Tillman Acres

6x8 inches
oil on panel
silver plein air frame

Available at High Springs Gallery
info@highspringsgallery.com





Painters Tip


Never be ashamed !!!!


I know artists who often say they are so embarrassed by their old work or even new work.

I say that you should celebrate all of your work, good or bad.

I recently got several paintings back that had hung in the state capitol building for a few years. I thought to myself WOW!!! my work is so much stronger now than it was then. It was a celebration in my mind to know that I am growing as an artist. I felt no shame for this old work because it gave me a look at how far I have come.

My attitude is that I get up every day of my life and paint in the best way I possibly can. I can ask no more of myself and neither should you.

The patrons who have bought my work over the years saw something in that stage of my work that was appealing. Why would I feel shame over my hard work?

Farm near Lake City Florida

30x40 inches
oil on canvas

$2300.00


Purchase at: http://www.lindablondheim.com/gallery.php



Painters Tip



I am judging a couple of big art shows this month. I have a few suggestions for you artists who do festivals. I go around incognito often before I start to judge, to look at work and talk to artists.

Always greet people when they come to your booth. You don't need to talk a lot unless they are receptive, but don't ignore anyone. I hate to walk in a booth and be ignored.

Have a statement about your work in the booth for people to read. Talk about your process and include photos of the process if it needs some explanation.

Dress in clean, presentable, comfortable clothing. Don't be a slob.

Don't overload your booth with too much work. Leave some space around the paintings so that they are shown well. This is one thing I see constantly, a jumble of work stacked frame to frame. It is nearly impossible to enjoy the work presented that way. Keep plenty of paintings behind your booth to show interested buyers but you will interest them much more by allowing them to see individual works, uncrowded.

Place your largest or best work in the most prominent location, the center back of the booth and don't crowd it. You need a star to draw people into your space.

Make your booth neat and tidy. Don't leave boxes and packing materials around in the booth.

It's nice to have soft music in the background with a portable radio. Smooth Jazz is a good idea or classical, played low.

You can also have a bowl with hard wrapped candies to give out, like peppermints.

An incense stick burning in the back of the booth is also nice but make it a light scent like vanilla or lavender.

Have plenty of promotional flyers or brochures/biz cards to hand out to interested people but only give them out to people who are really interested.

Be sure to have a mailing list sign up sheet which asks for emails and postal mail addresses.

Above all, making guests welcome in your temporary home is important. They will want to stay longer if it is attractive and they are treated with grace.

St Barts Church

8x10 inches
oil on panel
gold plein air frame
$400.00

Available from High Springs Gallery- info@highspringsgallery.com



Painters Tip




The Listed Procedure


When I was a young artist, I never dreamed that it would be important to save all of my catalogues from shows, certificates of awards, press releases, and the other documents of my work as an artist.


Recently, I went through the arduous process of becoming a listed artist. I had to document my entire career and provide proof and catalogues for all of my exhibitions, museum shows, group shows, awards, judging records and so forth for the last 20 years. As I sifted through piles of papers and catalogues it made me wish I had been a little more careful about saving and recording everything in some sort of order.


Over the last couple of years, I have shortened my resume to 3 pages or one page, depending on the need, because it was getting ridiculously long and cumbersome. I do save the old ones to refer back to and they saved me a lot of searching during the process of filling out the paperwork.


My advice to my friends starting out, is to be meticulous in your record keeping. As you build your resume, keep a file for each year with papers from all your exhibits, awards, press releases, publications, etc.


I now use large 3 ring binders to keep all of my PR materials, past show catalogues , newspaper articles, magazine articles and anything to do with my career. I save a year’s worth in each binder. I have a three hole punch, so anything that I get, gets punched and put in that year’s binder. It is an easy way to save everything chronologically.


Don’t assume that you will never need that sort of thing. I never dreamed that I would get far enough to need them either but thanks to my blessed friends, I am able to be in the position where it matters.

I am listed with:

www.artprice.com
www.askart.com The bluebook for American Artists
www.marquiswhoswho.com

Dothan Alabama Farm

6x8 inches
oil on panel
silver plein air frame
300.00

Purchase at: http://lindablondheim.com/gallery.php




Painters Tip



How Do I fix my painting?

I get this question from my students a lot. I ask them to tell me what is wrong with it in detail and then I ask them to come up with solutions.
Here are my suggestions.
After you write down all of the things you don't like about your painting choose one problem at a time and address it. Correcting the problems one at a time will start to improve the painting.

Ask yourself the following.

