Useful Tips for Artists

Unconventional Watercolor Techniques for Any Skill Level

By Alexis Bonari

Watercolor painting is both a relatively accessible art form and a difficult skill to master. Beginners enjoy the variety of effects that can be created by simply varying the proportions of water to paint, using different brushes, or using tape to isolate specific areas. Experts also appreciate the wide scope of watercolor techniques, but are more skilled and deliberate in their art. The following are some alternative ways to manipulate watercolors that can be both experimental and strategically perfected.

Drybrushing

Set up a blower or fan so that it can dry your paper as you work. With this technique, it’s important to keep your brush from being too wet, so shake off the excess water every time you wet or rinse the brush. Once the brush is damp, use it to pick up and spread a small amount of paint, allowing your blower to dry the paint as soon as it’s applied. This technique can lend a unique sense of intensity to your watercolor painting.

Making Object Impressions

This technique works best on smooth paper, but experimenting can enable you to find a trademark way of conveying your vision with watercolors. Choose some objects that might create interesting impressions, such as leaves, flowers, string or thread. Select a dark color, paint one side of the object, and press it against your paper. Some objects may require a coat of soap before they hold paint.

Lifting Wet Color

Once you have a wash of color on your paper, experiment with absorbent materials like paper towels to lift away surface paint. You can be gentle by simply laying the towel on the painted paper, or you can try blotting away paint until you have the texture and shade you need.

Applying Grainy or Powdery Materials

This technique also works well with a wash, so once you’ve chosen and applied your color, try sprinkling sand, salt or cornstarch onto your paper. This can change the consistency of your paint, the texture of your images, and even the shade of color on your paper.

Painting on Wet Paper

Use a large brush to cover your paper with a thin layer of clean water. Next, apply paint to the wet surface of the paper, observing the effect: the paint spreads out in seemingly unpredictable patterns, but an expert can use this technique to produce a very specific image. Experimenting with the amount of paint, brush size, and other factors can help you anticipate the reaction of paint to wet paper.

Using a Palette Knife

If you’ve never used a palette knife, you can buy one from your local art supply store. Apply a dark wash to your paper, then use your palette knife to gently scrape away some of the paint. You can use the edge of the knife to create lines that will remain when the paint has dried, allowing you to create textured backgrounds.

Bio: Alexis Bonari

Alexis Bonari is a freelance writer and blog junkie. She often can be found blogging about education and scholarships for college. In her spare time, she enjoys square-foot gardening, swimming, and avoiding her laptop.

Guest Article written by Alexis Bonari.
Copyright remains with Alexis Bonari.
Not to be reproduced in anyway unless prior permission is sought.

Liquid Glass

Aristocrat Liquid Glass is a fantastic product that can be used to achieve those wondering glass effect coatings on acrylic painting. The product comprises of a resin and hardener that is mixed and then poured onto the painting. The process is a little more involved than that and does need some practice, but essentially the whole process can be achieved over a day and a half.

Additional tools required (that don’t come with the product) are a good mixing bowl with a flat bottom, and a flat stick for mixing. You may also need a propane torch to breach the bubbles that may rise to the surface after pouring.

Before mixing
Use in a low humidity room that is not too hot, and well ventilated. Temperature ideally should be 24 C to 27 C, or 75 F to 80 F.

Measuring
Make a test piece first! 1 part resin is mixed with 12 part hardener. Do not add more hardener than resin as the finished coating could remain sticky. Do not try to estimate the measurements.

Mixing
Use a clean container. Mix the measure resin and hardener – remember to do a small test piece first. Stir well for 2 minutes. Make sure the mixture is thoroughly mixed. Bubbles may start to appear at this stage, but do not worry about them yet.

The Aristocrat has a short “working time” once mixed. It will start to harden in 20 minutes, or as little as 15 minutes if a large quantity has been mixed. (Larger quantities require more stirring time.)

Pouring
Pour evenly over the surface straight after mixing. Do not wait. The Aristocrat will begin to harden in a short time. use a brush to cover difficult to reach areas.

