1,742 Comments
Trackbacks/Pingbacks
- My 3 Day Plein Air Adventure (Part 2 - My Painting) - Master Oil Painting - […] https://www.masteroilpainting.com/my-3-day-plein-air-adventure-part-1/ […]
- 37 Stunning Paintings from Artists at the Prix de West - Master Oil Painting - […] Get to know Bonnie better with her Blank Canvas Interview: […]
- 37 Stunning Paintings from Artists at the Prix de West - Master Oil Painting - […] Get to know Bill better with his Blank Canvas Interview: […]
- A Look Inside the 2018 Plein Air Convention #PACE18 - Master Oil Painting - […] many huddled behind the historic adobe buildings, I decided to put my new Orange Screws (CLICK to see my…
- Art Books I Love and Highly Recommend - Master Oil Painting - […] Update: Lovell and Huling (below) were featured in the Prix de West: […]
- Blank Canvas - An Interview with Bonnie Marris - Master Oil Painting - […] Bonnie was a featured artist at the Prix de West […]
- Blank Canvas - An Interview with Bill Anton - Master Oil Painting - […] Ranches Great American Cowboy Award – for “Who’s Got the Cards.” Prix de West Invitational, National Cowboy and Western…
- How long does a painting take to finish? - Master Oil Painting - […] HERE to see more beautiful work by Carlson and […]
- 5 Worry-free Plein Air Paintbrush Holders with Easy DIY Tutorial - Master Oil Painting - […] HERE to learn about what easels work best for plein […]
- 5 Worry-free Paintbrush Holders with Easy DIY Tutorial - Master Oil Painting - […] HERE to read about my recent 3-day plein […]
- The Top 3 Panel Carriers I've Tested for Outdoor Painting - Master Oil Painting - […] HERE to read about my favorite brush […]
- How to Frame Your Paintings For Gallery Success - Master Oil Painting - […] HERE to read about our Ultimate Paintbrush […]
- 7 Easy Steps to Paint a Rocky Mountain Waterfall - Master Oil Painting - […] is the photo reference I used for this tutorial’s waterfall painting. This was taken during my plein air painting…
- 7 Easy Steps to Paint a Rocky Mountain Waterfall - Master Oil Painting - […] Things I’ve Learned Being Married to an Artist The Ultimate Paintbrush Experiment Learning to Paint – The Start of…
- The Top 3 Panel Carriers I've Tested for Outdoor Painting - Master Oil Painting - […] HERE to read about the top Plein Air […]
- Painting Composition - The Ugly Inconvenient Truth - Master Oil Painting - […] 5 Steps to Painting Peach Roses Blog […]
- Composing an Artful Masterpiece from a Photograph - Master Oil Painting - […] www.masteroilpainting.com/painting-composition-the-ugly-inconvenient-truth […]
- My Experience at the Eiteljorg Quest for the West - Master Oil Painting - […] the show this year. I’ve admired Brent’s work for years and loved Under the Cottonwoods at the Prix de…
- How do You Keep Your Paint from Drying Out? - Master Oil Painting - […] Camille Przewodek designed a palette for plein air painting that might help if you want to use the freezer…
- The 31 Top Composition Concepts for Great Painting - Master Oil Painting - […] You can read about my journey leading to this painting here: www.masteroilpainting.com/my-3-day-plein-air-adventure-part-2 […]
- The 31 Top Composition Concepts for Great Painting - Master Oil Painting - […] Follow along and paint your own Rocky Mountain waterfall: www.masteroilpainting.com/7-steps-to-paint-mountain-waterfall […]
- Learn from the Mistakes of Master Artists - Master Oil Painting - […] I did the blog post about Cast Shadow Length, I used a couple of paintings to demonstrate creating shadows…
- Best of 2018 for the Master Oil Painting Community - Master Oil Painting - […] Peter Fiore […]
- Best of 2018 for the Master Oil Painting Community - Master Oil Painting - […] Ezra Tucker […]
- Best of 2018 for the Master Oil Painting Community - Master Oil Painting - […] Cherry Blossoms […]
- Best of 2018 for the Master Oil Painting Community - Master Oil Painting - […] Framing Painting for Gallery Success […]
- Best of 2018 for the Master Oil Painting Community - Master Oil Painting - […] Cyrus Afsary […]
- Best of 2018 for the Master Oil Painting Community - Master Oil Painting - […] The 31 Top Composition Concepts […]
- Best of 2018 for the Master Oil Painting Community - Master Oil Painting - […] John Pototschnik […]
- Best of 2018 for the Master Oil Painting Community - Master Oil Painting - […] Things I’ve Learned Being Married to an Artist The Ultimate Paintbrush Experiment Learning to Paint – The Start of…
- Best of 2018 for the Master Oil Painting Community - Master Oil Painting - […] James Gurney […]
- Best of 2018 for the Master Oil Painting Community - Master Oil Painting - […] 2 Man Show – Booth Western Art Museum […]
- Best of 2018 for the Master Oil Painting Community - Master Oil Painting - […] Susan Lyon […]
- Best of 2018 for the Master Oil Painting Community - Master Oil Painting - […] Joseph Lorusso […]
- What I Learned from T. Allen Lawson at the Booth Art Museum - Master Oil Painting - […] Last week’s blog described my transition to more and more studio painting after years of plein air work. Lawson…
- Do You Have an Artists Sight? (Part 1 of 3) - Master Oil Painting - […] See Part 2 – How to Acquire Artists Sight (Part 2 of 3) […]
- How to Acquire Artists Sight (Part 2 of 3) - Master Oil Painting - […] Part 1 – Learn what artists sight is. Do you have it? […]
- How to Paint Better with Artists Sight (Part 3 of 3) - Master Oil Painting - […] Part 2 – Discuss the nuances of artists sight and how we can begin to acquire it. […]
- How to Paint Better with Artists Sight (Part 3 of 3) - Master Oil Painting - […] Part 1 – Learn what artists sight is. Do you have it? […]
- Q&A with Master Artist Peter Fiore - Master Oil Painting - […] Things I’ve Learned Being Married to an Artist Blank Canvas – An Interview with Peter Fiore The Ultimate Paintbrush…
- Transitioning from a Good Artist to a Master Artist (Part 2) - Master Oil Painting % - […] My own work falls closer to the Aspevig group. (In case you missed part 1 – stop – and…
- Art Books I Love And Highly Recommend Part II - Master Oil Painting - […] added quite a few art instruction and tabletop books to my library since 2017 (the year I wrote about…
- My Favorite Plein Air Easel and Palette - Master Oil Painting - […] 9 Things I’ve Learned Being Married to an Artist Blank Canvas – An Interview with Peter Fiore What’s the…
- Let There Be Light: Lighting For Studio Painting - Master Oil Painting - […] glare on my paintings, regardless of the angle I’m standing in my studio. That goes for when I photograph…
- Valuing Value Relationships in our paintings - Master Oil Painting - […] If we can’t paint every value, then what can we do if we want to create a realistic painting…
- Professional Oil Painter's Supplies List - Toxin Free - Master Oil Painting - […] has made this awesome palette available for our community (there is a blog post about it here). Each one…
- What a wonderful world! - Master Oil Painting - […] also did a blog on […]
- What a wonderful world! - Master Oil Painting - […] used Azita’s piece for a Paint Together event as well. And there’s a wonderful blog for painting Cypress […]
- Art Supply List – Updated And Even Better - Master Oil Painting - […] 9 Things I’ve Learned Being Married to an Artist Blank Canvas – An Interview with Peter Fiore What’s the…
- Art Supply List – Updated And Even Better - Master Oil Painting - […] have a blog post that delves deeper into the ‘why’ of the paints I use. Overall, stick with professional…
- Master Oil Painting 2019 Review - Master Oil Painting - […] surprised us was when the post Why (and how) I Paint with Phthalo Green surpassed 200 shares, making it…
- Master Oil Painting 2019 Review - Master Oil Painting - […] Francisco was amazing and cold. There were so many outstanding instructors. The blog post I did goes into detail…
- Art Supply List – Updated And Even Better - Master Oil Painting - […] my painting panels I now use ABS plastic sheets. There is a blog post that explains why I switched…
- Learn to Paint Fallen Leaves - Master Oil Painting Master Oil Painting - […] began the painting exactly as we’ve discussed. You can read in detail about the full process in a previous…
- Water-Mixable Oil Paint vs Traditional Oil Paint vs Acrylics - Master Oil Painting - […] If you would like to see the full list of the art supplies I use read the blog post…
- Oil Painting Over an Acrylic or Watercolor Underpainting - Which is Best? - Master Oil Painting - […] [00:11:23] So I’m not worried about that with my acrylic panels for a while because I’m going to be…
- Composition Tips for Oil Painting Aspen Trees from Photos - Master Oil Painting - […] If you want to read a comprehensive post about most of the principles and theories of composition, I completed…
- Oil Painting Mediums - Toxic Free - Get Back to Basics - Master Oil Painting - […] To see links to the products I use like solvents and paints go to the blog post: Art Supply…
- Oil Painting Tutorial – How To Paint A Rocky Coastal Scene At Sunset - Master Oil Painting - […] extra oil painting tutorials about painting water, you can read Paint an Old Mill, Lake, and Trees and Paint an…
- Oil Painting Tutorial – How To Paint A Rocky Coastal Scene At Sunset - Master Oil Painting - […] For extra oil painting tutorials about painting water, you can read Paint an Old Mill, Lake, and Trees and Paint…
- Oil Painting Tutorial – How To Paint A Rocky Coastal Scene At Sunset - Master Oil Painting - […] Another post about painting the appearance of texture in rocks is Painting Rocks to Decode Values in Shadows. […]
- 5 Oil Painting Tips for Beginners - Master Oil Painting - […] Right now, there are 20 different oil paint pigments (I would have said colors, but white is not a…
- Canvas vs Panel vs Paper – Cost Comparison Guide for Oil Painting - Master Oil Painting - […] Since we discussed oil painting surfaces a few weeks ago – linen or cotton canvas, wood, plastic, and aluminum…
- Blank Canvas - An Interview with Stapleton Kearns - Master Oil Painting - […] You may also want to check out another fantastic artist we got to interview – Bill Anton, a celebrated…
- Oil Painting Tips – Paint Sunflowers in a Field – Painted Alla Prima in Less than 3 hours – The Engineering of Conscious Experience - […] I also did a blog post about painting the full video called 7 Easy Steps You Need to Paint…
- 15 Tips to Create an Oil Painting Palette Cover - Master Oil Painting - […] had to cover the entire paint and mixing area while leaving space for my palette knife holder (there’s a…
- Ed Leder's New Convenient Easel Caddy - Master Oil Painting - […] If you’re new to Master Oil Painting you may find some useful ideas in our previous blog post 5…
- Oil Painting Palette Cover - DIY - Master Oil Painting - […] I used the same magnets I used for my palette knife holder. The wood was 1×2-inch cedar boards. I…
- Franz Bischoff - A Master of Color - Master Oil Painting - […] This was a short teaser about Franz Bischoff meant simply to introduce you to some art that I personally…
- Paintbrush Quick List - Master Oil Painting - […] If you want an explanation of why I use certain types of brushes like Flats instead of Brights read…
- 6 Ways Imagination Will Make Your Plein Air Painting Better | The Outdoor Watercolor Learning Experience - […] Paint from memory…https://www.masteroilpainting.com/plein-air-and-studio-painting/ […]
- Who is Bill Inman at Master Oil Painting? - Master Oil Painting - […] If you’d like to see the evolution of my artwork from high school, art school, and my early career…
- Who is Bill Inman at Master Oil Painting? - Master Oil Painting - […] 9 Things I’ve Learned Being Married to an Artist What’s the Best Plein Air Easel for Me? Blank Canvas…
- Who is Bill Inman at Master Oil Painting? - Master Oil Painting - […] You can read a lot more about our pursuits for good health and an art-minded lifestyle here: https://www.masteroilpainting.com/the-health-conscious-artist/ […]
- Who is Bill Inman at Master Oil Painting? - Master Oil Painting - […] One of the highlights of the last few years was a Tough Mudder my older children talked me into.…
What a great idea to share the thoughts of other artists…. you are always striving to improve the content of your site. The benefit of the input of other artists inspires this student to try a little harder. Thanks for sharing.