Are the values correct? Poor values and low contrast often make a painting dull and uninteresting.

Is the composition pleasing and does it keep me interested in the painting as a viewer?

Am I bored with this work and what can I do to make it more interesting?

Is the color garish or is it harmonious?

Does it have variety of texture and brushwork or does everything look the same?

Is there an area or center of interest in the painting, which will attract the viewer?

Is the linear perspective correct if that is an issue, as in architecture, etc?

How about lost and found edges? Interesting curves or diagonals, negative spaces, resting places in the composition?

Address the questions you need to ask one at a time and your painting should get better.
The answer of knowing when to stop on a painting is when no more brush strokes will improve it in any way.

Iris and Lillies

8x10 inches
acrylic on panel
silver plein air frame
500.00

Purchase this painting at: http://www.lindablondheim.com/gallery.php






Painters Tip



Changing mediums from time to time, or frequently using multiple mediums can be good for you. I use oils and acrylics regularly. About once a year I will use casein or pastels for a few weeks too. I also draw with pencil just for myself to keep my skill levels up.

I find that changing mediums gives me a fresh outlook in my work and keeps me from getting into a rut. It is all too easy to get into a routine and to think and do art in the same old way.

I know artists whose work has looked the same for years. They have found a good slick formula that pays well in sales, so they do all of their work on the same supports or mediums. To me that is a mistake. Not only do I change my mediums from time to time, but I also use multiple brands of paints, brushes, and supports.

I want to grow and change, allowing my work to evolve.

I have been a painter for a long time so my style is established. At this stage of my career I can have some fun and play in the studio. I believe it keeps my work fresh and new.

If you are just starting out, it is important that you have consistency in your work so that you will develop your style over time. You need to spend time in one medium to learn it's characteristics.

Old dogs like me can afford to play and we should.

Palms Near Cross Creek

Palms Near Cross Creek
8x10 inches
acrylic on panel
Silver Plein Air Frame

Purchase at: www.lindablondheim.com




Painters Tip



The Black Issue


Few artists admit to liking black as a color on their palette these days. It seems all the rage to belittle this useful color.

I love black. It is useful for landscapes making yummy greens, grays and blues.

Yes, indiscriminate use of black can dull or deaden a painting but used skillfully black can add many great tones and colors.

I love it mixed with warm and cool yellows and oranges to make various shades of green and it is super for graying down distant lines of trees, pushing them back for greater depth. Adding a touch of black to the grays in your clouds will produce great shadows too.

Though I rarely use black alone, it is a great mixture in other hues.

I will keep using this color, even though it is unpopular.

Rabbit Hill Farm

14x18 inches
oil on canvas
silver plein air frame
$1,000.00

Purchase at: www.lindablondheim.com





Painters Tip



Make Up Compositions


Sometimes I like to take a sheet of paper and a pencil and make up possible compositions.


When I see a scene that I like, I will make up little rectangles on a blank page, about 9 per page. I make up possible compositions in these little rectangles and then choose the ones that I feel are most successful. I keep refining the best ones until I have the best of the best. That is what I will use for my painting of the original scene.

You can use horizontal, vertical or square, make them like the format you will be using to paint.

This works for any subject, landscape, still life, or floral.

It takes a little time but really improves your compositional skills.

Vineyard

Vineyard
6x8 inches
acrylic on panel
silver plein air frame
$300.00

Purchase at:

www.lindablondheim.com






Painters Tip




Scumbling


A scumble is related to a glaze in that it is a film of color laid over another dry paint surface. Unlike a glaze, a scumble is usually semi transparent or opaque, thinned out with a scumbling motion of the brush. Scumbles are usually characterized by a pearly or smoky optical effect.


Scumbling is great for making fog.

Town and Country Farm

16x20 inches
oil on canvas
gold plein air frame
1,000.00


Purchase this painting from Linda www.lindablondheim.com




Painters Tip


Forming Successful Collaborations


Figuring out how you work best will help you to decide which collaborations will work for you and which ones wont.

I am a driven person who enjoys working 12-18 hours a day. I love the internet and spend most of my networking time there. I am also extremely detail oriented and well organized. I like to make instant decisions and follow through immediately. I like to be boss.

I'm not a good person to collaborate with if you like to take your time and mull over possibilities. I'm a terrible choice if you like to rule by committee. I'm really good at doing assigned tasks and I always get the job done but I want to work independently.

When you are considering teaming up with another artist or group of artists, consider the working style of each individual and whether they can in fact work together on projects.

Do they have compatible styles of art work?

