’s already out there? And who wants to be judged against another artist’s work as secondhand inferiority?

What about those old paintings you have storied away?

Can you still sell them?

I’m sure when you have look back on your old paintings, you’ve realize your skills have improved since you had painted them. Overtime your technique and style of working has changed somewhat too.

  • Shame, they were your `babies’. And now, they seem somehow to embarrass you!
  • Sadly people tend to recall our talent according to our old `grotty’ creations.

So what could we possibly do about those old paintings?

  • You could destroy them or hide them, so no one will see your amateur attempts.
  • Whatever you do, don’t ever work over them again. It will make them look tired and overworked.
  • On the other hand, you could re-do those same scenes again with your new improved skills. But with the new project, please rethink your composition format and put more oomph into it.

The best thing to do is put all your time and effort preferably on new works of art.

  • Where you can put all your new-found skills and knowledge to better use.
  • Consider what makes people’s emotions, by using profound colour schemes that sizzle and pop everyone senses into buying the stuff.

Conclusion:

Make sure your artwork is of high quality and has unique style and dynamic impact, before rushing off to any galleries.

If you want to see more seascape watercolour paintings or want to know how to paint watercolour paintings, check out: Watercolour Seacape Secrets blogs.

How to Capture & Draw Shapes

Note from the page: QUESTIONS & ANSWERS:

Where Ada Fagan invited those who had any questions about art and painting, that they could leave their questions in the comments block below or if they required privacy they could email her at: info@adafagan.co.za

Draw things

A5 watercolour: Autumn time.

Today’s Question deals with: HOW TO DRAW SHAPES

How do you start drawing-in the shapes of things, when composing paintings? I can’t get my objects to look right. My attempts are pathetic. For example nothing looks natural. My trees look stiff like Egyptian fans and my cars look squashed with high roofs!

You’re not the first to have this problem.

Many art students start out like that, until they see things as simple basic shapes.

When you start out composing a composition you don’t copy every detail you see. You may see the big picture, but to capture and place things on your canvas, you first have to look and select the bare facts.

Ask yourself the question:

  • What stands out?
  • What’s important to you?
  • What are the most exciting objects?

Instead of seeing objects as intricate complex things, rather look at things as simple shapes and with basic skeleton structure. General outlines speak volumes! So don’t worry about the fine details at this stage.

What type of shapes should you be looking out for?

Round, oval and ovoid, cube, square and rectangle, cone and dome shaped, pyramid and triangle, tube and cylinder, half-moon shapes, etc.

For example:

  • Bubbles and apples are generally round. Teapots and jugs have round bellies.
  • Houses and buildings generally have block shapes with square or rectangle shapes.
  • People seen in the distance, don’t have to show everything, not even feet. As long as there is a dot for a head and a suggested triangle for a woman’s skirt.
  • The structure of humans (close-up) is made up of ovals, triangles and wedges for feet.
  • Glasses and cups have ellipse ovals. Just because a glass stands on a flat table doesn’t mean you draw the base straight across, it has a curved bottom contour.
  • The outline of trees can be fan or top-shaped (like the shape of a child’s toy top) or ball-shaped. Fir trees have cone and triangle shapes.
  • The wheels of cars, trucks and bicycles are round, and the inner frame of the bicycle is a triangle.
  • The shape of leaves is club, spade and heart shaped.

Note: Basic forms create reasoning. When people see basic shapes in a painting, it makes it easier to ‘read’ your painting.

Lines also give structure to things in your composition:

  • Hills and distant mountains have undulating wavy contour lines.
  • Cars these days are not so square looking. They have more flowing contour lines.
  • Rivers, streams, roads and pathways have diminishing S and Z perspective contour lines.
  • Foliage of trees have upper canopy or umbrella shaped contour lines.
  • The growth pattern of tree trunks and the more obvious branches are the skeleton or structural lines of the tree. The flow, direction and angle of these lines clarify the characteristics of the tree.

Note: Not only the shape, but the bones of the object, makes it easy to translate the object onto your canvas.

 For tree example:

If you look at a tree more carefully you will notice that the trunk is leaning, even if it’s only a little, at an angle. And the main obvious branches have a pattern or flow of growth.

And the outer overall shape of the tree’s foliage differs according to its species. Whether it has leaves or not, the overall shape has an outer canopy shape, which can be an umbrella shape, round or oval shape, or as grouped rounded outlines.

Then look at the possible composition and decide where to place the bones of the tree structure. If it’s on the left side, you can have the lean of the tree leaning inwards to direct the eye into the scene. And if on the right-hand side of your canvas, have it pointing inwards, to redirect the eye into the scene or pointing towards the main point of interest.

As to winter trees that have no leaves, you don’t have to put in every twig, if your overall structure and canopy shape describes the type of tree you are trying to convey.