Thank you Cheryl!
My team is constantly working to bring more value to the site, and I am really looking forward this new series. There are so many amazing artists out there, including quite a few in our own Master Oil Painting community, and I’m as excited to hear from them as I am to share it on here. I completely agree with you that hearing from other artists will improve our site and inspire us to try harder.
I love your eye for color. Gorgeous.
Thank you Carol!
I continue to be amazed at how you juggle teaching, herding a gaggle of aspiring artists like us, and make a living as an artist. I am grateful for your help in these many ways.
So glad to hear your enjoying it Earl! Teaching has always been a passion, so I have no intention of slowing down, as long as my energy level lasts and Heavenly Father continues to direct me – I know we could not have accomplished what we have without His help!
Thank you for sharing your wonderful gift. You inspire me to want to paint.
That is what every artist and teacher hopes to hear Mary, thank you!
I have painted for may years and continue to be amazed at how much one can learn. I appreciate so much your willing to share your expertise and heart with everyone. Thanks again. I am new to your class and excited about where it takes me.
I am excited to watch your progress as well Marcea and to be a part of it! I will do my best to share what I have learned in whatever way I can think of that will be useful for you.
Thank you so much for all the time you and you’r family spend on other’s.. I have learned through you’r critiques of mine and other’s paintings… I am working on random strokes of the brush in my work and to watch out for Line’s of subjects in my paintings… Color temperature is a hard subject to explain and learn and I feel you are a Great Teacher. I thank you BILL!
That is so encouraging to hear and so appreciated Dawn! I am grateful for my family and their selfless efforts to help this all work. I could not dream up a more wonderful family to be a part of – I am truly blessed – or a more wonderful art family to share with and learn from. Thank you to all of you as well for being so good and generous with one another
Thank you so much for EVERYTHING you do to help us and teach us with your sharing your knowledge and paintings. So glad you are doing Monet and love the reference photo and you painting of it, to me is most helpful. Guess I am a visual person! (I know I am). I learn so much from the Q and A even when not my own painting. I probably need to find a grey scale thingie to help me out. When my son was in 3rd grade the school nurse called to say he had flunked his eye test and was upset because the other kids hadn’t. So I said no problem will come up and give the test to him so he will feel comfortable. My son and I went sailing the the eye test and agreed on everything we were so pleased and proud of ourselves. He went back to clas happy as a lark and they informed me I was color blind! Am still laughing I was 30 yrs old and had no clue I was but I am color blind. Had eye doc check it out and am. The mild form when it gets to pastels in light pale grays blues and greens so my daughter used to love to ask us what color something was and giggle her head off. I always buy matching clothes from the same company so I know the colors match! It don’t thing it makes much difference in my painting but might and am not worried about it. I think am more confused trying to convert colors to black and white and gray shades and know they have charts out there somewhere, would like to buy one. Merry Christmas and a Happy New Year!. Thanks again
So great to hear from you Patty! I have two professional artist friends who are color blind – Nathan Salano and Dan Woodson – who have both achieved phenomenal heights with their work and careers. Robert Moore at the Broadmoor and Trailside Galleries is also color blind and he is one of the top selling artists I know. So color blindness need not stop your success – push forward and follow your instincts and you will succeed! Great story by the way, thanks for sharing…
I love this message Bill. I just lost my Mother, my best friend a few days ago and it has been hard to find reasons to smile. My Mother always taught us to give and give frequently no matter how big or how small the gift. I am new to your community and was caring for my Mom right after I joined so I haven’t seen much. I watched your rant video (the whole thing) which left a mark and genuine affection for you as an artist and as a person. This message is beautiful and I agree that we are very fortunate to be in a position to share our beauty with the world. I too, like my Mom, love good caused. I have been trying to think of who I can donate some paintings to. I will definitely be donating to the nurses on the hospital floor and I was also thinking of the local school and retirement home. These small gestures of kindness go a long way and can truly make a difference for someone.
Thank you for this message of kindness and for making me smile at a time when it seems impossible
Chrissie
I am so sorry for your Mother’s passing Chrissie. I am very close to my parents and the thought of losing them as they have increasing health issues is daunting – I talk to them every week and rely on their encouragement. You are in our prayers! That is the force that gives me hope when circumstances try to wrestle away my smile. I have great faith in our Father and His Son to do everything possible to bring us strength and hope – without interfering too much in our brief time of training here in mortality. I also believe we artists were inspired to paint and create so we could be instruments from our Father to bless others and lift them up – often in ways we would not anticipate. I trust that your sharing your gift of art with others will not only bless those you share it with, but it will help to keep you smiling, the way comments like yours do for me! Remember, we will be sending our faith and hope and prayers your way.
Thank you, Bill, for this message. I truly love being blessed with the ability to be an artist and this has enriched my life so much through the people I have met and art groups I have joined. When people at my church discovered I was an artist, they asked me if I would be willing to paint the coffee mugs that are presented to new members of our congregation upon joining. This is certainly a different type of painting but I saw it as a way to give back and now have been personalizing mugs for many years and the new members are always delighted with them.
What a fantastic way to share your gift of art with others Joanne! I don’t believe in higher and lower art efforts – whether painting a mug, an ornament, a saw or the Sistine Chapel, Heavenly Father just wants us to share what He has blessed us with to the best of our ability. He will guide us and give us the opportunities to touch others’s lives as long as we don’t let pride cloud our vision. I’m happy to hear you are blessing lives with your gift.
Beautifully said and it makes my life so much richer to be able to of myself. Thank you for sharing this thought. Time now to go paint my gift!
Correction to above to” give of myself”
Thank you Mary, I am overjoyed to hear you love to share your gift with others as well!
You have such a giving heart , that was one thing that drew me to your sight . You can tell you love the Lord and I know He loves you!! i’ve taken this course without having the time to use my artistic ability, If I have any. My last painting I did is displayed in my Church. I prayed the whole time I was working on it that it would be a blessing to anyone that saw it. I get a blessing when I look at it even though I see so many things I’d like to change. I’m 77 years old and I’m enjoying hearing about your wonderful career. Your paintings are inspirational, I’m sure you pray over your work. It show’s. The beauty of our Heavenly Father’s masterpieces!! I’m learning from you even though I haven’t put paint to canvas . I hope to start working on January’s assignment and try to display something!! Thank you again for helping us!!
Wow, Ruth, I’m excited to hear you will be picking up a brush soon! Each time I enter my studio, the first thing I do is kneel in prayer so that my efforts will be more than my own. I know Heavenly Father will sustain you as well…
I am a photographer and one year this young photographer saw one of my images and I overheard her say how much she loved it. I printed another and gave it to her, she loved it. We weren’t friends I just felt the need to to it. You never know what is going on in someone’s life. I hope this made a difference somehow….. plant a seed of God’s love❤.
That is awesome Nancy! Sounds like inspiration through and through…isn’t it wonderful how much joy we receive when we follow those promptings.
Some years ago when I started painting, my television director at First Baptist Church, Memphis, TN wanted me to paint his wife’s childhood home as his gift to her. I was glad to do so without charge, but when he gave me the photo, it was a run-down, shotgun house, white clapboard. A tree with a swing, and a cotton field alongside. I tried, but the effort was terrible. A friend of mine taught art, and she said, “remember, you’re not painting the house in the photo, but the house she remembers! Use a perspective of looking up toward the house, and add a bit something like naples yellow light to your white for the outside of the house.” I did both, and was shocked at the difference it made. That painting still hangs over their mantle in Knoxville, TN where they live now. You’re right; it’s not necessarily the professionalism of the painting, but the friendship behind the painting that makes the difference!
Heavenly Father brings us what we need, even if we go through the ringer first, like your friend who gave you the perfect suggestions to guide you along. One of our church’s Prophets, President Spencer W. Kimball, said “God does notice us, and he watches over us. But it is usually through another person that he meets our needs. Therefore, it is vital that we serve each other.” I believe that with all my heart, and that is one of the guiding themes for everything that I do. What a blessing to know the family cherishes your painting and your friendship!
I paid for this course and now I can’t get in. I’m using the only e-mail address I’ve ever had and it said it can’t be published. Can you help?
I receive your e-mails at this e-mail address bi can’t get in using it
Bill,
Just watched your “What is Serious Art” video. Spot on! Art enriches us so.
rick manthei
I can never thank you enough, Bill, for the impact you have had on my life as a painter. Six years ago when you agreed to let me come to your studio once a week was the opening of my painting reality. You nurtured, nudged, and taught me so much in that year. You gave me confidence and permission to be myself using my own style, yet helped me understand artistic principles that I needed. You are still helping me grow as an artist through all your videos and teaching. My heart leaps with joy how much your notoriety and business has grown. I think God has honored you for all the extended lessons and guidance that you have been willing to give to your students. Now, as you are partnering with your family, your growth touches many painters. Thank you again for teaching me to paint, to love my art, to clean my brushes, to focus on my strokes, to acknowledge the use of color, to include lights and shadows, and so many other things. You’ve impacted me for a lifetime.
Thank you Sandi, you have been an incredible blessing to our family as well – your kindness is contagious!
I gave a watercolor of tulips to a friend at my church. She is a grief counselor at a local hospital and had been taken by it when she saw it in my rack a year ago. I half promised it to her if she would visit me in my home. She never asked a price but kept reminding me how much she liked it and her good intentions. I actually had two of them almost alike. On Christmas Day she was scheduled to lunch with a group of us but she was called in to work. I had the painting wrapped and with me at our Christmas morning service and gave it to her before she left to go to work. My thought is it wasn’t going anywhere in my rack and if someone deserving really liked piece, I would rather it be enjoyed.
That was very kind of you Dean and I believe your generosity will be more than rewarded. Usually our rewards have nothing to do with money – but then again, you can’t buy happiness or love with money, right! Is there anything better than that? Not in my mind…
As an artist myself, I enjoy reading about how other artists perceive the journey of being an artist. I too, experiment with different mediums but paint primarily in oils at the moment. I just purchased a set of interactive acrylics that have whats called, “open” qualities, meaning they can be re-wet for adjusting edges. I find it very exciting to play with a new medium and can relate to your concern with destroying a canvas and made my own supports to freely paint on as well. It does make a huge difference in my creative senses when I don’t have to worry about messing up an expensive stretched canvas. Your work is incredible. Thanks for sharing.
Hi Bill, How do I down load these videos on you tube? We have just moved and I have not gotten around to internet service yet. So, I need to go the library and down load these to my computer and am not have much success.
Thank you,
Christy R
I have no training at all in paining, but I do paint although it is not by any means professional looking. Could you give me a great place to start…classes I could take…books I could read..etc? Thank you, your work is stunningly beautiful and I enjoy seeing it!
So sorry I missed your post Kathy until today.
There are some incredible resources for artists today! If I had to start with one book, and I wanted to master representational painting, I would start with Richard Schmid’s Alla Prima II Everything I Know About Painting – and More. It is one of the best resources for painters.
I am also a huge fan of videos and DVD’s – especially if you can find some that are more than just a quick demo. Start with artists that you admire most and see if they have videos available. I would practice with that artist’s method for 6 months to a year or 2, then take some time to follow your own instincts and experiment and practice for a while. That will give you some time to really zero in on what appeals to you about how that artist works and also what you don’t like as much. Then either go back to learn more from that artist with fresh, more informed eyes, or look for an artist that might be more in line with the newer informed understanding you have.
I still like to watch other artists paint because I never know what insight or technique will grab my attention and improve how I approach my art. My whole desire is to improve – to get better and better my whole life. I am an eternal student. 30 years of painting full time and I still feel an intense desire to learn more and climb higher – to make paintings that truly touch others’ hearts and inspire their minds, and I don’t feel I’m anywhere close to that yet.
If you are anywhere near Arizona, the Scottsdale Artists School is a fantastic place to take workshops from many of the top artists in the country. Never take a class just to take a class – make sure the artist is someone who’s work you really resonate with. There is too little time to waste any – if nothing is close to where you live, save up until you can take a week-long workshop from a top tier artist – I would also read reviews and comments by attendees to see if they are not only a skilled artist, but also a skilled teacher (a day or two in a workshop often is not enough to really get a grasp of what is being taught – a week works out much better if it is possible).