Do they prefer networking by email or telephone, or one on one meetings?

Do they have clear and defined goals for the group and are willing to work in specific timelines for completion of projects?

Must they rule by committee with everyone having the same say or are they willing to follow directions of others?

Does every member have the same or similar objective?

How well organized are members and what are their time management skills? Are they on time or always late?


All of these issues should be dealt with before a group is formed. Unfortunately, most of us are so enthusiastic about the possibilities that we never do this ahead of time and are then disappointed.

Cattle

8x10 inches
acrylic on panel
silver plein air frame
$500.00

Purchase this painting at:

http://www.lindablondheim.com





Painters Tip


Making Your Paint Stretch

Here are a couple of ways to make your left over paint useful.



At the end of your painting session, use your left over paints to tone fresh canvases. Using mostly solvent with a little paint, do a wash of color over your new canvases. It doesn't really matter what color you use. Often, when you paint the next session you will get interesting spots of color in your painting, where the new paint may not cover the canvas. Pre-toning canvases can also give a painting nice harmony.



The other thing you can do is start putting your dabs of paint in a small jar with a tight lid. I call this my mud pot. Use this paint to start your next paintings to do the block in, drawing part of the painting. Since it will be covered up, it doesn't matter what color it is.

Both are a great way to use your paint without wasting any.

River Estuary

14x18 inches
oil on canvas
silver plein air frame
$1,000.00

Purchase this painting at:

www.lindablondheim.com




Painters Tip




Painting Greens


One of the most challenging subjects in color rendering is a scene with groups of trees and green grass. This looks all the same to an untrained eye.

It is lighter where the sun hits and darker in shadow. New growth is lighter and brighter. There is a world of variety in greens in any scene. You must learn to see and render these diverse shades of green, not only lighter and darker but more blue, gray, yellow, red and combinations in the same tree. Don’t forget the infinite value possibilities too.

Using these possibilities can make a typical boring scene come to life.

I live in Florida where everything is green, so learning to give greens life and zip is essential.

Rum Island 5

18x24 inches
oil on canvas
Warm Silver Plein Air Frame
$1500.00
Purchase this painting at: www.lindablondheim.com




"Painters Tip"


Picture Plane Exercise


Do three paintings of the same scene. They can be small studies on 5x7 inch supports.

Painting 1- Foreground focus. The area of interest or focal point is to be established in the foreground of the painting.

Painting 2- Middle ground focus- The area of interest is to be in the middle ground of the painting.

Painting 3- This is the hardest one. The focus is to be in the back ground of the painting.


This really is a great problem solving exercise. I do it now and then. We all have a habit of putting the focus or area of interest in the middle ground of our work. I do this myself without a thought. Challenging ourselves to come up with a new focus is fun and creates some pretty dramatic, spectacular results. How will you accomplish this task? What are some ways that you create a center of interest in a painting?

Use more texture and defined brushwork
More intensity of color
Strong contrast
harder edge work
more detail

Road

18x24 inches
oil on canvas
Warm silver plein air frame
$1500.00
Purchase this painting at: www.lindablondheim.com





Painters Tip



Creating Paths


Creating paths in your painting can lead the viewer on a leisurely stroll through the painting. Your goal is to keep the viewer in your work as long as possible. Connecting dark or light values can create paths, as well as curves, diagonals, roads, rivers, telephone poles, fence posts, garden paths and plantings like vineyards.

These paths can also lead to important elements like figures, buildings or animals.


Think about ways to use paths to hold the viewer in as long as possible.

Florida Ranch Cattle

10x12 inches
acrylic on panel
Silver Plein Air Frame
$550.00

Purchase this painting at: www.lindablondheim.com




Painters Tip



This week I tested a new product from www.frenchcanvas.com Here is my report.



Rob asked me to test the linen and cotton canvas panels on birch. They are wonderful!! The canvas or linen is glued to the birch with an overlap on the back. Instead of putting paper over the back it is left as is, so that the birch wood shows. I think that is a good idea for anyone who wants to remove the canvas or linen from the support at some future date. They are both excellent.



I was concerned at first that the canvas was too highly textured for my taste but actually it was quite smooth to paint on with a nice tooth but not too much. The linen was yummy and perfect. If you have never painted on linen you haven't lived!!!


This product may not be on the web site yet as it is brand new for French Canvas. Keep checking Rob's web site. This product is outstanding.

Spring Vineyard

8x10 inches
acrylic on linen
silver plein air frame
$500.00


Purchase this painting at: http://www.lindablondheim.com





Painters Tip



Tips For Loosening Up


If you want to make your paintings more expressive try these methods.