Always remember trees also have branches in the front and at the back. And don’t draw straight neat branches, vary the length and description.

Note:  If everything is neat and tidy, it doesn’t look natural.  Loosen up your strokes to give your drawing and painting a freedom of expression.

For car example:

First consider the size of the car compared with the immediate objects, buildings, trees or people.

Make a synopsis of your vehicle on a piece of paper:

Consider the perspective of the car: Is it directly facing you? Somewhat like a block shape, the back will be small than the front. Or turned three-quarter away from you? The front corner facing you will be bigger perspectively. To get it into perspective, run diminishing lineal lines down its sides and over its top.

  • The body is a ‘rectangle’ shape with smooth flowing lines.
  • The wheels will be partly covered with mudguards.
  • The shape and angles of the windows will depend on the model of the car.

Once you have made the synopsis, cut it out and place it on your painting. Does it fit perspectively and comfortably in your painting? If not, make another one, this time the right size. Repeat if necessary to get the right size.

Note: And of cause the colour of your vehicle is important. If the colour of the object is analogous to its surrounding colours, it will settle comfortably into place.

Conclusion:

If you draw your objects in a simple uncomplicated way, it makes it easier to compose your composition. Without the complexity of finer details, it makes it easier to visualize the enormity of your composition.

If you use light colours draw in your synopsis shapes, you can easily shift their position if necessary, if you are not happy with your first placement decision. The replacement or shift, must of cause be made at the while composing you composition, That is, before you start piling on thick paint, defining the shapes and adding finer details.

Each object that is placed in your composition must sit comfortably with its nearest neighbour. The tangent space or links between objects is important, in their relation to each other. That is, there should be easy flowing lines or transitions between and through them, so that the object of your painting is easily ‘read’.

Now for practice:

Start by looking around you, at the things you’ve always taken for granted.

  • How can you simplify what you are looking at?
  • What are the basic shapes and linear directive lines?
  • What is the basic skeleton structure?
  • Which way do the lines lean? How do they flow?
  • And then consider how to simply the drawing-in of your composition’s format.
  • Where would you put the biggest or boldest shape?

Last word:

If the foundation of your composition is good and strong, the rest of the painting will fall into place and it will be a pleasure painting it.

And you know what I’m going to say?

Great artists weren’t made overnight. The more you practice observing shapes and practice your drawing skills, the more they will improve.

So draw as often as you can, the things you see around you. Make it a game, something fun to do, like doodling while waiting for something to happen.

If you too have a question to ask:

Feel free to put it in the comments block below, or email it to me at: info@adafagan.co.za

Art: What is a Perfect Composition?

First of all: What is A COMPOSITION?

Composition! This question may surprise some folks who are familiar with artistic terms, but still it provokes a great many other questions of importance, if you want your paintings to sell well and quickly!

So what is a composition?

  • To the general public they would perhaps associate the word composition with composers of music. An arrangement of score that makes up a beautiful melody.
  • Or perhaps the composing of poetry!
  • To artists it’s an arrangement or placement of elements or things in a picture. And how those elements should interact comfortably and flow effortlessly through the composition (just like a melody of music).
  • The fact is, artists are composers too.
Its all about composition.

A5 watercolour: A field of wild lavender.

That leads to the second question: What is A PERFECT COMPOSITION?

Haw, now that is debatable!

Why? Because artists have different opinions on what they favour. That is: it depends on their style of work and how their imagination pans out.

But here are the basics:

  • The selection of the boldest shapes take command of the scene.
  • Smaller shapes are supportive.
  • And fine details are reduced and selected according to their directive and decorative need. And of cause the selection of detail is at your discretion depending on your subject matter and style.
  • Variation of shapes and their size is important. Everything is the same shape and size within the composition, it gives the painting a regimental stiff appearance.

As to format:

The best compositions are those which are simple and uncomplicated, because they make the most impact and are easier to ‘read’. That requires simplifying planes down to three major planes: background, middle-ground and foreground.

  • These planes can lie or interact horizontally or transverse vertically.
  • The important thing is to have one plane more prominent than the other two, and one  with strong contrast. That can be  within the same plane or not.
  • Generally speaking: Each plane seeming to have its own basic or general overall tone level. That is: one light tone, one medium tone and one dark tone plane. The order doesn’t matter, as long as the main point of interest is attractive by contrast.

As to action and creating life in your paintings:

Besides shapes, lines and brushstrokes are read unconsciously like shorthand.

  • Oblique lines or slopes suggest action.
  • Crossed oblique lines suggest opposition and inter-action.
  • Varied and diminutive zigzag lines describe action, growth and lineal perspective.
  • Wavy Hogarthian lines create flow and movement.
  • Varied arabesque lines, whether curved Lyric or scrolled lines, they create flow of reasoning.