Don’t become a look a like – learn from the artists you study with, but follow your own instincts and imagination when it comes to your style or direction in painting. There is not any one best way to paint or best artist out there. There is a multitude of possibilities – never limit your own with someone else’s thinking or rules!
You have a beautiful family thank you for sharing!
What would you say, if I told you
I found a way to literally, make
$10 in 10 minutes, over and over again?
What if I then told you, it was fun,
anyone can do it, and you can do it
right from your computer?
I know you would be excited.
I remember when I first discovered
this, I thought it was too good to
be true, but it WASN’T!
Are you interested in seeing
what I’m talking about?
Just click the link at the bottom of this message
and I’ll show you exactly
what I’m doing!
You need to HURRY though, I’m
only going to show the next few
people that click the link below!
http://paidcashforsurveys.com/news
I like turning them upside-down…. I’d done a painting of a wolf for a friend and when I was done, there was something wrong…. I just couldn’t figure out what it was, but knew I wouldn’t be satisfied till I figured it out. I kept coming back to work on it for a couple of days, then remembered the advice to flip it from one of my college professors.
Immediately after I turned it, I could see the mistake! I’d made his forehead way too long…once I turned it around and made that change, it was just what I’d wanted. I’ve also done as you describe with similar results.
Many years ago I worked for a gentleman who had very small and difficult-to-read handwriting. When I couldn’t figure out what he had read I turned it upside down and was able to figure it out. I’ll try this with painting also. Thanks for the reminder!
It’s good to hear that the truly talented and educated such as you come across these frustrations. The gift is to see and make the needed changes. I pray each day for this ability! Thanks for sharing as I needed to read this.
I’ve been doing just this mistake over the past day while working on a self portrait. I think I have it and 5 minutes later after a break, I can see that my eyes are too small/wonky/value is wrong… It’s heartening to know I’m not alone, so thanks for the tips!
We see the reverse of ourselves each time we look in the mirror..when painting a self portrait it helps to remember that we don’t see ourselves as others see us. Self portraits are not easy..not for the visual drawing/painting artist nor the photographer. The other – “Older” – Bill Inman
Thank you for so generously sharing your knowledge and skill. I sit to paint In a confined area, usually a couple of hours in the afternoon. Then I grab my canvas and plop it in front of the TV for the evening news. I see what needs fixing and what is likable. Usually even a bad painting is more likable than the news.
Before I call them finished, I set aside all my paintings for several days, and sometimes weeks. Then, when I take them out, it’s like starting all over with fresh eyes. Wondered why that was. Thanks for the explanation!
Sometimes I will instinctively know that something is wrong. I am not experienced to know what that is,or how to fix it. My husband,lovely as is, would not notice if I hung it up side down or simply took it off the wall. My eldest daughter has an artful eye but she is busy with her own life. Soooo…I don’t look at my paintings for a day or so then revisit them, I will put them upside down or sideways to view, I drag them into the bathroom and check in the mirror but must admit this often simply confuses me. I take a photo and look at that. I post to Bill’s group in that he will comment if something is really off and get excited when he gives a correction suggestion! I appreciate the fellow members looking at my work. I do feel good when someone says it is lovely but also wish we have enough courage to put in what we may find offsetting in a piece. It doesn’t mean one has to alter it but it gives us chance to see what someone other than ourselves are seeing…and there are some very experienced painters in this group. My 2 cents.
Thank you for this wonderful tutorial Bill!
As was mentioned above, I also use a mirror to get ‘another’ opinion.
Sometimes, we can get so stuck in our own zone we literally cannot see the forest for the trees unfortunately!
Good tips!
its sort of like looking at yourself in the mirror and thinking you look pretty good and then catching a glimpse of yourself a couple of hours later in a shop window and thinking OH NO AM I THAT FATl stop and photograph as I go because everything looks different on camera than it does in person Maybe its because I know so little or haven’t been painting long enough to be overconfident but I send snapshots of what I am painting to about six people that I know and trust. Two are artist friends and I can and get a list of corrrections or suggestions just like I hope to get. One has no tact at all and says exactly what he thinks, wouldn’t begin to lie, and I get exactly what I want from him- his gut reaction of what he sees. the others are family members who are always encouraging and interested in the end results and guaranteed to smooth over self doubts and self esteem. People are so scared of hurting your feelings but I WANT to know whats not right and I WANT the feedback. Loved this article. Thank you Mr. Inman
Hi Bill and painter friends,
After I was finished treatment for Ovarian Cancer, I started taking painting lessons. I have been painting and taking lessons intermittently now for 10 years. Praise the Lord that I am well, Thank you Lord. I was cared for by many nurses, physicians, family etc. I had painted a Plein air painting of a small cove and island. I absolutely loved the painting. I so wanted to share my heart and soul with one of the physicians that had shared his heart and soul with me, whilst he cared for me. He was a great listener. I had the painting framed and gave it to him as a gift. My heart was filled knowing that I was giving him something special from me. He liked the painting and was thankful. I don’t know if he hung it anywhere and I haven’t seen him in years. I am thinking that if I went back now and saw the painting, that I likely would grimace and want to improve upon it. That is life though, we look back on things, and maybe wish we could change them. But I know for sure, that in that moment in time, that was the best of me, and I wanted him to have that as a gift.
I LOVE my Coulter easel. It is steady and study even on the windy Oregon coast.
That’s a huge consideration Judith – occasionally if the wind is strong I have to grab my french easel and hold on for a bit until the wind has passed. I can tie down my easel, but having tripod legs that widen out far enough to make it stable in windy conditions is definitely a plus.
I have the same issue re French easel and weight. So I got an old golf cart at a garage sale, removed the holders for the golf bag, had a an aluminum box made for it. The long narrow “box” is like a carrying shelf or box affixed to the cart and rides low on the cart. I can slip my french easel and a huge umbrella in it like a carrying box, plop on a small aluminum chair and tie things down with a bungee cord or two. Everything rides fairly high off the ground and because of the large wheels I can go almost anywhere. When setting up I can get a largish stone to weight it all down and open up a beach umbrella for shade and tie it to the weighted (with large rock) golf cart . Am safe from sun or rain and don’t have to lug the stuff, just drag it all along! I take a lightweight bag with me and extra bungees which I use to anchor…put rock or sand/gravel inside bag and put that inside the narrow aluminum box (on the golf cart) to weigh it down in case it is windy. When done leave rocks there..where I found them. But inspite of having a perfect setup I am always still (mainly by habit, I think) on the lookout for something better.
My latest craze: ditching the French easel and affixing a pouchade box to an aluminum telescopic camera tripod. Then loading everything up on the golf cart.
Carol, What a great idea! Would it be ridiculous to ask it you have a picture of your golf cart with special box and your on-station plein air set-up?
Hola Bill
muy buenos tus temas, son importantes para los que nos gusta el arte y la pintura , un saludo desde Venezuela amigo .
Blick is having a sale now on French easels. Full and half box. I’m guessing half box is half the size of full box.
Black Friday or end-of-year sales are a great time to experiment when our budgets allow. I like to try a new easel/palette combo once in a while just in case something will make painting on location a bit simpler. So far, my 35 year old French easel is my favorite, but a friend has just made me an easel similar to the Coulter, with a few modifications, that I think might replace my French.
I also don’t like the heavy weight, but, I’ll take my French box…I have three of them…over other stuff I’ve tried. So, I just bought a little trolley that holds not only my French box, but turp, paper towels, panels, etc. Really handy!!
That’s the way to go Susie! I have the Kelty RedCoud 90 backpack which is massive, but my French doesn’t fit inside with my large palette – that’s the main reason I experiment with alternatives once in a while. The easel Michael designed for me to use on a tripod comes in two sizes, and they are so convenient and light, that it’s a tough setup for the French to compete with. The complication has been getting the palette he created so it will also work with the tripod. I think it may be ready, but I haven’t been able to field test it yet – hopefully very soon. The main thing is to paint without limitations as much as possible and still be able to hike in anywhere we want.
Where are the palettes Michael designed for sale?
Great question Kathy! Michael is now ready to create palettes for anyone who would like to order one. He just recently finished his experiments and updates so he (and I) is thrilled with the design. You can reach him at mgschlee@gmail.com or by phone at 308-750-4169. He even designed a shelf that works beautifully for using the palette with a tripod – for those who don’t want to use a French easel.
Love my coulter easel!
That’s great to hear Niki – I hope this post sends a lot of customers his direction! I love the innovation that is happening with easels and palettes today.
I’m going to try my Leder Easel with a Coulter Box.
Diane how did that combination work together?
let me preface this comment with “I don’t like plein air” I am distracted by the heat or cold, bugs, or just the wonderful views or smells around me. I had a French easel, which was too heavy for me to get to what I wanted to paint. I now use an Italian (Capelletto?) brand folding, field, wood easel, which weighs just 4 lbs. and folds up to fit in a backpack or bag easily. It is obviously not heavy enough to be real steady, but with my pastel or oil palette box on the foldout arms on the front, a bungee cord or two, it works really well for the few outdoor trips I make.
Smart Carol – if things are too complicated a lot of artists just won’t bother especially since painting on location is already difficult to begin with. We each need to evaluate our individual circumstances and decide what works best for us.
I really like the Strada easel I’ve been using for the last couple years. I have the large one with two shelves. I think what I like best is the ease of use, and no knobs on the outside to get in the way. I used a French easel for about 10 years before that.
The Strada does look convenient and quick to setup – I saw them while at the Plein Air Convention, but have not used one. I’m super attached to having a large palette down at waist level, but I may need to try a Strada sometime in case I’m somewhere I need to pack especially light. I’m glad it’s working out well for you Debra.
want to change password
change password
Truly remarkable work! Thank you for sharing.
Stevecowdell@icloud.com
What a fine artist you are,I love your work and if I were a rich man I would be your best customer.truly stunning.
Have you seen Susan Tustain.she is a self taught brilliant artist?
Love your work. My passion is nature and you capture it perfectly.
Very enjoyable read about a very gifted artist! The advice about being braver to be me and ignore the meanies really spoke to me.
Very inspiring! You are a magnificent artist!
Great artwork, thank you for sharing.
Thank you so much for sharing your art and your heart with us
Your genius is in how comfortable and natural your subjects fit into their surroundings. They aren’t posed. Viewing your work is like stumbling upon the scene moments before the animal disappears into the landscape.
Wow. Cannot even imagine anyone telling you someone is a better artist. I love painting animals and looking at your website has inspired me to learn to be better at it. Thank you for creating such beauty.
Thank you so much for your insight! It helps to hear from someone that truly shares from the heart. We are such a mixed bag and it is good to know that even the great artists (like you) have the same human feelings that must be worked thru!
Your work is outstanding and it has been really great to get to know a bit about you!
I have contacted the Coulter Easle folks twice in hopes of purchasing but no reply. I need a tripod for the DSLRs camera I was given so the coulter system could deal with two needs.
Bill or Kristy if you know how to get through to these folks please let me know. I am off to Hawaii in a couple of months and would like to take an Easle.
The Coulter folks got back to as did the Tobins. I am having a tough time deciding between these two. A plus with the Coulter is the commercial tripod which I presume would also work for my camera. Whichever I end up getting it has to travel friendly..for both a sailboat and commercial air travel. I dream of taking it when we kayak but this will likely remain a dream.
If Bill or others could chime in on plus/minus of each and better yet your own experience I would be very grateful.
So glad to hear they got back with you Janne. I called about the Coulter Easel, but no answer, and then I saw your new comment.
The tripod is a standard camera tripod with quick release so you can easily switch between your easel and camera. I think the Coulter would be the simplest system for travel, especially in small spaces like a boat deck.
I have not ordered one yet so I don’t know the field experience pros and cons, but I actually found the Coulter Easel because I thought of the same idea and looked to see if anyone else had tried anything like it. I love the idea of simplifying and condensing, and a single board easel with a palette that attaches to the tripod legs is pretty simple. The less I need to do and the quicker to set up the better – as long as my panel is sturdy in wind and my palette has plenty of mixing space I’m good to go.
Hawaii sounds like a fantastic place to paint this time of year – have fun!