Use your other hand- It will feel awkward and you won't be able to paint as precisely as you can with your dominant hand. You won't be able to go into auto paint mode, which is a usual way of painting.


Work in the dark- Not total darkness but reduced light where you can't see every little detail.


Leave details out- Take a good look at your subject and leave off the tiny little fussy details. Decide what is really important to the painting and leave everything else out.

Don't paint outlines- Instead, think of masses, form and shapes.


Let the paint drip and smear- Have fun with the process. Some of those drips and smears may turn into great stuff.


Disregard local color- Try some unusual colors. How about a yellow sky?


For Watermedia- Paint your subject with clean water and then use color to blend into those areas. This familiarizes you with your subject before the paint is applied. Use masking fluid for fun effects too.


Use a large brush- It's much harder to get fussy when you are using larger brushes.


Use very long brushes- Stand far away from your canvas and reach to paint.

Dairy Cows

8x10 inches
oil on panel
Gold Frame
$500.00

Purchase this painting at: www.lindablondheim.com






Painters Tip



Where is the center of interest in your painting?


It doesn't have to be an overt path like a road. It can be more subtle. Using color intensity, more texture or contrast, and crisp edgework can lead the viewer to your area of interest in the painting.

Placing the major focus in the right spot can lead the viewer where you wish them to go.

Remember that your focal point is the star of the production. Everything else is a supporting character.

Aucilla River

6x9 inches
acrylic on panel
Silver frame
$350.00


Purchase this painting at:

www.lindablondheim.com




Painters Tip




Lost Edges


Lost edges disappear and re-appear. The eyes move back and forth between planes in the painting. These planes become connected. A hard edge can function as a wall, trapping the eye within a shape.


Soft and hard edges create interest and depth. Using all hard and refined edges leaves the viewer no place to wander through the painting. Using all hard edges make everything of equal importance in the painting. Not a good thing.

Homosassa River

6x8 inches
acrylic on panel
Silver plein air style frame
$300.00

Purchase this painting at:
www.lindablondheim.com




Painter's Tip


Atmospheric painting


There is a lot more to achieving the illusion of space than accurate shapes. "Atmosphere" in a painting is a complicated understanding of how we see the 3 dimensional world, and how colors and values change as objects recede in space. In creating atmosphere, edge handling is extremely important - knowing when to loose edges, and a wise use of soft and hard edges to pull the hand, or whatever, forward. Understanding the light source is key.


Chroma can be used to pull things forward. Neutral edges will tend to recede. Pure chroma can help to pull objects forward. The value range as objects get further away will tend to decrease as more air (particles in space) between it and the viewer will actually change the way the light of that object hits the viewer's eye. Distant trees will appear blue or purple as they get further away. This same effect can be used on a smaller scale to maximize the illusion of space. Even the amount of detail used and the brush handling can help maximize the effect.

Yellow Marsh

8x10 inches
acrylic on panel
Silver Plein air style Frame
$500.00
Purchase at www.lindablondheim.com




Painter's Tip





Working with Galleries



I hear from artists who complain about galleries. I know there are bad ones and I’ve had a couple of bad ones too, but for the most part, galleries are your best friend.



If you can find a gallery who will stick with you through the worst of dry spells, who will continue to market for you and be loyal to you, you should treat them well. Remember, your relationship with a dealer is a true partnership. Half of the job is yours.



Be willing to rotate work every quarter, keep current marketing materials, an updated resume, statement and bio at the gallery. Provide them with images of new work for their files. Stay in touch with your dealers. Listen to their advice about framing and pricing. Do not undercut them or be disloyal.



Be generous in your willingness to pay them finders commissions if they get you commissions or sales outside of the gallery. I give my galleries 15% on finders fees. The better you do your half of the job, the easier for them to sell for you and the more willing they will be to promote your work.



Think from the gallery dealer's perspctive. Would you rather sell for someone who promotes your business, or for someone who rarely shows up and does nothing to assist you? I want my galleries to sell and I do as much as possible to encourage them to sell for me.

Santa Fe River Cypress

8x10 inches
oil on panel
Silver plein air frame
$500.00

To Purchase contact: lindablondheim12@hotmail.com







Painter's Tip



Framing with minimal skill and resources.


I have no carpentry skills at all, however,I have managed to put together a little frame shop in my studio to frame my own work and that of my students' and others who need my help. There is a walk -in closet in my studio where I have put my supply shelves on one side and my frame shop on the other.


