OIL PAINTING MEDIC

The landscape artist may feel in awe of a particular landscape scene, but the drama fails to convey to the oil painting; mountains look flat, waterfalls resemble a trickle and mighty firs look more like Bonsai trees. How can the artist produce a landscape painting with depth and drama? Problems with Dramatic Landscape Art Dramatic Landscape Art Rachel Shirley The following culprits are often to blame for a landscape painting that looks rather pedestrian rather than wild or dramatic: Painting from memory elements that are missing from visual resources. This temptation may be borne from using mountains as a backdrop or a tree to conceal a mistake. Working from memory is the enemy of realism and may rob all drama from the painting. Sitting too close to a painting, misleading the artist on the importance of each brush mark as it is viewed close up. Fine detail may not be so visible from ten feet away, resulting in a painting filled with insipid brush marks that lack pu...

The beginner in landscape painting may find it difficult to pick up a paintbrush and make a mark. A fear of failure fuelled by an inner art critic could cripple all creativity before it has a chance to express itself into a sky sketch or a seascape. How can the novice artist produce satisfactory landscape art for the first time? Creative Blocks to Landscape Art Experiments with Paint Rachel Shirley Worrying about getting the first mark perfect could cause the artist to continuously false-start the painting in an effort to capture a particular green colour mix or realism in clouds. Unchecked, this inner perfectionist could sap all confidence from the artist, creating a negative learning experience. But there are easier ways of overcoming the transition between a non-painter to a landscape artist. Painting a First Landscape Learning a new skill often entails being lenient and landscape painting is no different. This means learning to accept that mistakes will be made, s...

The artist striving for drama may paint mountains as a backdrop to a village or creek that resembles an idealised Alpine scene of pointed cones with cartoonish snowy caps rather than a convincing portrayal of mountains that suggests bulk. How does the landscape artist paint mountains with realism? Problems with Painting Mountains Oil Painting Mountains Rachel Shirley The following culprits are often to blame for an unconvincing painting of mountains: Making assumptions about the appearance of mountains that harp to symbolism. This might be: all mountains have flanks that are angled at forty-five degrees; all flanks converge neatly to a sharp summit; all snow caps are white; all mountains are bluish-grey and the contours of all mountains are jagged, etc. Painting mountains in isolation to the other elements of the landscape painting instead of keying them in. This might result in mountains that appear too faint, too dark or out of scale with the rest of the painting. ...

Painting buildings for the first time may flummox the artist who struggles with vanishing points and perspectives, resulting in a village scene consisting of childish-looking blocks nestling in trees with black squares for windows. What is the best way to paint buildings? Problems with Drawing Perspectives for Buildings Perspectives to Buildings Rachel shirley Before making improvements to a painting consisting of buildings, the following culprits need to be identified. Not understanding or adhering to the rules of perspectives, vanishing points or failing to measure proportions of buildings. Illustrating every building as being a cuboid of equal sides and angles that fall away towards the distance in the same fashion. Illustrating windows as being the same size and proportions, despite the wall they reside upon angling away from the viewer. Taking the draftsman’s approach to illustrating buildings, measuring equal spaces between windows, centring doors, and using the...

Art insurance is a must if expensive oil paintings are to yield compensation should damage or theft occur. Peace of mind is priceless whilst a valuable painting is in transit, hung in an exhibition or in storage. But what is the best way to get an oil painting insured? Art Insurance for Artists Dealing with Oils click to buy from Amazon Insuring an oil painting could be a wise choice for various reasons, namely: Becoming an art collector and/or dealer makes art insurance crucial. An oil painting that has been in the family for years may not only have sentimental value, but monetary value. The rule often holds that the older an oil painting, the more valuable it is likely to become, particularly if the artist is of some note. An oil painting that has taken hours of painstaking work to achieve from the artist’s point may have personal value. An oil painting that has won prizes, received critical acclaim from official sources, and has been widely published, reviewed or rec...