I just purchased Williamsburg and some Gamblin to replace the Winton. It seemed that when the paint dried the colors faded. Now what do I do with all that Winton?
Hi Christine
I often use some student grade colors (VanGogh) with Gamsol (Gamblin odorless mineral spirit ) for the block-in (plein air or studio ).
I proceed with professional colors after, when it becomes more serious 😉
Hope this will be helpfull for you 🙂
This is exactly what I do.
A lot of great suggestions for you Christine – I think I would be prone to the canvas toning idea – maybe mix them together for a warm or cool grey under color, depending on your subject and approach. Donating them to a school is a great idea – although do we want to take a chance on getting a budding painter hooked on inferior paint – maybe a yard sale or studio clean out sale?
Perhaps toss it or maybe use it to tone ypur canvas b4 u start.
I really enjoyed this blog. I have asthma and use M. Graham paints. These do not affect my breathing at all. They are creamy and have beautiful colors. My only problem is their Alizeran. It is not lightfast so i will not waste my money.
In response to Christina N, contact a local high school or Community College. They will be greatful for the art supplies.
So glad to hear you enjoyed the post Christy! I agree, I think those who are affected negatively by oil paints are using some type of solvent. Use oil, especially walnut, as a solvent and there shouldn’t be any adverse reactions. I still like Gamblin’s permanent alizarin the best.
I have mostly Windsor Newton student grade simply due to the costs. Some colors like Cad Red or Cad Yellow are not great in this line so I have higher quality tubes in those colors. I’ve also been experimenting with other brands and higher quality paints. once my paintings begin selling for thousands, not hundreds, maybe I can afford all professional grade paints!
oh, and I avoid any paint sold at Hobby Lobby – terrible!
I think that is a sound policy Steve – canvases as well – although I do get some products from them with the 40% coupon that work well, like the Quick Dry spray!
You have not rated the water miscible oils. I use Artisan and Cobra. Do you have any suggestions with them. I also use M. Graham oils but have trouble with them in plein air because I have not found a way to thin them, without solvents, that is fast drying for a block in. Any suggestions?
You may want to sample Lukas Berlin water soluble oils (made with safflower). I catch them onsale at Jerry’s. However, I have gone to regular professional oils but use walnut oil for medium. I wasn’t satisfied with transparents in the water-based so have gone to mostly Rembrandts.
Rembrandt paints are excellent Kathy. I used them in the 80’s – if they had offered the 150 ml tubes like Gamblin and Utrecht I probably would have continued to use them. I am now trying other brands like Michael Harding and finding that I like them a lot. I will have to try out some Rembrandt colors again and see the comparison – in fact I still have some tubes from the 80’s that are in great condition – amazing how long high quality lasts.
I have not used water miscible oils Pam, but I have heard good things about Cobra and the Lukas Berlins Kathy mentions – many say the Lukas are more creamy than the other brands. As far as the M Graham, I use walnut oil to thin for my block-ins – no it isn’t fast drying and that can be inconvenient sometimes, but I love not needing any type of solvent (make sure you don’t use too much walnut oil though on an acrylic ground – it will bead up and not adhere well – at that point you will want to wipe it off and go again, or add more straight pigment to the mix). If you take straight paint and apply a thin layer with a paper towel or rag you will find it works also. There might be times that I revert back to some Gamsol for a specific type of wash, like a multi-colored light wash, but it’s been about 5 years and I haven’t needed it yet.
check out Marc Hanson’s reviews on the water soluble oils
What do u think about ARCHIVAL ?
…
I believe in using the highest quality materials I can find that work for my purposes Hakim. The word archival is tossed around a lot, but it’s not very useful since even professional grade products have flaws and will eventually deteriorate – very few products are likely to last centuries in today’s environment – I just hope my paintings last my lifetime and the life of those who purchase them – if it’s worth it to someone after that, some conservator will figure out how to preserve them. The reason to use professional grade is that they have much higher grade ingredients that will generally last decades longer than student grade and for most styles of painting they look and perform better which saves us unnecessary frustration – painting is challenging enough without the added problems that come from student grade materials.
Archival is a brand of oils made in Australia by Chroma, they are very flexible and not prone to cracking.
https://www.masteroilpainting.com is very interesting, bookmarked
I am not an artist but I love art. I really loved your work and from your interview how humble you are.
I absolutely love your work. Thank you so much for sharing some of your insights after years of experience along with your honesty and humbleness. Very refreshing!
Janie Chase
Thank you for sharing your art and expertise in both painting and business. Your paintings are beautiful. I love your style too!
I would like to express my gratitude to Bill Inman for his sunning work in painting and precious lessons on internet and to Joe Anna Arnett for sharing with us some of her thots and works.
Thank you Cezara – your kind words are very appreciated!
Hi. I just canceled my monthly membership which was paid ahead. I understand that you will reimburse the remaining amount.
Thank you and wish you the best going forward.
Beautiful interview and content. Thank you Joanna.
Donna S/New Jersey
Joe Anna,
You are a wonderful artist and inspiring human being.
Thanks
Rosalie
https://www.masteroilpainting.com is very informative,
bookmarked
Thank you Matilda, I’m so glad to hear you are enjoying the posts. I do love all the feedback we get from so many artists – it’s fantastic to hear and learn from so many different artists’ experiences and insight.
Being a real lover of hollyhocks from childhood, I really appreciate this demonstration, and look forward to attempting one such painting myself. I grew them for several years, but am now old and handicapped and can no longer garden. I can still paint them, though! Thank you for this! Wish I could afford to take your online classes, but I am on a fixed income. Love, love, love your paintings and your techniques, though. God bless you for adding beauty and joy to the world!
Thank you for sharing. I am inspired by the assorted paintings and helpful tips in composition. I hope to watch the five hour video soon, to better understand warm and cool tones, values, and creating light. You are a very generous and talented artist and instructor.
I like this very much. It is very useful, espetialy together with full movie (: . It is like e-learning big shapes of painting, and then going in details (with full movie). And also we need repetition .. so thank you (:
La idea admirable
[url=http://sobestshop.tumblr.com/]sheridanEa[/url]
Thank you for sharing your painting… Loved watching the details, found them very helpful.
Fantastic paintings!
Love the painting techniques…there is only one thing that bothers me about this painting. Flowers in nature do not all face the same direction. I would have loved to see more of a variety in the directions that the flowers are facing, They appear stiff when all facing front. I hope to try a holly hock painting.
Thanks for sharing!
Arlene
Thank you Bill.Beautiful paintings,very helpful.
(: Thank you for this sincere, touching and insirational words. I must say that i like this first holyhocks not less then last one (:
First, as a retired competitive equestrian athlete and trainer your words about being in the “Zen Moment” for lack of a better term are consistent with my own experiences during some of my very best competitive rides. Your painting style is very different then my own but what your teaching me is invaluable. Thank you for your honesty and hard work.
I personally really respect and appreciate your efforts and talents. Thank you
Blue Hollyhocks is my favorite and I think it is the misty background and the solitary rocks being dominated by the beautiful blue hollyhocks, that takes my breath away and really speaks to me. I have never seen hollyhocks and your arts make me wish I could see them. It is interesting thinking on how our arts have evolved and who inspired our styles throughout different stages if our ‘growing’ process. The funny thing about art is that each stage works together in bringing us to where we are today and serves as the stepping stones to the artist we will become tomorrow. If we dont allow those stages to happen, then our skills never evolve…and our art becomes boring.
I love the blue hollyhocks. This painting is very romantic and mysterious and transports me into another time. The colors are soothing to me. Great job.
Lianne
Thank you for this wonderful post. I loved reading it and seeing your journey. I too battle between loose painting and the details. I too love the style and paintings of Bongart! I intend to paint loose and expressive and when I get into it the paintings become tighter and tighter as I do when I draw. I want to create something more expressive… There are times when I lose myself in the painting as you expressed and forget about funndamentals. It’s wonderful! Sometimes I am so excited with the outcome and other times I have to wipe it all out and start over… Either way it’s a great feeling…. Music helps to move me to my right brain and forget everything I’m studying. I am motivated by you, your thoughts and your art, so please keep sharing! Thank you.
I can identify with the split artistic personality. Especially, when trying to create your own artistic footprint. And the Zen moment gets interrupted too often. Thank you for words of inspiration and lets me know we are not alone in this struggle to become the best we can be.
Lyn
Bill,
Seldom does one of your accomplishment openly offer such intimacy as a means to guide, instruct and encourage.
For infants in the arts, as I, what you offer is invaluable.
Thank you for sharing your journey…
I love your paintings and really appreciate the time you give to your students. I’ve already learned so much from watching you and listening to you share what you are thinking while you paint. It’s very helpful to know that even accomplished artists still struggle some days! If I paint more often, have soothing music, free my mind from worries and have some kind of plan for the painting, it comes more easily. But I’ve also had wonderful spontaneous days when there was no plan and everything worked….so who knows? If the “flow” comes, it is a gift!
I am new to painting yet I can relate to the feeling you describe of unconsciousness and the brush creating something that somewhat surprises you …almost like where did that come from when you snap back to yourself and apainting is there. There is no effort, no conscious thought, no concept of time passing..it is a wonderful place.
Thank you for this blog.
I think you are correct Bill when you tap into consciousness… Didn’t the Greeks call it you’r genius? … You can also call it GOD.. All those would be correct.. I seem to hold the brushes and the color’s pop into my mind.. We stop thinking and just let BEING paint… Its all like “be still, and know I am GOD”…
I get emails all the time but have yet to use your site. I thought I paid for a membership but I can’t get in to anything. Don’t remember login info but email is sherrysandberg2@gmail.com but your system says it’s not valid?!
Can u verify that I am a member?
I have been painting for years but I work full time and only have 2 evening a week that I can paint. I know that if I could do a little bit each day I would get better, but I don’t know how to work it in. Any suggestions? I love your work and love to watch your videos.
Thank you so much for your insightful reflections on your journey as an artist. I like that you know “At Home on the Range” is a painting has many elements of the best for you. It is a beautiful and vibrant painting.
I’m learning from you that it is okay to paint from memory and our imagination rather than only what one sees. I find that as l put more of the “rules” of painting on the shelf (for aspects of the painting) l’m often more satisfied with the outcome.
I look forward to seeing the details of how you developed the hollyhock painting.
Shirley
Thanks for continuing to write such amazing blog posts!
Thank you!
I have tried everything and can’t get it to work. I know my password but reset it anyway still not working but then the site login for 6 month program doesn’t work when I click on it and am not in the 6 week course???
Guess I don’t remember my name would be nice to just login with email name that one I don’t forget! Thanks but after losing 2 pcs and so much stuff in the last 3 weeks am computered out.
Forex
Appreciate the recommendation. Will try it out.
TM
“Way cool! Some extremely valid points! I _appreciate you writing this post and also the rest of the website is also very good.”
Thank you for the interview. It is always interesting to hear others journeys.
As a recently retired Senior, I’m finally working on my art. Life Drawing was the main FEW classes I’ve taken while raising my family and working, over the years. Recently sold some paintings at the request of friends. People want what I do but is not that good. Of course, I don’t charge much. I want to LOVE my work. Any ideas or assistance for art classes for serious Senior artists either on line or live? I’ll be moving to Portland, Oregon shortly.
Wow, such a talented and very humble man! Love that he doesn’t hesitate to say that he is a Christian, attributes his talent to God, and puts his life in God’s hands. As a beginner, I know I have a lot to learn but sometimes I do get discouraged and wonder if I have any talent at all. Very encouraging to learn that he says he did hundreds of paintings and a lot of them were lousy before he found success. Thank you for a wonderful and enlightening interview!!!
LOVED THIS ARTICLE. WHAT INCREDIBLE WORK!
Very enlightening interview. Like the comments before me, it makes me encouraged to know of his struggles and how hard work made him successful. I have no illusions of becoming famous or anywhere nearly this good, but I do want to be able to enjoy what I am doing and hopefully some others will also. This was especially enjoyable for me. I was raised on a ranch in Montana and the western way of life is what I know and what I love to paint.
Beautiful
This is exactly what I was looking for. Thanks for wrnitig!
You’re welcome Cathy!
Thank you for sharing your story of learning to paint. Your paintings tell a wonderful American story.
