|
The Artist's Pallet
I continual ask
people to blow their own horn about the art they are involved in.
Well here is me blowing my horn.
I've been invited to
speak at the Okefenokee Heritage
Center Art Guild on Augusta Ave meeting July 22 at 7pm
Albany Area Arts
First Thursday August 5 at 7 pm.
We meet in the Council 215 North Jackson Street,
Albany, GA
I received notification that I
will be included in the new book Recycled Glass Sculpture. It will
be published the summer 2011. For more info: htttp://recycledglassartistcall.blogspot.com
And ARTCORE now has a BLOG to fill in all
that's going on in between issues
ARTCORE BLOG
or
http://donaldkolberg.com/wordpress/
Below are the two pieces that will be included in the book. I
have also been asked to include some writing about my concept of
sculpture and an anecdote about creating art.

Reclining Nude

Last of a Building
And I also want to let you know that ARTCORE has started a blog to
fill in the spaces between issues as well as to keep in contact with
our growing and active subscribers. You can find us at
http://donaldkolberg.com/wordpress/

If you would like to include this banner on
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Modern Painters is the definitive international source of commentary and
analysis of contemporary art and culture
CALL FOR ENTRIES
"Simply Drawn: An
Exhibition of Monochromatic Drawings" call for entries (Posted:
3/12/10) -- The
Atlanta Fine Arts League
announces a call to artists for a juried exhibition, August
13-October 1, 2010 at the Roswell Visual Arts Center Gallery in
Roswell, GA. $800 in cash & products. Juror:
Suzy Schultz, www.SuzySchultz.net. This drawing competition is open
to US artists, 18 years and older. Entries are limited to
representational, fine art drawings executed in a single color (plus
white, if artist wishes), on paper (colored or white). Media is
confined to one of the following: pencil, conté crayon, or charcoal.
Colored pencil and pastel work (with the exception of drawings done
with a single color) will not be accepted. Class and supervised
work, abstracts, prints and copies (including giclees) are not
permitted. Please, no frontal nudes (The center hosts children's art
classes). $30 for 3 digital images. Deadline: July 7, 2010.
Download prospectus (PDF format),
or send a SASE to: AFAL, C/O Lisa Gleim, 3739 Cloudland Drive,
Atlanta, GA 30327. Questions? Please contact Lisa Gleim at
AtlantaFineArtsLeague@yahoo.com
or call 770-919-7719
Transcendence - the Magic
of Glass (Posted: 5/19/10) -- Seeking artists for an exhibition
of contemporary glass art, September 1-25, 2010 at the Museum & Arts
Center in the Sequim-Dungeness Valley in Sequim, WA.
Varied cash and merchandise awards totalling over $1500. Open to all
glass artists working in any area of contemporary glass art,
including, but not limited to, blown, cast, fused, kiln-formed, pate
de verre, torchworked, stained and sand-carved glass. $20 first
entry, $5 each additional up to a total of 5 entries. Deadline:
July 9, 2010.
Download prospectus (PDF format)
or send a SASE to: MAC Glass Art Festival, 175 W Cedar St, Sequim,
WA 98382. Questions? Contact Connie Alexander at
info@glassartfestival.org
or 360-461-1107
SOLO Art Miami Presented by Medica Healthcare Plans (Posted:
6/23/10) -- The SOLO Art Group, LLC seeks artists for an indoor art
fair, November 19 - 21, 2010 at the Miami Airport Convention Center
(MACC) in Miami, Florida. Open to any living
artist. Works must be original. Applications will be accepted in the
following categories: claywork, digital art, fiber, glass, jewelry,
mixed media, painting, photography, printmaking and drawing,
sculpture and metalwork, watercolor and wood. Deadline: July 15,
2010. $35 entry fee.
Visit website
for more information. Questions? Contact Gilda Sacasas at
gsacasas@soloartmiami.com or ca
1905
—Sierra Pastel Society 8th
International Exhibition: Pastels on High – Hang It Up Gallery,
El Dorado Hills, CA – Oct. 1–23. All artists working in soft
pastels are eligible and original work must have been created in the
last three years. Awards total over $5,000. See
http://www.sierrapastelsociety.net/inter.html.
Entry Deadlines: Digital, July 31; Shipped,
Sept. 25; Hand-delivered on Sept. 30.
—The Allied Artists of
America 97th Annual Exhibition – National Arts Club
Galleries, NYC – Nov. 12-30. Open to all artists, eligible works
include paintings in oil, watermedia, pastel and graphics; sculpture
in the round or relief. All subjects and styles are eligible.
Awards total $24,000. Deadline: Sept. 13. See
www.alliedartistsofamerica.org/prospectus.htm.
—You Tube Play. A Biennial
of Creative Video – Developed by YouTube and the Guggenheim
Museum in collaboration with HP, this program aims to discover and
showcase the most exceptional talent working in the ever-expanding
realm of online video. It hopes to attract innovative, original and
surprising videos from around the world. Through July 31
participants are invited to submit new or existing videos created
within the last two years at
www.youtube.com/play.
For more art contests go to
http://www.artdeadlineslist.com/
http://www.artshow.com/juriedshows/
Questions and Answers
“I painted a canvas with acrylic paints, but am very unhappy
with it. Is it possible to just start over with the same canvas? Is
there a way to wash it, or should I just paint it white again and
paint over it? Thanks so much! (ps. this is my first time painting)”
Vicki Greene's
Monthly Art Giveaway
This month's giveaway
is titled "Gardenia” and it is a 5x7 inch watercolor that is mounted
on a 9x12 inch gallery wrap canvas and varnished.
"Gardenia"
For your chance to win this
print just send
an email to vgreene@windstream.net with July Giveaway in the
subject line. The drawing will be on July 16. Good luck to each
of you!
vickigreene.blogspot.com
www.vickigreene.com