Bubble Breaking
Bubbles that rise to the surface can be broken by exhaling on the surface until they are gone. Take care – exhale only and do not inhale near the surface as you can inhale the fumes. A propane torch can be used to remove the bubbles by sweeping across the surface at a minimum distance of 15 cm away from the surface. Do not sweep rapidly or too closely as waves will remain as the Aristocrat sets.

Stubborn bubbles can also be popped using a tooth pick. Do not use a hair dryer!

Curing
Ensure the room is low humidity (60%) and the temperature is around 24 C to 27 C and dust free. The Aristocrat sets in about 4 hours and cures in about 24 hours, however, several days can be allowed to fully cure the item.

Try making a temporary tent over your item to keep it dust free.

Cleaning
Acetone can be used to clean the liquid Aristocrat. Hardened Aristocrat will need to be removed with paint stripper. Any brushes used will need to be thoroughly cleaned using Acetone but should be discarded if the product has hardened on the brush.

Aristocrat Liquid Glass – High Gloss Coating

•Fantastic for a glass effect coating over acrylic paint on canvas
•Folk Art
•Wood
•Plaster
•Marble
•Table Tops
•Photographs
•Counter Tops
•Fabrics
•Jewelry
•Crafts

This product can be purchased online (Australia only) at www.bellaartsupplies.com.au

The Weekend Artist

“The Weekend Artist” by Australian art shop assistant Gerard Smith

“The Weekend Artist” is a superbly written book for the absolute beginner to the painting scene. Written by Sydney art shop assistant Gerard Smith, it is a step by step practical guide into everything you ever wanted to know about learning to paint decorative art pieces for your home in an easy to understand, entertaining, humorous and unpretentious read. In fact, the book itself is a good read even if you don’t intend to ever pick up a brush!

Includes looking into acrylic paints (just what are they, why are there so many different brands, which are the best), choosing colours (what are primary, secondary and complementary colours, what colours look best with other colours), tools of the trade (brushes, palette knives, easels etc what do I need to get started), cleaning up. This is an essential tool for anyone wanting to start their own art projects, but don’t have the time or the funds to get to classes.

As soon as I started reading this book, I couldn’t put it down. The 224 page book covers absolutely all facets of painting. Not only do I recommend it as I am now “the girl in the art shop”, but because it was such an entertaining read. Gerard covers all those questions you always wanted to know, but thought too basic to ask, like “what does the word hue mean on a tube of paint?” What is a medium and how are they used.

This book is fantastic for anyone wanting to delve into the world of painting decorative pieces for their home, but maybe not so interested in becoming the next Picasso (although it is a great start for aspiring Picasso’s – always great to be armed with as much knowledge as you can get before entering the academic art field). As the title indicates, it is possible with the Weekend Artist to start and finish an art project, all of your own, in a weekend.

Gerard has several home projects that can be easily achieved and will look great on the wall. He tells you which paints and materials you will need to get and then teaches you how to apply step by step with lots of photo illustrations. I have achieved several of his projects, very easily and without too much frustration and have even managed to put some up around the house.

The book retails for around AU$39.95 inc GST. (Purchasers outside of Australia will not have to pay GST on the price. Price excludes shipping.)
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Creative inspiration, techniques and simple projects designed to unleash your inner artist.

Colour Theory (Artist’s Colours)

As an artist, we are taught that the primary colours are Red, Yellow & Blue. A primary colour is one that cannot be mixed from any other colour.

In fact, the red, yellow & blue primary colours came from the primary colours of light being Red, Green and Blue. When these colours intersect they produce Cyan, Magenta and Yellow as secondaries, which became primary print colours. These colour modes can be looked at in much more detail (RGB for digital display & CMYK for print), but for the purpose of this, we will look at the artist primary colours.

Primary Colours:
Red, Yellow and Blue – cannot be mixed from other colours.

Secondary Colours:
Two primary colours mixed resulting in Orange, Green and Violet.

Tertiary Colours:
Known as Intermediate Colours, tertiary colours are the result of one primary colour mixed with one secondary colour.