Thank you for posting this wonderful artist interview. I admire his humbleness and his dedication to seek God in his work first of all. I too, ask the Lord to open the doors of art for me and close them if He doesn’t want me to pursue it. My journey, so far, has led me to some open doors, small, but open and so I am inspired to push on. It is a struggle, but one I must follow being so passionate about painting as I am. I really needed to hear this artist tell this story about his art journey at this time in my life when it seems nothing is really happening much for me yet. But I have many more brush miles to go to reach something like real art! Again, profound thanks.
this is a master of light and shadow to create emphasis or a mood, or to make you feel the sun or the cold or the crisp mountain air. And he paints with knowledge of the country, and the actions of the animals. He is incredibly good!
My email and password won’t let me in.
I can’t open the course.
Bill, this painting is most amazing! I love everything about it. The colors are so crisp! Thank you for the tip about aliz crimson! Thank you for these amazing videos!?⭐️? Cathe
Love the Stoic Barn painting. So many beautiful colors. So many wonderful brush strokes. Your method of painting really inspires me.
Love your way of painting – thankyou
I loved the video, thank you so much for sharing it with me. I love you your way of painting!!
Very insightful. Enjoyed this very much.
This is great. I will share. Can we have an interview with Curt Walters next?
Curt Walters is a fantastic request Valerie! I love his work. I loved living near Santa Fe in the 90’s and studying his originals in the Alterman Morris Gallery. We will definitely reach out to him.
Hi Bill – this is really helpful. In terms of lighting, I prefer outdoors over indoors but even then, I have to play with the white balance in my camera to get it right. For indoors, I bought a professional photography bulb (the ones that are super bright and hot) and a white photography umbrella. I turn the bulb around to face backwards into the umbrella which then diffuses the light on to my painting. I don’t have to make color adjustments in photoshop with this method.
Such a good video. Very inspiring and how you build your warm and cool colors for such interest.
The interview with Camille was wonderful. I had the pleasure of doing one of her workshops here in Madison, Ms when I first started painting. I was overwhelmed with what she was doing.
She is a wonderful instructor. Loved it!
Thank you Camille for your wonderful insight/theory and Bill for his excellent questions. (that has to be hard to do. But you gotta love the road trip.) I love the “the theoretical Professional and/or advance being the toughest to reach & teach…that’s me. Just by interviews and points of view of you two and others like John Weiss I am slowly learning to hug the shadow-reflection through a painting. For myself, old habits, good or bad die slowly. As an illustrator for nearly 40 years i found that others (clients were dictating my voice with a “can you make it look like this guy did it?” request. This is me today: http://www.christophernewellartist.com
Bell Well Hugs, Chris
Great interview, Bill. I see wonderful luminosity in Camille’s and your paintings. I learned a lot from this interview. Enjoy your trip and remember to come home to Indiana safely. My gratitude to Camille for sharing her artistic genius.
Margaret Sabo
Excellent!!! I have been a fan of Camille for years and love hearing her responses to your questions!!!! THANK YOU!!!
Wish I had come to painting many years ago. It is my passion now but at 94 I cannot expect more than the enjoyment I get from so many great artists.
Camille mentioned she had a large advertising budget that she put immediately to her art. Did that come from having a very lucrative illustration career or what. It seems most people really struggle to get started. On person whom I shall not name I came across in FB group. He has painted for years and has a very identifiable style. In the space of a year he went from giving away his work in Central Park..all of it was quickly scooped to a shop on Etsy selling around 400$ ( no sales) to going onto Saschi at around 1200$ for the same pieces that had been on Etsy..no sales. So the question that begs to be answered is…how best to not only get folks seeing your art but how to get your work selling.
That’s a fantastic question Janne!
It often makes it sound easy when we hear a quick synopsis of an artist’s rise to success.
I believe successful selling of artwork is a combination of a lot of factors that are as varied as the artists themselves. I’m not sure where Camille got the money early on to advertise, but I do know of some artists who mortgaged their homes, got loans from family or maxed out credit cards to kick-start their careers. Others worked jobs and painted every spare moment while galleries marketed their work until their painting sales exceeded their job income.
One friend of mine taught high school art and sculpted until 2 each morning and on weekends for years before he was able to sculpt full-time. He was then a consummate businessmen. When you walked into his studio he had a business manager that kept his activities – like shows and gallery needs – in order. He made it a practice as well to periodically visit a gallery quietly and see how they were displaying his work. He was generally in 10 galleries at a time to ensure consistent sales.
My start came from persistently approaching galleries I liked until I got in. I did that while in high school and college. The first year after college I worked as a graveyard security guard so I could paint during the day – I averaged 4 hours of sleep a day. Kristie and I have also lived frugally (as much as we could with 7 children) and missed out on much of what other people considered important – like cable TV, car payments (driving old cars we could buy with cash), buying old houses for cheap that we could fix up, not eating out, cooking from scratch – that sort of thing.
Sometimes it’s simply pure luck – the right place at the right time.
Mostly, it’s not considering anything else acceptable as a career. Most painters look at all other jobs as temporary necessities that allow them to buy more paint and give up whatever will keep them from achieving their goal of painting.
It is rarely an easy way to go. Then again, is anything in life easy?
The most financially successful artists I know are also great marketers and promoters. Advertising in art magazines or wherever collectors will see your work over and over seems to be one of the keys.
Eric Rhoads offends some artists because he stresses so much the need to spend money on advertising – but he’s right. From Richard Schmid to David Leffel to the top shows in the country – they have all advertised consistently in the magazines. That’s why we know about them.
Coca Cola has been the top selling soda for eons – they have also spent enormous sums on advertising and continue to do so today.
There’s no getting around it – if we want to have the sales success of a Richard Schmid or a Morgan Weistling we have to promote (having incredible art also helps but it is not as necessary as great promotion). A lot of mediocre artists sell well because they advertise and promote really well.
There’s no one-size-fits-all approach, but if you do advertise, be prepared to keep at it month after month without seeing measurable results for months (or years) until collectors are confident you are here to stay.
Pursuing a career in art may not be the easy road, but it sure is a joyous one!
I wish you well on your own path Janne.
Very interesting interview! Sure gave me a lot to think about before and during my painting sessions.
very educational for artists, am just short of funds now to be able to purchase books like these, but am willing to read through if made available. thanks.
LIBRARIES!!! many books from libraries are even available on line to read on Kindle or other reading tablet. You get a card/account and you can download books as well as take out the physical copy. seriously great art books in every library I know.
John F Carlson. What a book! Took the e-book on holiday with me. I started highlighting passages I liked, but soon found I was highlighting the entire book! Bought the paper version immediately on my return home.
Thanks for the book suggestions they are very helpful, we have all bought books which are below standard and a waste of money. I find book lists from established artists help reduce buying duds, and help in making a good artists library.
Regards. Pete (UK)
Thanks for the list. I have wasted money on books that were no help.
Lyn
My favorite inspiration is Andrew Wyeth. His paintings are not oil, but they inspire me.
I buy multiple copies of Carlson’s book and give one to every new painting student who is taking classes with me. A MUST read!!! I have about 150 art books in my library and I buy quite a few on ebay…usually good prices!!
What are your favorites Susie?
I fell in love with Rockwell, then found Michealanglo. Today I love Warehouse and Terpning. Oh and Leighton. Can you make it 3 books? Lol
Waterhouse.
Waterhouse was a phenomenal artist Cathy – I too am a fan.
Great idea Susie with your students – every artist should own a copy.
I should have thought of that Carol, libraries are a terrific source and a fantastic opportunity to try before we buy!
Inspirational.
Thanks.
I am having the same problem. I am using my email address and pasword but can’t get in. 🙁 I even tried to click forget password but it says invalid email address. 🙁
Thank you for this blog. My husband bought me the Daniel Keys set of Rosemary Brushes, after I bragged about them. I bragged only from the rave review of my fellow artist friends. The set was very expensive and included the ivory and mongoose in various sizes and shapes. After only one day of use, one of the mongoose flats splayed out so badly, it was impossible to use. I contacted Rosemary and included pictures. I was told to boil the brush for one minute and shape it while wet. It sort of worked, but when I painted with it again, the same thing happened. I am not pleased at all, especially since I have 1,200 invested in them. I do however like the Egbert and some of the ivories.
Wow, you went all out Karen – that is a huge investment. I purchased more brushes than I normally would just so I could experiment and share my findings with the Master Oil Painting community. I hope you get to somehow put those brushes to good enough use to make the investment worthwhile. I have a studio full of past purchases I was excited about based on the reviews of others that now gather dust.
I’ve used Rosemary’s exclusively for the past six years. After cleaning them in turp. I wash them in Murphy’s oil. When I lay them down to dry I always put a little sunflower oil on the tip of my fingers and bring the brushes to a fine point or even flat. My brushes have stayed pristinely white and not splayed. I think it’s all about the washing.
I have resisted the mass migration to rosemary brushed as I have plenty of decent brushes on hand. I purchased a few to see how they are. I am really happy with the several other brands that I now use.
Always go with your instincts Mary – if you love the brushes you’re already using, it doesn’t make much sense to switch. I am the same – if I hear rave reviews I usually purchase a couple to try out – sometimes they’re keepers and sometimes not, but it’s fun to give new materials a go once in a while.
Hi
I’d be eying those Rosemary brushes for 2 years, reading reviews, getting their brochures, going though their enitre website. I finally took the plunge and got some (after comparing prices with local bought Winsor Newton for ex.). I got Ivory, Evergreen, and classic short flats. I paint mostly portraits & landscapes, alla prima and in layers also (2 or 3). What I found is that yes they are good brushes but nothing to rave about and no better than previous ones I had been using. The Ivory series and the short flats are not better that the Robert Simmons and I agree they quickly splay and become useless. The Evergreen series is too soft (Raphaël textura in small numbers does a better job). After discussing the brush issue with my teacher, we came to find a local brand called Zen (comes in dark silver long and short handles) with just as good power to hold the paint and take the hard work of most painters. These brushes have the advantage of costinf $3.-/piece, and when it’s used to the pojnt of not enough hair left, throw it away and buy a new one. Conclusion: there’s nothing like brand new brushes to handle the paint and your painting process. Find yourself something inexpensive and replace brushes as soon as they don’t behave anymore, as soon as they wear out. I’m never going to buy expensive brushes again. This was my experience and in no way reflects everyone else’s. Best to all, Dominique
Thank you Dominique, I have not heard of Zen – will have to try some out. Ken Auster used nubs of old brushes with dried paint on them. The first time I saw him painting back in the 90’s I thought ‘this guy is crazy, he can’t produce good work with brushes like that’ – he sure proved me wrong! The tools are not nearly as important as are the imagination and innovation of the artist.
Bill, an excellent local painter (you know him ), uses cheap student grade paint, those cheap brush sets from Hobby Lobby…i.e. 6 for 7.99…yet produces spectacular paintings!!
I know I’m coming in a bit late, but I wanted to comment that your friend Bill’s work may not be around for as long as it could be if he’s using student grade paints.
Lightfastness, colorfastness and longevity really have to do with quality of colors and pigments and even binders.
If you can convince him to use better paints posterity may thank you 🙂
Hello Dominique, I suspect you’re from Canada too. I have tried the Zen brushes as a cheap alternative to the Robert Simmons Platinum (which I love) as well. They seem to work well for a while and then lose tons of bristles. As you say, they’re only $3 Cad so not a big investment….still a bit frustrating though. I haven’t tried the Ivory series. Would you suggest them as a good alternative to the Robert Simmons (which can be expensive and hard to get sometimes). I particularly love the Robert Simmons 3/4″ short handle glaze.
I have some Rosemary brushes that I have not used a lot yet, so I can’t comment. I have been using a lot of Silver Brush bristle brushes and synthetic bristlon brushes and like them both. However, for my money, the all time best brushes were the Grumbacher Professional grade brushes. These are no longer made as far as I can ascertain (after hunting like crazy last year) and Gainsborough brushes are all that is left from the Grumbacher lines. As you can probably guess, my Grumbacher brushes (“Professional”) are pretty old – at least 20 years and have held up better than the Gainsboroughs, which are much younger.
I also have used utrecht bristle brushes and liked the 219 brushes but I don’t think this is a line they have continued to make. It was a boiled bristle and somewhat softer than the unboiled, but I get along just fine with the few I have.