Watercolor Artist magazine is the definitive source for inspiration and
instruction for water-based medic artists. Find articles on technique how-to,
art news and expert tips in each issue of Watercolor Artist magazine.
6 Reasons Why Every Artist Should Have an Online Art Portfolio
By Gareth Roberts
1 Showcase your work
With all that time and effort taken to produce a piece of art that you are proud of it would be a shame not to share it with everyone. By creating an online art portfolio you can create a visible and organised record of years of work. An online art portfolio could be used to show family and friends your work but the real advantage is it opens up the potential to share your work amongst the rest of the world.
2 Sell your art
Whilst selling your art may not be your primary motivation, the resulting confidence gained from knowing other people appreciate your work so much that they are willing to buy it is immeasurable. It can spur you into producing similar artwork creating a popular series. Not only does every piece of art you sell offer a financial reward but it can be seen as an additional marketing tool, your work is hanging somewhere for more people to see, enhancing your reputation and show casing your work to those whom you might never meet
3 Build Reputation / increase your visibility
The internet is the biggest art gallery in the world, with millions of potential art buyers and art lovers online you need to make sure they can find your work. An online art portfolio gives you the perfect opportunity to do this and with numerous social media outlets you have the ability to show case your work to thousands of people not available via traditional methods.
4 Sell yourself
No one knows you best but yourself and for art buyers often the story behind the artist is as equally important as the piece of art itself so tell people what your up to, what current themes your exploring and let your character shine. Engaging with visitors on a personal and/or emotional level will increase your chances of keeping visitors returning to your online art portfolio, art is after all a very personal and emotive subject, if you can trigger this in a visitor you certain to make a sale.
5 Feedback
You should encourage as much feedback as possible, after all we learn best from our mistakes and if one of your goals is to sell your art what the 'people' think is definitely important. Feedback might encourage you too look in a new direction, to explore a different avenue and ultimately make your work more desirable.
6 Professionalism
As any serious business has realised a presence on the internet is incredibly important. The same applies to artists, when its so easy to create an online art portfolio if a potential art buyer or gallery can not find you online this may create a negative impression of yourself and your work. ispyart.com a free online art portfolio website for artists
Article Source: http://EzineArticles.com/?expert=Gareth_Roberts
http://EzineArticles.com/?6-Reasons-Why-Every-Artist-Should-Have-an-Online-Art-Portfolio&id=4538058

Kaleidoscope Gallery
Featuring new openings and workshops. See their site for
info.