I have a drill, tape measure, various screwdrivers and hardware. I aquired an old dresser with 6 drawers and have put two thicknesses of bubble wrap on the top to cushion frames when I install paintings. I also got one of those hardware cabinets with all the little drawers to hold my framing supplies.


I use mirror hangers on my frames as they are very strong and lay flat for hanging. I get all of my framing hardware and plastic covered framing wire from http://123frame.net/accessories.html They are very reliable and ship quickly. You can find everything there in framing supplies.


I use brown heavy craft paper to wrap my framed work for clients, with masking tape. It works great to protect the frame for delivery or pick up, but it is certainly not enough protection for stacking paintings or shipping.


For custom work or work under glass, I go to my framing experts locally, but for work I am going to show and sell, I do my own with ready made frames. I order frames wholesale from www.floridaframes.com , plein air frames from www.pictureframes.com and www.jfmenterprises.net


They are all very reasonable with a good quality frame. No, they are not top of the line like some frame companies but in selling work to others, I don’t need to use top line frames. I always feel that the painting is the focus. Many serious collectors prefer to have their paintings re-framed to suit their decor.


I save a lot of money by doing the installation and hardware myself, purchasing the supplies wholesale.


Another tip is to do your paingings in standard sizes, using the same mouldings. You can save money by buying in bulk that that way.

Orange Lake

6x8 inches
oil on panel
$300.00





Painter's Tip




Framing In A Pinch



A few months ago I was caught by an unexpected opportunity to do a low level group show. It was mid-summer when art sales are non-existent in my part of the world, so I don’t stock frames in the summer. What to do?


I looked around the studio and found 20 or so frames which were older styles and mis-matched. I decided to re-new them by painting them all in a neutral cream color. I painted them all with gesso first, and then used acrylic titanium buff with white to give them a warm white color. After they were painted and dry, I coated them in two coats of gloss clear polyurathane to give them a nice finish.


They looked great together because of the common finish. I was able to send out the paintings in style!!


Now I use this process on all my old frames and use them for low level shows and to hang work in the studio for visitors to see. I save the good frames for more important shows.

Wood Farm Evinston Florida

18x24 inches
oil on canvas
$1500.00





Painter's Tip




The Big Three



I believe there is nothing more important to a good painting than getting the big three right. I'm talking about composition, color and values. If you get those right you can sail along with all the other nice things like atmosphere, texture, edge work and so forth.



Think of composition as the skeleton of a painting. If you blow that, they rest is ruined. You can do every thing possible to make the painting look good but that ugly composition will be staring at you anyway.



Values give a painting life. Most of the bad paintings I see have poor values. I am the first to admit that I like high contrast, crisp work, but even for you tonalists, poor values make dull paintings.



Color says it all. Poor color harmony is disastrous in my opinion for a successful painting. Whether you like screaming red paintings or subtle grays, color can add spice and impact to your work. I love to see a painting with neutrals next to pure chroma. That contrast between them makes the color jump off the canvas. To me that is so much more effective than throwing color all over the place for shock value.



Given that, painting is so personal that there are those who will disagree with my thoughts, and keep that in mind. Finding the right big three is an individual choice. That is what makes painting great.

Farm Fields

6x8 inches
acrylic on panel
$300.00




Painter's Tip


Selling Work Yourself


When you are called on to be your own promoter, you should be ready. Even if you only show at galleries and don't sell out of your studio, dealers recognize that artists who have social and conversational skills have an edge over artists who don't. Given a choice between two equally qualified artists, most dealers go with the one who comes off better in public and who is the most businesslike.



I like to keep a portfolio of work ready at all times and have my promotional materials ready to send out immediately. That means an updated resume, bio, and statement, along with business cards, image sheets and brochures. I can zip them off to dealers, museums or clients instantly via email with a link to my web site, or I can send them hard copies via fax or postal mail.


You never know when such opportunities will come up, so be ready.

Marshes

6x8 inches
acrylic on panel
$300.00






Painter's Tip



Handling paintings

The greatest amount of damage to artifacts is caused by careless handling. Prior to moving a painting, be sure to remove all jewelry, belt buckles, etc. so that the painting is not accidentally torn or scratched while being moved.


When moving a painting, always be sure to grasp the painting from both vertical sides. Do not hold a painting at the top of the frame or by its hanging wire. Also be careful to insure that the picture wire does not puncture the back of the painting during the move. It is important to avoid bumping canvas paintings as even the slightest bump can cause future cracking of the paint surface.