I meant to mention that bristles on the few eggberts I have twisted after being used the first time, so I have been reluctant to buy any more of anyones. But the utrecht long flat looks good and so does the Rosemary 279, so I might try them when I next get inspired to spend more money!
Thanks for your critique.
Grumbacher brushes were my favorites as well Linda – especially in the 80’s. Mine all got worn down to very shortened filberts, but they lasted an amazingly long time.
I have many brushes, varying in price a good deal; I’ve used Rosemary & Co brushes (which by the way I don’t find at all expensive) mostly for acrylic (the Shiraz range particularly), and have just on Ivory brush, which I use for oil. On the whole, I’ve found them good value and of good quality. I do however allow my brushes to rest – in other words I have a dozen or so in the same basic shapes, so that I don’t scrub them away to nothing. However, you mention a brush giving up the ghost after just one use – I would find that very concerning; hasn’t happened to me yet. I’ve never actually tried Utrecht brushes – perhaps they’re not easy to obtain in the UK; but if I can find them, I will try them given your endorsement. And I must also have a try with those Egbert brushes from Rosemary – I use filberts a lot, and this would add another dimension.
I agree Robert, Rosemary’s are well priced. Brushes don’t seem especially expensive overall when we consider how long they usually last. I have some watercolor brushes that cost me $200 and $150 each back in 1988 – fortunately they should last my lifetime and beyond. Since I spend about $300 every 10 years or so on brushes, seems like a small investment for any hobby or profession. If someone’s budget is strained, they can always follow William Hook’s approach and only use a size 12 bristle – buy 3 or 4 of those and you’re set.
Rosemary Wallis
March 29 at 4:15pm
Same problem
For any of our awesome artists who are having a difficult time logging in, please email me at bill@inmanfinearts.com. I can help you get in asap, but these comments don’t always show up for me.
I appreciate your descriptions, conclusions and photos so much as I am fairly new to painting and I am in the process of ordering supplies now so this came at the perfect time!
I am already learning so much! Thank you!
Hi Susan – just starting out and seeing the vast array of art products can seem intimidating I’m sure. I would recommend you start with say a size 8 from a few different types of brushes and try them out, rather than buying brushes in multiple sizes. That way you can find your favorites and then buy a few more sizes of that brush style. Don’t pay a whole lot of attention to the hype – every artist is different and there is no magic brush. When I did watercolor in the 80’s I had some very expensive brushes that I bought because I read they were ‘essential’. I ended up using some old oil bristle brushes and other misc more often than those expensive brushes. The best thing to do is experiment and play and not go whole hog just because someone else says you should.
can not get into my paid for class
I received an email from Cathy telling me she talked recently with Rosemary Brushes and they told her the Mongoose brushes were no longer.
This was my reply:
You are right Cathy,
A few years ago when I called them they were still mongoose and they said they had a large stock of hair, but could buy no more and it would eventually run out. I guess it ran out. Or maybe they finally made it illegal to use the hair they bought when it was legal.
Thanks for pointing that out. I will add this conversation to the blog comments as well.
Happy painting,
Bill
So the brushes are now badger hair. I am anxious now to give them a good try and see what the differences are. I have some badger hair brushes in my watercolor case – they are much softer generally, I believe, than the mongoose – we’ll see.
I need to cancel my account before the next
Billing cycle. Not sure how to do that?
Karen,
I took care of it for you and sent you an email confirmation.
Absolutely gorgeous, Bill!
Thank you Earl – I certainly have fun with all the beauty around us!
wonderful – too old now to start any course but can admire your wonderful work – thankyou
You are NEVER too old! 🙂 I say pick up a brush and do it just for the joy of it.
As long as you can breathe and hold a brush in your hand it is not too late to learn. The Almighty has gifted you with this time do not waste it.
Breathtakingly beautiful!
Bill, your paintings are so beautiful. There is so much beauty to be found right around us and to be able to capture it so masterfully must be so satisfying. Thank you so much for sharing and for helping us learn to paint.
Wow very good!!!
As usual your paintings capture Gods handy work in a unique and inspiring manner. Thanks for sharing your gift
Here in Devon, England a beautiful Spring morning has dawned. My garden is full of blooms,blossom and birdsong, just waiting for swallows to return and to hear the cuckoo. Grandchildren love to play here and through the woods to Woodbury common, the sea is only three miles away. My aunt would say “all this and heaven too”. Many thanks for your painting guidance brings great pleasure and encouragement. Friends and I have just put together a calendar for 2018 of our paintings to sell in aid of Hospicare who will be selling them at their “Open Garden”events throughout the year.
Good wishes and happy days
Wendy Markham
Wow ! Beautiful and inspirational, Thank you !
Awesome!
Bill, you can still get the Utrecht 207 flat, however, its bundled in a set.
These are breathtakingly beautiful, Bill. I am enjoying the course very much, and I love your work!
Thank you for posting this…so many different flowers! Makes one excited and keen to try more flowers with your images as inspiration.
Thank you Bill for the wonderful pictures of your art!!! They are truly beautiful, Our creator is the artist above all artist’s!!! I’m trying to learn but I seem to make more messes than anything else!!!
My Mom’s very favorite (and mine) (taken from W. Wadsworth Longfellow “Daffodils”
“I wandered lonely at a cloud that floats on high o’er vales and hills a host, of golden daffodils; beside the lake, beneath the trees, fluttering and dancing in the breeze. Continuous as the stars that shine and twinkle on the milky-way, they stretched in never-ending line along the margin of the bay: ten thousand saw I at a glance; tossing their heads in sprightly dance. The waves beside them danced; but they outdid the sparkling waves in glee: A poet could not but be gay in such a jocund company: I gazed and gazed but little thought what wealth the show to me had brought; for oft, when on my couch I lie in vacant or in pensive mood, they flash upon that inward eye which is the bliss of solitude; and then my heart with pleasure fills…and dancing in the daffodils.”
Never too old to be thrilled by the beauty of nature, I am 94, still painting even if not approaching the talent Bill is blessed with.
These photos really drove home to me the subject matter ratio to the canvas size. The smaller the canvas, the more need for cropping the view of the subject. The larger the canvas, the more detail of the view that can be included. I have been trying to include lots of detail on small canvases with much frustration and fussiness of brush strokes. I would love to be looser in my brush strokes and now realize what was causing my frustration. Thank you!!!
Amazing work and since I’ve been studying Richard Schmidt’s work from the Alla Prima books, I’ve noticed your style is very similar. My work is still in the early stages of finding myself through brush miles but I am intrigued by people like yourself who have accomplished such riveting brushwork which then produces their own style. I have learned all the technical parts of oil painting, composition etc. but have had a time establishing brushwork I am happy with and a palette of colors. There are dozens of palettes. I’ve tried many of them but it seems that I find another one I like better and I never seem to focus on staying with one or two. Any advice? For example: go to Nancy Medina (google it) and her palette seems to sell but the colors seem a bit garish but I’ve found more than one online person teaching these bizarre color palettes and their work sells faster than the traditional colors of the masters. Frustrating. I want to be able to sell my work as well as be satisfied with becoming an accomplished artist. Thanks, sorry for the long post!
Hi Jeri,
Sorry for the delayed response. I have been on the road a lot the past two months which put me way behind.
Regarding palettes, I have not found any two professional artists who use exactly the same colors or # of hues. Some love a limited palette like Zorn, some use 20 or more colors. There isn’t a right and wrong – it comes down to what you like to use and if the paints you choose allow you to mix the values and colors you want.
I like a warm and cool of the primary colors, two crimsons, cad orange, the transparent earth tones and one or two greens. I could get away without using the green pigments, but they are mighty convenient. Some artists insist we stay away from earth tones for one reason or another, others say never to use Pthalo green because it’s too strong and we should mix our greens – if we worry too much about others’ opinions we won’t get much painting done.
The one helpful bit of advice is to stick with pigments that have a lightfastness rating of 1. There are a lot of fugitive pigments that are beautiful – stay away from them – you can find something just as beautiful or close to it in a pigment that won’t fade or crack a few years down the road – and watch out, many professionals still use fugitive pigments.
My suggestion – forget what sells – paint what you really love, what you’re drawn to. Keep the colors on your palette that you like, put the rest in a drawer, then try out a new color occasionally to see if you like it. The more you paint the more you will get a feel for what you need and what works for you. Nancy Medina is a wonderful artist and she found a style and colors that work well for her – do the same by following your interests.
I’m not a fan of trying to paint like another artist except to learn the basics. There are a lot of artists today that paint like Scott Christensen – they aren’t as skilled as he is and they end up becoming a Christensen look a like, rather than their own artist. We are naturally going to mimic bits and pieces of those we admire – that’s part of the evolution of art – we just don’t want to get so enthralled with someone else’s work that we fail to allow our own instincts to take a slightly or largely new path along the way.
There are some extremely skilled and accomplished painters in the world today, but no perfect ones. Let’s glean what we can from them and then take it farther. We can’t ever let fear of failure stop us from pushing the boundaries of our potential. We each have a unique voice – a way of seeing the world that’s a bit different from everyone else. The trick is to let that voice be our guide – not what others say is the ‘right’ or ‘best’ way to do something.
Truly great art, events or experiences come from someone saying ‘I wonder what would happen if…’ and then giving it a try!
Find what brings you joy and you will succeed.
Happy painting Jeri,
Bill
Thanks Bill, for sharing your beautiful garden. Your work is so inspiring and makes me keep trying so that one day I might be able to produce such a garden! I appreciate you giving so much time to your students and being a working, busy artist at the same time. That cannot be easy! Thanks for helping us and I look forward to videos from your trip.
Dear, i like your wonderful work ,painting is my hobby i am not a professional but i love beauty and nature
i thank you for encourage me to start again my life with color .thank you very much.
Gosh would love to be able to paint like you – thankyou for the lesson.
Hello!
Needless to say that I really appreciate your work. May I ask a question not quite to the point, but what kind of software you use as photo editor ? I am lost in what is avlb on the market.
Thank you.
Thank you and you’re welcome!
I use Adobe Photoshop CC 2017 Olga. Many artists and photographers use Lightroom, but I haven’t had much experience with it. Also, I hear many use Photoshop Elements – I’ve never used it either – it’s a more basic version of Photoshop CC I believe. The Adobe products are available as a monthly subscription. I pay for the whole suite of products ($54 monthly), but you can get them individually as well (the Photoshop and Lightroom combo is only $10/mth – https://creative.adobe.com/plans?single_app=photoshop). Photoshop Elements is a one time purchase for about $70 (on Amazon).
Thank you for explaining so well the process for painting the luscious pink peonies. My favorite flowers. I will give it another try. Love your paintings.
I would like to hear about another artist. John Michael Carter, President of Oil Painters of America.
Such a wonderful story of inspiration and wisdom. Thanks Eric for being an artangel. I will send this on to my art family and friends.
Great interview!!!!
Great inspiration! Thank you for sharing your time and experiences. As someone who is getting into painting later in life, and loving plein air painting, you give great advise to new artists. I have been immersing myself into this new passion and love all the encouragement that is offered!
Thank you for this terrific interview.
Thank you, Mr. Rhodes, for sharing information and inspiration about your life as well as your art.
My lack of an eye for detail and spelling is all too obvious. .
Sorry for misspelling your name, Mr. Roads.
Thank you, Bill, for being so generous and sharing your knowledge and talent. This was a very helpful tutorial. The thought that went into each aspect of the composition illustrates that even though a painting may look painterly and loose, a successful piece is the result of careful planning, executing and revising when necessary. Beautiful!
Really enjoyed and liked you putting the reference photos on and doing the 10 Steps with your instructions and comments on each one, is very helpful. Of course always enjoy your work and love your paintings and videos. You give such wonderful information, you are a natural teacher showing us how you paint by showing and sharing your knowledge and gift with us.