Online Art Marketing
South Georgia Art
Website especially created for South Georgia.
Always FREE for artists, sign up to be a member of this new social
website. Post photos, links, videos, event announcements. Make
friends and keep up with art events in the South Georgia Area. Visit
us at
www.SouthGeorgiaArt.com.
NEW and CONTINUING EXHIBITIONS and WORKSHOPS
PARKER GALLERY PROUDLY WELCOMES STEVE
PENLEY FRIDAY, JULY 2ND, FROM 5 - 7 , FOR A RECEPTION AND
EXHIBITION OF NEW PAINTINGS
WE HOPE YOU CAN BEGIN YOUR HOLIDAY WEEKEND BY JOINING US!
RSVP BY JUNE 30TH TO alice@parkerartgallery.com
PARKER GALLERY SHOPS AT SEA ISLAND SAINT SIMONS ISLAND
GEORGIA www.parkerartgallery.com 912
638 2141
Art
Fusion Galleries
The Opening Reception Night for "Transluminescent Fantasies"
will be held on Saturday, July 10, 2010 from 7-11 pm at Art
Fusion Galleries, 1 NE 40th Street, Suites 3, 6, 7,
Miami, FL 33137. Live music, and refreshments will be served.
You can call for more information at 305.573.5730 or email at
info@artfusiongallery.com.
If you have information about a contest, art opening, or an
exhibit review
email us at artist@donaldkolberg.com
Don can be reached at
Don@donaldkolberg.com





Are you seeking representation
by an art gallery?
Artist Advocate will place your art in front of 6,500 galleries that sell
original artwork.
(Ad design services available.)
www.artistadvocatemagazine.com

One of the main
challenges facing artists, particularly emerging artists, is
the problem of exposure. It is vital to get your work ‘out
there’, to get it seen, noticed. No matter how innovative
the art, or how beautiful the design, no one is going to be
able to appreciate it if they can’t see it.
|
|
It's not often that I create a shortcut on my desktop to
follow information about an artist's work and exhibitions.
But with Alex Kanevsky I had to!
His work evokes feelings of movement and mysticism across surfaces that seem
alive with texture and color.
Featured Interview
Alex
Kanevsky
Interview by Bjorn C Andersson
Your use of motion, light and color is truly stunning,
how did you invent or learn your technique?
Alex Kanevsky: I didn't really invent or learn it as a technique. I
am a slow learner, so it developed over a long time. I am also
fairly slow when it comes to actual painting. Slow but impatient.
That can be a problem, but over time I figured out how to turn this
contradiction into my own way of working. I can't do slow and
methodical accumulation painting: I get bored with careful, planned
sort of activity. I also depend on freshness of perception, what
zen-buddists call "beginner's mind". That is difficult to sustain
over a long period. After a while you are just not a beginner. So I
work fast, trying to hit the right note every time. That is nearly
impossible, so I constantly fail. But I keep coming back to a
painting. It accumulates layers, each one - more or lass a complete
painting. Complete but failed. The layers are sort of like Swiss
cheese - they have holes through which in right places you can see
the previous layers. Eventually there are enough of "good holes" and
also, because of all the repeated attempts, I manage to do a good
top layer. And then I have a painting that has enough intensity in
every passage to satisfy me. Then it is done.

