THE MAKING OF A PAINTING
David and Goliath – a painting by Samuel Shelton. The Process: I started the painting by making a traditional hide glue gesso which was painted in a number of layers
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Technique
The Progressive Focus Method For Painting a Portrait In Oils
By William F. Martin For years I struggled, attempting to paint a portrait that displayed a relatively accurate likeness of the subject. I tried gridding, sketching, accurate drawing, using “classic
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Unusual Textured Gesso Effects
Many people use Masonite or birch boards rather than canvas for painting supports. Usually, artists use boards because they desire a smooth surface, allowing for great detail. But sometimes there
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Our Monitors are Fooling Us
Most of us have replaced our CRT computer monitors with LCD monitors, creating a significant problem for artists. LCD monitors are thin and light, and may produce less eye fatigue
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PHOTO EXPOSURE PROBLEMS – A SOLUTION FOR ARTISTS
Recently someone asked about problems with underexposed images on a camera. Sometimes if you are at a gallery reception, messing with the f-stop is too much of a hassle, and
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A BETTER MAULSTICK
Painters often use a maulstick to steady their hand when working on details. The Dutch word “maalstok” means “painter’s stick”. The traditional maulstick has a bulb on the top covered
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COLOR UNDER-DRAWING
An artist friend in California sent an email with this idea. Historically, charcoal and pencils have commonly been used for under-drawings on canvas. The problem is, graphite can show through
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ARTIST DESCRIBES USE OF SPIKE LAVENDER
It is always interesting to hear about the different ways artists use Oil of Spike Lavender. This is a description from one artist who recently wrote us: “Oil of spike
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PAINTERS WHO PREPARE THEIR OWN MATERIALS
“The painter who prepares his own materials knows them in a very different way from one who buys them ready made.” Max Doerner, 1870-1939 Doerner always felt that knowledge of
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THE SECRET OF THE OLD MASTERS!
Artists sometimes are fascinated by the search for a “Secret” that makes old master paintings last so long and look so great. One eighteenth century painter, Sir Joshua Reynolds, suggested
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