Hue is another name for colour. To change the hues of an image is to change the colours. Chroma or intensity of colour is the brightness of the colour, or lack of it (dullness).

Tint is created from a colour plus white.

Colour Combinations:
Using the the colour wheel above, pleasing combinations can be made. When choosing colours, you don’t just stick any colours together, as the result can be vulgar and displeasing to the eye. The human brain knows why this is the case at an unconcious level, which to the viewer indicates a palette that just doesn’t work (even though they don’t know why).

Looking at the colour wheel, two colours that are opposite compliment each other. This is the science of colour. They work well together. Usually one is used as a dominant colour with the other used to compliment in certain areas, especially in design. If both are used at equal levels, they both fight for attention, and it simply doesn’t work (hence a blue shirt and orange pants is a real pain for the eyes!) Generally, the dominant colour is chosen with its complimentary thrown in to add a little contrast and interest.

Split Complimentary:
With that in mind, a split complimentary scheme can be chosen with a dominant colour and two complimentary colours at either side of the dominant colour’s complimentary.

The wheel can be used for further colour schemes which will be added later

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Cookie Cutters and Art

Who says cookie cutters should be used just for cooking?

Why not let your creative juices flow and use kitchen instruments in your art? Great for adding texture to paint, impasto and modeling compound. Use glue, paper mache on canvas and use a variety of kitchen utensils to create interesting textures that can be painted over with acrylics.

Here’s a tip, shape out some paper mache or modeling compound and use a variety of different cookie cutter shapes to create 9 different shapes, then lay these down on the canvas in a 3×3 format.

Next, paint your whole canvas in a soft background tone, depending on the colours of your room – for example a soft baby blue or a pale pink.

Finally, pick out a darker colour to your babckground colour (eg: if the background is blue, then choose a nice lilac or violet) and paint in your 3D shapes that you made with your cookie cutters. A simple and effective artwork that could be used to dress up a nursery for a child. Great 3D shapes that children can touch and feel.

There are heaps of places to buy cookie cutters, and heaps of sites on the web where you can order online. A simple search under “cookie cutter” will bring up heaps.

Find a cookie cutter online at www.cookiecutteronline.com

5 Tips on Connecting With Art Galleries

By Kathleen Baker

Many artists have both the talent and the interest necessary to connect with galleries and get their work shown to a wider audience. Unfortunately, it’s not always cut and dry as to how this process works and many artists find it intimidating to approach galleries or convince themselves that galleries wouldn’t be interested in what they have to offer. Neither is necessarily a reality. Here are some tips that can help bring together artists looking to get recognition with galleries looking for great emerging art.

1.Find your niche. What do you have to offer a gallery that sets you apart and makes you a unique artists working today? Work on coming up with a way to quickly and accurate describe just what it is you do that would be compelling to someone else.
2. Network. Sometimes all it takes is knowing the right person to get you an inroad to a show in a gallery. Ask your artist friends and anyone else in the business if they know a gallery that might be interested in your work. It’s amazing how far dropping a name can go.
3. Be professional. You’re unlikely to get too far in marketing your work if you don’t have a neat portfolio, a website and some professional looking business cards. While it is an expense at the outset, it’s also a great investment in your career.
4. Research. Going into galleries blindly without knowing anything about the work they generally show or the gallery themselves is not a good move. If you wan to make a good impression, do your research and only approach those galleries for whom your work would be a good match. Better yet, be able to explain why you think this is the case.
5. Prepare your portfolio. Your portfolio is really what’s going to do the talking for you so make sure you’ve really pulled together your best work. You’ll also want to make sure that you have a good selection of images either in print or on the web so that interested parties can get a more comprehensive idea of your style and who you are as an artist.

Getting your work from the studio to the gallery is a big step, and sometimes a scary one. With a little preparation and a lot of confidence, you can make the leap and start reaping the rewards of letting the world see your work.

This post was contributed by Kathleen Baker, who writes about an accredited online degree. She welcomes your feedback at KathleenBaker3212 at gmail.com