You have said, "Everything is in motion. Fast motion"; could you go
into detail about how you are thinking?
Well, everything IS in
motion. "Fast" is a relative thing, of course. You know, glass in a
window is actually a form of liquid. It is very slowly cascading
down the window frame. That is why, you often see glass with slight
wrinkles in very old window panes. People, whom I paint, are never
still. They want to move, they are built for motion. It is actually
painful for models to be still longer than 20 minutes. I like them,
I find them endlessly fascinating, how they are built, the way they
grow and shrink over time, how they move, act, express their
emotions, etc. So I want to paint them the way they are, and to me
they are defined by their motion. A brick is defined by its shape
and people are defined by their motion.
What
inspires you?
Everything. All first-hand
experiences. John Adams wrote a beautiful composition titled "Naive
and Sentimental Music". He took this title from a Friedrich Schiller
essay "On Naive and Sentimental Poetry". Schiller decided that there
are really just two kinds of artists: naive and sentimental. Naive
artist works with the first-hand experiences, uncompromised by
self-analysis. Sentimental are works that are self-aware of their
place in history, theory, etc. One usually sees this kind of work
accompanied by an artist statement. I think I am more naive than
sentimental in the things that inspire me.
You have been educated both in Lithuania and the US, how do they
differ from each other?
Things were a bit more formal and conservative at the University
in Lithuania. More stratified. You were actually expected to be
terrified of your professors. Then again, maybe it has more to do
with the fact that in Lithuania I studied theoretical mathematics,
and here at the Pennsylvania Academy of the Fine Arts - painting.

When I look at the progress of one of your paintings it's about 6
month from start to finish, how long does your average painting take
to finish?
If I get lucky - two weeks,
but usually it is several months.
What is the difference of painting landscape and the human figure?
You see a figure from outside. A
landscape you experience and paint from within. It is like eating
soup versus swimming in it. Very different.
How do you choose your models?
I wish I had a clear answer to that. Then I would actually be
able to choose them. As it is, I am always hopeful, but few models
actually work out for me for very long. When it feels right, I tend
to work with the same model for years. K.B. modeled for me for close
to 15 years. When it works well, it is usually because a model is
comfortable in her or his own body, open emotionally and interested
in the proceedings. The best ones have certain silent emotional
intensity. "Silent" in the key word though.

In your photograph "Girard Ave. #3" (above) there is a lot of interesting
motion, do you use photos as reference when you paint?
More as a departure point. I have
always been painting both form life and from my own photographs.
What attracted me to photos at first were aberrations, the
unintended artifacts they produce, especially for a sloppy
photographer like myself. When a camera produces an image it alters
the reality in the ways that are not influenced by any aesthetic
conceptions, emotions, etc. Being a human I cannot do this, can't be
neutral in leaving my own imprint. I find both points of view, mine
and the camera's equally interesting and useful. So I go back and
forth between them. I have been doing it long enough, so now, if I
wanted, I can paint from photograph and it will look like painting
done from life and vice versa. Photography is completely integrated
as a part of my work process. However as a straightforward reference
it is not terribly useful.

Could you tell us something about the painting "The Bride" (Above)?
The people in my neighborhood
are addicted to flea markets. Every summer they descend upon us like
some sort of pestilence. I dislike them and usually don't stop to
look. However once I was going by on my way to the studio and saw a
woman selling a wedding dress. I stopped on a whim and bought it for
$6. It was a horrendous affair: all sorts of shiny polyester, fake
lace and plastic pearls made for a grenadier of a bride, who must
have been at least 6 feet tall and massive. A battleship of a bride.
A wedding dress is fascinating object. It is a
very complicated construction, made to be worn only once on the very
important, life-changing occasion. A bride wants to look her best
regardless of all the expense and trouble.
In the studio I started putting it on my models, both female and
male of all sizes. Eventually there was a young woman, who had this
quiet intensity that I mentioned earlier. When her and the dress
were combined the effect was devastating, it was almost tragic.
There is no point in describing it further; it is all in the
painting. It was as if several harmless elements were combined to
produce a powerful explosion. At least that was mine perception of
the event.
What would be the ideal space to show your work?
A room with white walls and
plenty of space between paintings. Moderate light of a neutral
color. I like squeaky wooden floors near my paintings. The rest is
unimportant.