When clients are picking up paintings from my studio, I like to wrap them in brown craft paper and tape the outsides of the paper with masking tape. I then attach an envelope to the outside with the invoice, the certificate of authenticity, a brochure and a business card. The painting has a label on the back with my name, phone number and web site. If they are transporting a long way, I first wrap in brown paper and then bubble wrap. I never put bubble wrap directly on the painting surface.

Cross Creek Florida

12x16 inches
acrylic on panel
$800.00





Painter's Tip




Using value studies


Values are so important to good painting that I recommend doing studies first before you tackle your finished painting.



I like to use five values for these quick little studies. I take white for one end of the scale, black for the other end the mid value between them for the middle and then a mix of the mid value and the end values for the other two values.




I make a tiny value scale at the top edge of the painting so that I have it for reference during the painting process. Having the values premixed on the palette and on display at the top of the canvas really helps the painting move along quickly.


When I am ready to do the serious painting, I have already worked out the values in my mind, and I have a visual reference too.


This is an equally good way to work with drawing too.

Vineyard

6x8 inches
acrylic on panel
$300.00






Painter's Tip


Protecting Drawings from Insects


Paper contains ingredients, such as gelatin and glue sizing, wood pulp and flour paste, which are appealing to insects. Cockroaches, silverfish, termites and woodworms are the most common destroyers of paper. Silverfish love dark places and can make nice little homes inside frames as they nibble on sizing and wood pulp. Termites and woodworms like anything made of cellulose, as well as wood, so a rag paper picture in a wood frame is susceptible. Cockroaches can cause damage to paper by eating glue sizing or any painting media containing sugar.


To help prevent infestation of harmful insects:

Clean picture frames regularly.


Never store works of art in dark, damp places such as basements or attics.


Use screens on windows and doors to minimize insects.


Use powdered or aerosol insecticides if signs of insects appear.

Castaway Preserve

12x16 inches
oil on panel

Sold





Painter's Tip



Know what you can do



I don't know about yours, but my life is full of stress most of the time. I am ADD and Manic, so you can imagine what it is like to be around me very much. I am completely driven and I work about 16 hours a day 50 weeks a year.


Unfortunately, that takes a toll on my friendships with other artists. If I haven't made somebody mad before the week is over, it is a big surprise. It's never intentional. I just don't work well with people and I'm terrible at groups. I am a loner and an individualist.

I think many artists are quirky and difficult because we see and feel more than others. We wear our emotions like a shirt for all to see. We are putting our work out for the public to embrace or reject every day. We are our work, so the rejection is personal.

We must learn to do what we do well, and to say no to possibilities that we are not well suited for. We need to "clean house" in our lives and get rid of the annoying projects, groups, memberships that simply don't work, and more importantly, not start projects that we cannot handle emotionally in the first place.

Unfortunately, this process takes a bit of self analysis, which many of us are not good at and don't want to take the time to do.


Sweeping out the difficult and annoying things that take us away from our work will give us much needed peace of mind and more time for our work.

Santa Fe River

6x8 inches
acrylic on panel





Painter's Tip




Knowing where you want to go and how to get there in a painting requires knowledge of design and composition. Think of your composition as your plan for the painting, the structure and skeleton.



You must get the composition right in order to build a good painting. Think about major elements and where they should go. Where will you use design elements to lead the viewer through your painting?


Think about stopping places, hard and soft edges, atmospheric conditions, intervals, variation, and areas of interest. Knowing how best to place them in the composition will improve your painting.


I like to use one color to block in the composition. I step back and think about how I can improve it an then use a different color over the first one to make corrections.


Take your time and get the composition right before you get too busy with the painting.

Rum Island II

Rum Island II
24x24 inches
oil on canvas
$2,000.00



I want to publicly thank Micah Condon for adding me to his Daily painters Blog. He is a sweet generous soul, and a fine painter. Here is his blog: http://micahcondon.blogspot.com/




Painter's Tip


All Painting is Abstract


Having the ability to break down a subject into it's basic forms,values and colors will allow you to assess the elements of your painting.

Abstraction gives you the basic structure or skeleton of a scene or object. Start thinking of objects in terms of form, mass, value, shape and color rather than as a table, tree, or dog, etc.

You may think you know what an elephant looks like but in actuality, you have an icon image stamped in your mind. Until you have taken the time to observe the beast carefully, breaking it down into basic elements, you don't really know what an elephant looks like.

Start out with abstract elements in your painting and you will have better realism if that is your goal.