As to visual perception:

  • The main point of interest is generally in focus or in contrast.
  • And the outer edges of the painting out-of-focus.
  • Thus creating a tunnel effect, that draws people into your picture.
  • Of cause atmospheric conditions play a huge part in perspective.

So what about colour?

Is it important when discussing composition? Yes. And Why?

  • If the colours are mainly dull with close analogous hues, the painting will look flat and is boring.
  • There must be impact of colour to attract peoples’ attention in the gallery.

So how should that be done?

  • The first thing most people would say is: contrast of tone and colour.
  • But also contrast of warm and cool colours.

If you have other questions you would like to ask, first consider reading the introduction page:

Click on: Questions & Answer page.

How Do You Handle Criticism?

How Do You Handle Criticism?

First endeavours blown!!

You have just finished painting a picture and you are feeling good about it, and then along someone and you hoped they would give you a positive valuation. But instead, can you believe it, they criticize it!   ……I bet you feel like screaming!!

Handling criticism as artists

A5 watercolour: The glow of the sunrise touches every living thing. “Let sunshine shine in your hearts today”

Criticism can be so hurtful. Like a balloon that has just popped, you feel empty. All the faith you had in your ability to paint …has just evaporated.

Wow! You wondered why you even asked for their opinion. Why did they pull it apart and dissect it like that? They spoilt it all for you!  ….It isn’t long before you’re getting angrier and angrier at their unkind remarks. Don’t they know your whole heart was in that painting? And now you don’t feel like changing anything about it ….just to spite them.

How do you handle criticism?

You ask yourself, “Did their criticism help?” “Did their advice really apply in this case?”

  • Maybe you think to yourself: “Perhaps they are right, I’m a lousy artist,” and then decide to give up and never paint again?
  • Or you try to explain to them what you were really trying to do? That the horse you painted wasn’t a mouse or cat as they said! And have them look more closely at, with what looks like a puzzled look of pity on their blank faces?
  • Or give them a mouthful and tell them to `hop it and get lost’? Only to have them retort, “Don’t get all worked up, we were only trying to be helpful!”
  • Then you remember they’ve never painted anything themselves, so what do they know? And then decide to `take it with a pinch of salt’ and dismiss their silly remarks.
  • Or perhaps turn the painting to the wall and start another painting, something altogether different, in the hopes it will turn out better than the last effort, hey?

No matter what people may think of you and your paintings, remember:

  • Some people can’t look at anything without finding fault. It’s in their nature. Some people excuse this behaviour as, `I’m a perfectionist’!
  • Yes some people do expect everything in paintings must be perfect, full of precise detail and look authentically like the visual-aid photograph you were painting from. They don’t want paintings, they want enlarged photos!
  • Some people are critical because they are jealous or just plain spiteful. It gives them a thrill to act superior and put other people down.
  • Some people don’t approve of your art because they think art is just a hobby and you are wasting your (their) time!
  • Not all people are professional artists. But keep it in mind each has a personal art preference. Some people like abstracts, bright colours and stark shapes. And others like paintings to look authentic, with mellow moody scenes. And some are just looking for something that vibes madly with their décor.
  • And then again, some people are trained art critics. Think again about what they have to say. Maybe their advice could improve your talent.

Conclusive judgement on criticism:

Judge the situation before jumping to conclusions.

  • Everyone has their own opinion of what art should be. Not everyone will agree with you or see your point of view.
  • And the way your painting turned out, isn’t what you initially had in mind anyway. So what?! Let them think what they like you enjoy messing around with what you do.
  • Even if your art isn’t wonderful at this point of time, remember talent is a growing thing. The more you practice your craft the more it improves, and your personal expression and techniques evolve with time.

 You count:

No matter what your style of art is, it feels good to experiment and use your imagination.

Like any author, film producer or even a fashion designer, we wouldn’t have new technology if it wasn’t for people who used their imagination and ventured beyond present know-how.

Artists see something that stirs their imagination and from that moment of initial visionary impact, a concept is born and their talent and abilities take over. The end result is what the general public enjoys today.

So don’t give up, you are on a journey to success. Act the part, feel the part, live the part. As the saying goes, `Fake it, till you make it’.  Believing in yourself helps to make the transition come about.

Are you being who you want to be, or are you doing what other people assume, or you’re conned into believing who you are?!

Handling criticism as artists

A5 watercolour: When you travel through life see the beauty of nature all around you.

Would love your input on this subject of criticism:

What do you think and react when people criticize your work? Feel free to leave your comment in the comment-box provided below.

For more info on how to become a famous artist, click on the page “Fame & fortune” and follow-up on the blog categories as well, listed down the sidebar on the page.