What would you say to an artist just starting out?
Build up you self esteem to the
level that might seem unwarranted. This will help you ignore both
positive and negative responses to your paintings. Both are usually
misguided, since they come from the outside. Be your most severe and
devastating critic, while never doubting that you are the best thing
since sliced bread.
The moment something works well and
is under control - is the time to give it up and try something else.
Put all your eggs in one basket. Precarious situations produce
intense results.
Forget subjective, it is mostly trivial. Go for the universal.
This interview was reproduced with the permission of the author.
Additional writings can be found at
www.vivianite.net
and
www.bca69.com
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Modern Painters is the definitive international source of commentary and
analysis of contemporary art and culture
Art Papers Magazine
One of the nation's most respected contemporary art magazines. The
only critical arts journal published in the
Southeast, ART PAPERS Magazine provides diverse and independent
perspectives within a dialogue of international contemporary art and culture.
The Crafts Report is an essential part of every artist's
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Blow your own horn!!!
Send us info on your next exhibition or just tell us what you
think
As ARTCORE enters the 2010
year we will continue to publish interviews with Artists, Photographers,
Curators and Publishers from around the world.
If you or someone you know
would like to be considered as a feature artist,
contact us at
ARTCORE
6 Reasons Why Every Artist Should Have an Online Art Portfolio
By
Gareth Roberts
1 Showcase your work
With all that time and effort taken to produce a piece of art that you are proud of it would be a shame not to share it with everyone. By creating an online art portfolio you can create a visible and organised record of years of work. An online art portfolio could be used to show family and friends your work but the real advantage is it opens up the potential to share your work amongst the rest of the world.
2 Sell your art
Whilst selling your art may not be your primary motivation, the resulting confidence gained from knowing other people appreciate your work so much that they are willing to buy it is immeasurable. It can spur you into producing similar artwork creating a popular series.
Not only does every piece of art you sell offer a financial reward but it can be seen as an additional marketing tool, your work is hanging somewhere for more people to see, enhancing your reputation and show casing your work to those whom you might never meet
3 Build Reputation / increase your visibility
The internet is the biggest art gallery in the world, with millions of potential art buyers and art lovers online you need to make sure they can find your work. An online art portfolio gives you the perfect opportunity to do this and with numerous social media outlets you have the ability to show case your work to thousands of people not available via traditional methods.
4 Sell yourself
No one knows you best but yourself and for art buyers often the story behind the artist is as equally important as the piece of art itself so tell people what your up to, what current themes your exploring and let your character shine.
Engaging with visitors on a personal and/or emotional level will increase your chances of keeping visitors returning to your
online art portfolio, art is after all a very personal and emotive subject, if you can trigger this in a visitor you certain to make a sale.
5 Feedback
You should encourage as much feedback as possible, after all we learn best from our mistakes and if one of your goals is to sell your art what the 'people' think is definitely important. Feedback might encourage you too look in a new direction, to explore a different avenue and ultimately make your work more desirable.
6 Professionalism
As any serious business has realised a presence on the internet is incredibly important. The same applies to artists, when its so easy to create an online art portfolio if a potential art buyer or gallery can not find you online this may create a negative impression of yourself and your work.
ispyart.com a
free online art portfolio website for artists
Article Source:
http://EzineArticles.com/?expert=Gareth_Roberts
http://EzineArticles.com/?6-Reasons-Why-Every-Artist-Should-Have-an-Online-Art-Portfolio&id=4538058
-------------------------------------------
And just as a parting shot, here are a few of images
of a Australian sculptor whose work provides an incredible
amount of inspiration to me.



Robert Hague's work can be found at
http://www.roberthague.com/sculpture/index.htm
Essays by guest authors reflect the
opinions of the authors only and do not necessarily reflect the opinions of
Donald Kolberg or Art Core.
Read our
submission guidelines
The inclusion of an ad in Art Core does not constitute an explicit endorsement.
It means that we believe the product has merit. We will use an editorial piece
to explicitly endorse a product or service when we feel it warrants comment.
Kolberg Studio, 229-200-4115,
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31605
©2007-2009
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ARTICLES
Featured Interview
Alex Kanevsky
Art work that made them
famous, a look at the works of ;
Frank Auerbach - Contemporary Master of Expressionism
6 Reasons Why Every Artist Should Have an Online Art Portfolio
By
Gareth Roberts
Oil Painting Landscapes - Five Valuable Ideas to Create a Spectacular Landscape!
By
Dick Groskokpf
The Artist's Pallet
exhibitions and information
Monthly Art Give Away
FREE BOOK
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Sculpture by
Donald Kolberg