Acquiring an old oil painting or antique fine art may show signs of damage due to wear, tear and time. The temptation to do a DIY art restoration job may not be wise if the painting is valuable and could cause irreversible damage. What is the best course for getting the oil painting restored? How to Care for Oil Paintings Varnishing an Oil Painting Rachel Shirley Like most things, time will age an object, and oil paintings are no exception. Lack of care, damp, heat and pollution can all contribute to damage. Prevention is better than cure, but the following practices may have caused an oil painting to age rather prematurely: Hanging the oil painting over a heat source such as a gas fire or radiator. The constant temperature changes and the drying effect could cause the paint layer to expand and contract, creating stresses. The result could be cracking. Placing the oil painting near a window under an intense light source could cause some of the pigments to fade or discol...

Part of painting a still life is setting up the objects. The beginner may agonise over the oil painting technique, overlooking the composition, which could contain jarring or unnatural elements that do not please the eye. What are the secrets to a great still life composition for painting. How Not to Compose a Still Life Setting Ideal Objects for Still Life Art Rachel Shirley Making changes is the key to making improvements to a still life painting, which often entails reflecting upon why the setting does not work. The following issues may need examination: Artificial light or flash photography may make the objects look flat or cast an unwanted hue. Not treating shadows as subject matter, resulting in shadows falling off the edge of the painting. Placing two objects of similar shape next to one another, creating unwanted echoes within the still life setting. Orienting objects with projections in the same direction. An example might be allowing a teapot spout and a c...

The still life artist may encounter problems with making objects look three dimensional. Vessels look flat, shadows look like holes and the fruit do not appear to inhabit three dimensional space. How can the artist paint a still life that suggests weight and mass within the painting? Common Problems with Painting a Still Life Tips on Still Life Art Rachel Shirley A still life often contains a diversity of objects, with different forms, textures and hues. In such cases, any manner of things could go wrong with a still life, but here is a list of the most common issues with still life painting. Objects with ellipses such as vases, cups, urns, saucers, eggcups, teapots and wine glasses can be a real headache for novice artists, as the ellipses follow obscure rules. Ellipses are such a common problem I have dedicated a separate article to it. Reflections on shiny objects and distortions through transparent items such as glass may end up looking muddled due to ...

The prospective artist may purchase an oil painting kit that contains smelly solvents that could cause irritation to the nostrils or skin. This may put off artists who suffer allergic conditions. However, there is a way of practicing oil paint that is friendly to the environment as well as the skin. Odourless Oil Painting Mediums   Oil Painting with Water Soluble Oils Rachel Shirley Several options are available to the artist who is loath to powerful odours. Although oil painters are known to use Turpentine or white spirits to produce oil washes or to clean the brushes, such industrial cleaners should be dispensed with, as they strip the natural oils from the art brushes and make the room an unpleasant place. Low odour art mediums that are kinder to the environment as well as the skin are more suitable, such as: Low odour artist’s white spirits. Turpenoid. Sansador. Lathering oil painting brushes in neat washing up liquid or soap after cleaning in artist’s spirits will...

Painting a portrait of someone with red hair may spur the artist to reach for orange or red oil paint in the belief that the pigment will closely resemble the color of red hair. The result is likely to be a garish color or a carroty hue that fails to convince. What oil pigments can the artist use to paint realistic ginger hair in a portrait painting? Portrait Painting with Red Hair How to Paint Red Hair Rachel Shirley The portrait artist may review the problems that have occurred during the portrait painting of someone with red hair to achieve realistic ginger hair. The following issues may need addressing first: Using any red oil pigment at hand to express red hair because both have the same color label. Using the “one size fits all” approach to the colour of red hair and using the same color mixes for anyone with ginger hair. Darkening the color of ginger hair with black for darks, resulting in dirty colors. Expressing highlights found in ginger hair by simply introdu...

In an attempt to copy the old masters, the artist may temper vibrant colors in the belief that an oil painting should look sombre. In other cases, the artist may strive for vibrant paintings and instead finds garish colors. How can the artist paint vibrant oil paintings? Causes of a Dull Oil Painting Oil Painting with Bright Colors Rachel Shirley The traditional view of an oil painting is often one that contains lots of earth colors. The prospective artist may therefore purchase a set of oil paints dominated with lots of browns and neutrals. The following may also cause a dull painting. Darkening colors with black. For example, adding black to green for foliage or black to flesh tint for shaded areas of portraits. Black and any bright color often results in dirty colors. Tempering vivid colors with neutrals in the belief they are always too bright. Painting alla prima can sometimes result in an oil painting that lacks depth of color once the painting is dry. Over-mix...