There is one thing I have a problem with in watching your videos and is mostly because of my computer. I have to turn the volume up 100% on my pc and on the video in order to hear you when you are speaking. I could and would love to hear nothing when you are not speaking, the music comes on much louder and I have to turn the volume down to almost mute then when it stops I have to turn it back up full blast to hear you talk! I repeat this thru the whole video…. Honestly, I do not want to sound like complaining but if I wanted music I can turn on my own! For me am happier with silence and just watching and learning from you, trying to figure out what colors you are mixing and watching you paint on the canvas and your brush strokes and placement than worrying about loud music and turning my volume up and down to stop the music and worry about missing what you are saying. Mute would be fine for the music which to me is distracting but then not able to hear what you say is not an option… thank you so much and hope I did not offend as I never want to do that.
Regret so many wasted years, even those of retirement! My hope is that you and people like you will proliferate to inspire us all to work harder to reach our goals. Thank you Mr. Roads.
Thank you for sharing some of your personal life with us. I can see the goodness in you both in every video and webinar.
What a beautiful family you have.
Janyce
Thank you Janyce! ~Kristie
I love your work Bill, I too am an artist and more importantly a christian.your bride has nailed themind of an artist for sure, My hubby is a musician so we mesh like peanut butter and jelly. Keep up the good work and kuddos to your lovely bride.
Thanks, Suzanne! With all that right-brain creative energy around your place, it sounds like you need to hire a good left-brain assistant to keep life organized. Although, I imagine you have a lot of fun together!
What a wonderful blog about living with an artist. I enjoyed it immensely. God Bless.
Thank you Linda- you artists are a great lot! ~Kristie
Thank you for the thoughtful article. I really enjoyed it and I got some good information. I always wondered what the spouse of an artist’s thought and felt, and I now have a clear picture. I admire you both and understand each of you has a talent. You share your individual talents with each other. I really believe you two are a “working couple”. Congratulations.
Thank you Barbara, we do try to function as a whole, just 2 different sides come together to make it that way. ~Kristie
Kristie, thank you for filling in for Bill. You are the best thing that could have happened to him. I really enjoyed reading ‘your blog’. You must be a wonderfully together woman, to have born 7 children and supported Bill through all his trials and tribulations. Art is a passion others sometimes don’t understand. I too have stopped the car to study the trees and the skyholes or the sky colors or how a hay roll looks and the colors in things. Thanks to my cellphone I can capture some of those things and hopefully attempt to paint them. As a wife I don’t get the opportunity to paint as much as I would like but when I do I’m in a place no-one but another artist can understand. Thanks for reading. Sue
ahhh, so you’re the other one pulling over and taking pictures in odd spots along the highway:-) Thanks for your kind words! ~Kristie
I really loved reading this. I call myself a recreational painter…far from a professional artist, but I still saw myself in some of your descriptions. And I suppose the some of the same things could be said about supporting a spouse in whatever endeavors, but definitely artists are a different breed. This blog was so very personal. Thank you!
I think whether full time or on weekends there’s a special spirit that dwells in each artist! Bless you! ~Kristie
WOW! You hit that nail on the head.
I’m a new member and haven’t interacted in any way except to wander around the site.
Excited to be here but can’t seem to squeeze out the time and energy to just sit down
and paint. I know when I start I can’t stop and life is just full of other plans for me.
There is a lot of guilt in not being available to everyone and having to be nice about
it while trying to hold on to whatever is was that had you so whipped up and just
couldn’t wait to get it on paper or canvas.
God Bless you KristieI. I hope you know how valuable you are.
Thank you Marjorie. Sometimes life is like that, I hope you can soon find that calm in the eye of the storm, breathe, and create! ~Kristie
What a beautiful expression of both your life and your love; a journey so very well articulated in so few words. Thank you for sharing…God Bless you both.
Thank you Sandra! ~Kristie
Congratulations Family Bill!
You are very blessed!Thanks to share with us your great testimony of life and joy of your family!!It is a blessing to your husband and his all activities and be nearest to him all the time!And it is good for your children to love the father’s work,it is inheritance!
I love the work of Bill since I saw them on the Facebook,and my daughter of 15 years was on my neck asking me to get for her painting course on Google,day and night she was crying at me!!She is a good artist in drawing and paint,but here it is very expensive for child to enter in such school according to my capacity!!!
I too am an artist trough handcrafts making!!I admire Bill talent and your family,especially your lovely wife and it is true it might be fine to marry an artist sure!!
Congratulations once again and keep it up!!!
Thank you Mukandayisenga, I hope you and your daughter enjoy whatever creative outlets you can find. God will provide the way – Kristie
Would you mind emailing me at bill@inmanfinearts.com. I would like to see if there’s anything I can do to help your daughter feed her passion. – Bill
Thank you Kristi for sharing with us. God has gifted you in many way’s , but not only with being a wonderful Mother and Wife but also with a gift of writing!! Enjoyed your blog very much and can see myself in your description of your husband. So thankful to have the priviledge to be able to read your thought’s . My prayer’s are for Bill’s continued success and for his sweet Wife and Family!!!!
Thanks so much Ruth! Bill’s mom’s name is Ruth, I always have a soft spot in my heart for any Ruth, you all seem to be so kind and gentle. Kristie
Kristie-Thank your for sharing your family life with us. I know you have helped Bill become what he is today in more ways than anyone can ever know. It isn’t easy being the wife (or husband) of an artist. My sweet long-suffering husband is very patient and supportive and has been for years. But those who support deserve much of the glory! Thanks for filling in on the blog and giving us more insight into your sweet relationship and wonderful family. God Bless you all!
Thank you Janie, and I bet your husband is so proud of you! ~Kristie
Thank you Kristi! You are the glue that holds everything together. Bill and the children are so blessed!!!
Thank you Bev! Kristie
Thanks Kristie for telling a beautiful life story which is just as special as Bill’s. Happy anniversary. I am from a family of eight children so I truly appreciate seeing your family photo. I bet you have a lot of fun being together. I see a lot of talent there. Congratulations.
Wow – I bet you also have some fun family times together. Thank you Margeret! ~Kristie
What a beautiful story!! What a commitment!! What a family!!!What an artist!!!
May God bless you all!!
Thank you for sharing.
From another fellow artist in Vancouver Canada!!
Thank you Golfo – up in God’s country (Canada:-) ~Kristie
A beautiful story!! A big a commitment!! Beautiful a family!!! An amazing artist!!!
May God bless you all!!
Thank you for sharing.
From another fellow artist in Vancouver Canada!!
Kristie,
Thank you so much for writing this. It was easy to connect to. I am the artist at almost 60 and my husband is the spouse of an artist. It really helped me to read from your perspective and appreciate my husbands support even more.
That is sweet Kathy! Those creative juices instill a youthful effect I believe – so you just keep on painting! ~Kristie
What a lovely commentary about your marriage. Thank you the sharing your thoughts and feelings with us . You are truly a blessed couple.
Thank you JoAnne! ~Kristie
Love this! Beautifully written Kristie. I have always admired and been inspired by you both
Erin – you have no idea how many times I think of you through the week. I miss you. It’s not very often when I find someone around here who can connect with me:-) Enjoy your adorable family up there in God’s country! ~Kristie
Thank you for your support of Bill which, in turn, allows us (especially us newbies to art) To learn from him.
And I want to thank you for helping me to realize my MAJOR stumbling block! My husband, Glenn, and I have been married 52 1/2 years, have 4 children, 4 children-in-law, 8 grandchildren and 1 grandson-in-law. All these years (19 of which I was a stay-at-home Mom), I have been the organizer, the calendar keeper, the bill payer and the chief cook & bottle washer and I don’t know how to let go of all that. Oh, what I would give to have painting become my main activity every day!!! I just started painting about 2 1/2 years ago and am quickly falling in love with it…..and Glenn is in full support! We are clearing out the office (spare bedroom) to set up a studio for me. And, yes, I DID forget to eat lunch one day last summer when I was painting a 2′ X 2′ abstract/impressionistic cow for our granddaughter as a wedding gift. I have never before forgotten to eat a meal….what a delight! Glenn said I was enjoying myself so much he didn’t want to bother me. Now, if I could just let go if the guilt of not doing ‘other things’ so I could paint, paint, and paint some more!!! Kristie, thank you so much for the blog….it helped me understand my thinking; now on to my ‘doing’. Bill is so blessed to have you as a spouse and I am so blessed to have Glenn as a spouse because he is so supportive in trying to get me to give more time to my newly discovered desire!!!
It will be a few weeks before the home studio is up & running but I am looking forward to becoming a better artist with Bill’s help!
Way to go Cindy! I’m excited for this part of your life’s journey, you have definitely earned it. And good job Glenn for the support, that really is the key. ~Kristie
The love in your family glows brightly!
Thank you Dianne, we are blessed! ~Kristie
Wow!
What a beautiful testament to loving,and living with open and generous hearts
That is very sweet Patricia! Thank you! ~Kristie
What a lovely article!!!..God bless you and family.
Thank you Maria! ~Kristie
Beautiful recount of lives lived purposefully and with so much love and caring and understanding!
Thank you Diane! ~Kristie
I so enjoyed reading about your beautiful and loving relationship. To be an artist and have family support is a true blessing from God. Thank you for sharing your many discoveries of what it means to be married to a working artist. You both are super. God knew what He was doing when he brought you two together. May your lives together continue to be blessed.
Thank you Karen. I guess God knows what he is doing:-) ~Kristie
What a wonderful story. You are so fortunate to find Bill and have the life you have. God always knows what is best for us!!. I love Bill’s art and hope to learn from him!!
Thank you Grace, I agree with you – I am very lucky. Kristie
Kristie, thank you for writing this. I am married to an Illustrator/Artist and you have hit the nail on the head as they say. I got a chuckle from the driving. Many times I have noticed Wes looking off into the distance and praying that we do not go off of the road. He sees a painting in every landscape or notices colors or the way the sun hits a building or a tree. I am lucky to also have a wonderful sensitive humble man and help support him in every way I can. Thank you so much for a wonderful heartfelt article. It is nice to know that there are more people out there that understand.
Way to go Nancy! You are so much more to him than you’ll ever know!
I was also at the convention which was fascinating. I didn’t see anything about purchasing raw footage? Enjoyed your post. Are you willing to share what 20 10 10 means. Made it to the early Abraham presentation but the first two.
Hi Jacqueline, the unedited footage deal was a form in the packet they gave us – I almost missed it since I barely had time to look through everything. We had to pay and turn it in at the DVD booth before the end of the convention. Call them and let them know you didn’t see it – maybe they will still let you purchase.
The 10-10-10 system I will cover a little bit once I can refresh my understanding with the videos. I don’t want to cover things to in depth though since Eric sells the Boot Camp DVD’s and I know how expensive creating art events and videos can be – we need to recoup costs as much as possible to keep it all going.
The high energy festival activities aren’t really my personality – I’m super enthusiastic about art while being a fairly mild and thoughtful type, but I understood the need to keep the energy high – a week of fast paced activity can wear a person out. I would much rather Eric keep everything on the high energy side rather than on the put-us-to-sleep overly serious side.
I’m glad to hear you enjoyed it – what was your favorite part or presentation?
enjoyed it also when your wife wrote her article – she must be a very strong lady and looks well after you -thankyou
Thank you – she is an amazingly strong lady – one I admire immensely! I couldn’t be a full time artist and teacher without her.
Thanks for the wonderful coverage of the event. Put me on the list for that paint box..it holds brushes and all.
How does one find out about such events?
Can you share with us the basics of the 10 10 10 system…they say teaching is the best way to a good handle on a topic.
I love Asante Fe…Bishops is such a nice place to spent some time. How far ahead does one have to sign up? Is there a registration limit? It would be to see if the Cdn $ may go up a bit? before making any commitment.
Your welcome Janne.
I love the palette – once he made it for me and I saw how beautiful and functional it was we asked if he would be willing to make them for our community because we knew many would like a large painting area like I do. The brush holder is also removable which is nice if I’m in a hurry and just want to toss my brushes into the bin quickly. The other thing I love is that it closes with small magnets worked amazingly well and he sends two hooks that attach to the larger magnets you can see on the edge of the palette for a bungee cord that wraps around the back of my easel for especially windy days – holds the palette securely without having eye hooks sticking out like I have on the palette I made myself.