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Additional artwork can be seen at:
www.donaldkolberg.com
and at
http://donaldkolberg.com/wordpress/

Download a FREE copy of "Marketing Your Art"

Since 1986, Watercolor has offered instruction and inspiration to watermedia
artists of all styles and subjects, covering everything from tightly rendered
still lifes and photo realism to non-objective works. Features large, full-color
images, step-by-step demonstrations, and more
Artwork that made them famous
A look at artists and their work.
Frank Auerbach - A Contemporary Master of Expressionism
By
Annette Labedzki
Famous German born British Expressionist Figurative painter Frank Auerbach is exceptionally known for bringing about an innovative and distinct style. His subjects included female models, mainly Julia his wife, Juliet a professional model, & Estella his girlfriend, or landscapes around his London home at Camden. Born on April 29, 1931, in Berlin, Germany, Auerbach had a very traumatic childhood. In 1939, his parents, both Jewish artists, sent him to a refugee boarding school, Bunce Court, at Kent, England. Soon after, he lost his parents to the Nazis in a concentration camp. Anglo-Irish-American writer Iris Origo sponsored the rest of Frank's education at the school. At Bunce Court, his artistic and acting talent were recognized. The tragic loss of parents clearly reflected in his paintings through the usage of colors. His Expressionist competence fetched him immense admiration right from a very early age. He was acknowledged as a master in painting post the World War II (1939-45).
In 1947, Frank Auerbach took British citizenship. He received his art training in London at St Martin's School of Art and the Royal College of Art (RCA). At the age of seventeen, Auerbach met the 32-year-old Estella Olive West, an actor and a boarding operator. They had a long romantic relationship for 23 years. Estella featured regularly in Frank's paintings. In 1955, he exhibited his works of Estella at RCA. Soon after in 1956, he got an opportunity to exhibit at the famous Beaux-Arts Gallery, London. The show gathered high appreciations from art lovers and critics, alike. Through 1955-63, Frank continued exhibiting with the gallery. During 1958-65, Frank was a permanent member of the Camberwell School of Arts and Crafts, London. Meanwhile, in 1958, he also married his classmate at RCA Julia Wolstenholme. The couple had a son, but the marriage did not last owing to his ongoing affair with Estella.
Auerbach follows the Expressionistic style of painting where emotions hold prime importance. His works involve tremendous labor. Auerbach also introduced the painting style called as Impasto in his works. In Impasto, paintings are layered with many earthly colors. The paint on the artist's canvass gets so flat and heavy that it seems sculpted rather than painted. His another distinguishing style of painting involves heavy sheets of paper instead of canvass, as evident in his famous painting 'Head of Julia' (1960). The heavy paint in this work predominantly surrounds the subject's head.
After his breakup with Estella, Frank and Julia reunited in 1976. Auerbach successfully exhibited at various shows where he gathered heavy praises and recognition. His first show was held in 1978 by the Arts Council of Great Britain in London. His major show was in 1986 entitled 'Frank Auerbach: Paintings and Drawings 1977-85' at the Venice Biennale. His compiled works of thirty years was exhibited in 1995 under the title 'Frank Auerbach at the National Gallery: Working after the Masters.' His other major collections are included in the famous Tate Gallery. In 2001, the Royal Academy of Art marked the painter's 71st birthday with a retrospective exhibition of his timeless work. Auerbach continues to be a thorough inspiration and a guide to many of his followers.
Annette Labedzki received her BFA at the Emily Carr College of Art and Design in Vancouver, B.C. Canada. She has more than 25 years experience. She is the founder and developer of an online art gallery featuring original art from all over the world. Please visit the website at
http://www.Labedzki-Art.com. It is a great site for art collectors to buy original art. Artists can join for free and their image upload is unlimited.
Article Source:
http://EzineArticles.com/?expert=Annette_Labedzki
http://EzineArticles.com/?Frank-Auerbach---A-Contemporary-Master-of-Expressionism&id=4477758

Whether you are a veteran at painting
oil landscape art, or simply want some basics to learn how
to oil paint, this free eBook's collection of oil painting
instruction is one you'll turn to again and again
Oil Painting Landscapes - Five Valuable Ideas to Create a Spectacular Landscape!
By
Dick Groskokpf
If you're a true oil painting landscapes aficionado, you find true inspiration in a beautiful landscape!
There's something about a breathtaking landscape that motivates the artist in all of us to capture its essence on canvas. Speaking for myself, I always want to create a piece that reflects my level of emotion, and I want all future viewers of the painting to feel the transference of these same feelings.
Since you are reading this article, I assume that you feel as I do. So, in order to help everyone create some beautiful pieces, I've listed some ideas to help with your next project.
Oil Painting Landscapes Idea #1: Use Your Imagination.
It's permissible to rearrange the elements in the landscape, if you think it'll make a better painting composition. Another option is to borrow elements from different landscapes and put them together in one piece. (Of course you shouldn't do this if your landscape is a readily identifiable scene)
Oil Painting Landscapes Idea #2: It's OK To Leave Some Elements Out.
No one is forcing you to include everything that you see in the landscape you're painting. Please feel free to be selective. You should include the elements that you feel are important, and that characterize this particular landscape. And you should definitely use the landscape as a reference, but its also OK to insert your own personality, temperament, and/or tastes in the painting. After all, It's your work of art. You should paint it anyway you wish!
Oil Painting Landscapes Idea #3: It's Not Cheating to Buy Green Paints
There is this notion in the oil painting world that a true artist has to mix their own greens. Hogwash! It's permissible to buy green paints in a tube rather than mixing your own. One of the main benefits of doing so is that you'll have instant access to particular greens. By the same token, don't limit yourself to only store-bought greens. Go ahead and extend the range of 'ready-made' greens as your inspiration leads you. When mixing a green, bear in mind that green has either a blue or a yellow bias as the starting point. In addition, remember that the shade of green in a landscape will change depending on the time of day. It's a fact that a bluish green hue in the morning may well be a yellowish green by dinner time.
Each different blue/yellow combination will give a different green, plus the variations from the proportions of each you mix. With practice it becomes instinctive to mix the shade of green you're after.
Oil Painting Landscapes Idea #4: The Foreground Is Top Priority
Don't paint the entire landscape with the same degree of detail. It's important to paint less detail in the background of the landscape than you do in the foreground. It's less vital there and gives more 'authority' to the foreground. The difference in detail also helps draw the viewer's eye into the main focus of the landscape painting.
Oil Painting Landscape Idea #5: Consider Creating A Series
OK, you've followed these guidelines religiously, and you now have a masterpiece hanging on the wall. What do you do next? My advice is to paint another one. Be like the Impressionist Claude Monet and paint it again and again, in different lights, seasons, and moods. You may think you'll get bored with the scene, but in reality you start to see more in it. The difference may be the way a tree's shadow tracks around it through the day Or possibly it's how the different light of the harsh midday sun changes the feel of the painting.
It was Picasso that put put it best: "Painting is a blind man's profession" He paints not what he sees, but what he feels, what he tells himself about what he has seen". So if you follow these guidelines, and let your inspiration guide you, then I'm confident you'll create better works of art.
Richard's passion is painting in general, and oil painting in particular. He has a website with literally hundreds of articles, videos, etc. on these and other subjects. Please take a look at
http://www.richardgroskopf.com.
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Acrylic can be painted over with acrylic or oil paints. If you would prefer to start with a fresh white canvas, I suggest you give it a light sanding and be careful around the edges as they tend to tear. Then give it a couple of fresh coats of white acrylic or Gesso in white or add your favorite color ground. One note of caution, do not paint acrylic over oil. It just isn't stable.