As for the events – I learned of the first one from my subscription to Plein Air Magazine 6 years ago and I listen to the Plein Air Podcast. I wasn’t able to attend until any of them until this year, and even this year was a major sacrifice of time I don’t have, but we thought it would be a strong benefit for our community if I had personal experience with it – I was also excited to watch demos by some of the artists I admire so much. I was disappointed I wasn’t able to attend a couple years ago when Clyde Aspevig and T Allen Lawson were there.
The 10-10-10 system I will cover a bit in one of our webinars – once I have a chance to watch the videos and refresh my understanding.
Basically, the idea is that increasing something by 10% is usually doable – if we make $1000 this year is there any way we could increase that by another $100 – most would say yes. If we apply that to our collectors – go from 10 to 11; then increase the price of our paintings by 10% – go from $1000 to $1100; then increase our production from 10 paintings to 11 paintings – the compound effect over 10 years becomes dramatic. Even over time, if we can’t necessarily continue to produce more paintings because of time constraints, the compounding of all the parts allows us to make a living doing what we love to do
Of course, accomplishing the consistent rise in collectors and purchases of our art requires effective marketing and branding. He talked about artists who were huge names for a couple decades, stopped advertising and promoting themselves because they thought they were too well known to worry about it, and within 5-10 years were struggling to sell their art because galleries and collectors no longer knew them or their reputation.
Santa Fe is our old stomping ground – we lived in Rye about 3 1/2 hours from there and I started selling in galleries there in 1991. Kristie and I love that area and it is brimming over with amazing galleries and artists. I couldn’t resist signing up right away for that.
I think the limit for the event is 900 artists and the events have sold out before. The earlier you sign up the cheaper it is – there are early bird discounts – part of why I am already signed up – they had a convention super-early-bird discount that I took advantage of. As long as you sign up before Christmas you should be alright as far as selling out goes – that’s not a guarantee, just a probability. If signing up right away is a strain I would certainly wait. They also have a payment plan that might help for those who could benefit from that.
Please put me on the list for that paint box..it holds brushes and all.
How does one find out about such events?
Can you share with us the basics of the 10 10 10 system…they say teaching is the best way to a good handle on a topic.
I love Asante Fe…Bishops is such a nice place to spent some time. How far ahead does one have to sign up? Is there a registration limit? It would be to see if the Cdn $ may go up a bit? before making any commitment.
Eric Rhodes, is a multi millionare and an OPORTUNIST! This is why I do not subject my work for “WHOS BEST AT. . . .” Contest! It harkins back to my young days in 1st, 2nd, 3rd grade etc. Wherein I was ALWAYS the last person picked to be on a TEAM for spelling, poems, etc.
Take the entire Eric Rhodes empire. . . He states he “Just wants to help people discover painting. . . ” really. . . WHO among us, can afford $150.00 or more, per DVD on how to do X. He and ALL his companies are like Anna Wintor of “Devil wares Prada” and her Vouge empire telling the WORLD what and what not to ware!!!!
If you PAY THE PRICE, so to speak, your IN WITH THE IN CROWD. . . The WHO’s who of all of Rhodes magazines, seminars, conventions, conferences, etc. Etc.
ALL these type of things do, is make people feel BAD cause they DID NOT MEASURE UP TO so and so, or THE STANDARD!!!
GOD, gives us our talent, our abilities, OUR PASSIONS! He made us all the same, no one is BETTER, more skilled, more talented, SMARTER then anyone else!!! Knowledge is a GIFT to be shared with all who seek it, who hunger for it, WHO LONG FOR IT!! But when one person sets himself up as the DECIDER of WHATS IN, WHO’S IN, WHO OUT, WHO’S BETTER
So HE can get even RICHER, That, is NOT for me!!!!! So, you will NEVER catch me at a PLEASE EXCEPT ME convention!!
Hi Phillip,
You may be right – I don’t know him well enough to say one way or another.
I got to talk with him on the phone for an hour when we interviewed him for the blog and I had a chance to be around him a bit at the convention. My impression so far is that he genuinely loves art, artists and painting and he is doing all he can to make sure the market for good representational art thrives. He very well could be an opportunist, but what exactly does that mean?
The term ‘starving artist’ is prevalent for very good reason. Most artists I know are humble people who love the beauty of this earth and went into making artwork because of it. Whether they made money or not was irrelevant – they just wanted to create something wonderful. Some have become wealthy from it, most have not, but neither went into it with the idea of becoming wealthy.
Eric was a Silicon Valley radio entrepreneur who was so stressed out by the high pressure environment, he would have days where his body would just start shaking violently. His wife purchased an art class and kit for his 40th birthday – he took the class, felt the stress melt away and fell in love with painting.
I started trying to share my painting techniques through video in 2006 – I have the early footage still. The resolution was terrible and I didn’t share it because I didn’t think it would be very helpful. Finally in 2012 I decided the technology was sufficient to do something that would be worthwhile for viewers. That was the rose video ‘Sweet Summer Days’. It took me 5 full months to complete because I had to learn to use a lot of software and had no idea how to put it up on the internet. I have never recouped any where near what it cost in time and money to produce.
The courses we sell now are starting to produce a profit, but we have huge monthly expenses to keep it going that I never dreamed of when we decided to create the course – our email list manager Aweber is about $200/mth alone. I get up at 5 am and work till 10 or 11 each night just to keep up with everything needed to make this all work – the videos we put on the membership site take hundreds of hours to produce and I want them to be as informative and inspirational as I can make them.
I got so far behind on my painting schedule I had to figure out how to sell the course to recoup some of our costs because we couldn’t sustain it otherwise.
My son David who takes care of all the computer and internet work does so for free because he and his wife believe in what we are doing. He gets up at 4 am to answer emails and such, goes to work a few hours later, gets home at 4 or 5, spends a couple hours with his family and then does more work on our website for a few hours before he goes to bed. I could not do this without him, and yet he gets no compensation except for my love for him and his family. Kristie spends countless hours editing the videos while also trying to take care of 3 children and me.
Yet we get comments on our ads stating that we are just opportunists trying to take advantage of people.
So maybe Eric is an opportunist – I really don’t know. What I do know is that his efforts have definitely helped representational art grow and opened up opportunities for plein air and studio painters that we did not have before. He is helping to swing the pendulum back from so called ‘Modern’ art to classical training and beautiful landscape and figurative artwork. Where 30 years ago we had a couple ateliers and plein air shows, we now have hundreds.
Remember American Artist Magazine? They were around for 100 years. They put on the Weekend with the Masters Event similar to the Plein Air Convention – it was so costly it broke them – they are no longer in business.
I for one applaud what Eric is doing. To some he may seem to be taking advantage, but he is producing these events at great personal risk when the experts said it wouldn’t work. I plan to do all I can to help him keep it going because I believe it is good for all of us. If he succeeds and comes out way ahead financially that won’t bother me at all because I have witnessed the blessing his efforts have been for artists around the world!
Yeah, it is what it is; Rhoads is a businessman, not a professional artist (no harm, no foul). However most professional painters established in their careers steer clear of him and do not take his convention seriously at all. With its commercial approach, “branding” and general popularity contest-like atmosphere, it hardly has anything to do with the real art spirit. If you just want to party with friends and watch an indoor demo or two, fine; but you might want to reevaluate your artistic integrity before you buy the ticket….
Eric, I too am Eric. I don’t know if we know one another or not. Clearly I would never claim to be a professional painter, I’m not. I do love to paint as much as time permits. And yes, I make my living as a business person. I’m not sure about professional painters steering clear, we get about 80 top tier painters, the best in the business at the plein air convention each year.
I make no claims that I am right for everyone, but marketing does work for anyone who wishes to embrace it, and I’ve watched careers soar from those who tried before and were not able to make it.
The true art spirit is what’s in your heart. Your passion. And seeking a way to help others find your work isn’t evil. In fact it’s helpful.
I’m not sure if you’ve been to the convention, yeah its a party… after the serious work is done. Four stages, 80+ painters, demos most of the day for four days in a row. Hardly not a demo or two….
I’d encourage you to come check it out. And I’m happy to have a conversation about all of this so we can get to know one another. I think people who know my passion and my heart might (hopefully) have a different opinion. I’m merely trying to help anyone who wants it. But I know what we do isn’t for everyone.
Respectfully
Eric
Phillip, I appreciate hearing your feelings. I don’t believe we’ve met, don’t believe (to my knowledge) you have been to the convention. I’d be happy to have a conversation with you so we can get acquainted and you can share your feelings with me in person or by phone. And I’d like to invite you to the convention as my guest, so you can judge it from actually attending.
Clearly we are all equal and I would never date try to indicate anything otherwise.Nor would I set myself up as the decider of anything.
Lets get to know one another.
Thank you for sharing your trip! Looks like you had fun! Loved Kristie’s Blog while you were away!
Enjoy being with the family for a while- coming home is so sweet?
Take care!
Travelling is definitely more fun with the family in tow Diane. Fortunately I don’t travel too often on my own. As much as I love being an artist and teacher, family for me trumps art every time.
Looks like a pack full of information and fun ! I love the set up you had.
Can’t wait for your teaching on Plein Air Art.
Hi Chris,
It was fun, exhausting and definitely packed full of info. I love to see the different approaches to painting that professional artists have – once in a while I pick up something especially useful.
Working on the Cross Country Plein Air videos – hopefully soon!
Cross Country – Will that include a trip to Tropical South Florida?
That would be fun Julia, but alas, I went as far as Virginia and am now working on the videos. I guess Virginia isn’t on the coast, but it is pretty close.
When I make it down to Florida I will definitely let you know where I will be painting!
Bill, I was at thee convention also. And also felt that I had to see and do everything but by the time the evening sessions were about to start I was totally wiped out. The big issue was the fact that I did not have enough time to eat a good meal. The breakfast they provided was adequate for most but I need more protein to start my day. Thus my question to you….What is the recipe for the bars that your wife made for you? I looked at the web site you linked to but their recipes were for smoothies. Your’s is for a bar? Could you point me to the recipe? Cause I am signed up for PACE18 and I know I will probably do the whole “I have to see everything” bit and need to have something to keep me going longer and brighter.
Thanks in advance for your response. I have really appreciated your emails, especially this one on PACE17. I have shared it with friends so they can see what the concert was like.
Margie Larson
I will have Kristie post the recipe on here Margie.
She has suggested several times that I do a blog post on staying healthy, but there are so many opinions and contradictions about health that I don’t feel very qualified.
I am 51 and have the energy of healthy 20 year-old’s. I drink mostly water with some herbal tea occasionally – no pop, no coffee – caffeine shrinks the capillaries and ages our skin and brains more quickly (according to Dr Amen who wrote How to Make a Good Brain Great). I also believe in at least 30 minutes of exercise at least 5 days a week. Don’t eat much sugar, get enough sleep (not my strong suit), laugh joyfully and play with kids and paint as often as possible. Throw in prayer and scripture study and you have my recipe for youthful energy!
p.s. Kristie also helps keep me young, but not everyone has access to a Kristie!
Margie…. as you know we just provide some breakfast at marketing but its not intended to be a full meal, just trying to help. We found that some want to go all day till late at night because they are there and just want to get the most out of their time there. Others opt out when they get exhausted because there is so much. But, I’d love the recipe too!
Oh, and thanks for coming and signing up for 18 in Santa Fe!
Thank you Bill for the video and article on plein air convention. I appreciate all you do to help us!!! Love you and Kristi and your Family!!
Thanks for sharing about the convention, attending is on my bucket list!
Will the Paint Box come in different sizes? I have a small strada easel.
Love all the effort you make to explain everything to anybody who asks. Thank You, Bill and Kristie…and the rest of the family. Yes, where can I find a Kristie? I have a Dave and m thankful for that but he should go into training with Kristie. Perhaps we need a full tutorial for artist spouses/significant others??? Will also look forward to paintbox / brush holder ordering and perhaps even Santa Fe but it sounds way to stressful.
Ethanks so much for fixing the pop up links over the pics…most of it shows now and I really like this one a lot….interesting bit about the shadow I’d not considered befoe.
i love your teaching… my email is in not in caps…
Gosh your so good wished I could afford your lessons – thankyou
Thank you for your insights. Its good to hear that even a seasoned painter goes through the emotional ups and downs when a painting works and when it doesn’t.
I really love your perspectives within your paintings through the use of light. It gives me the feeling I am there in real time. There is a sense of peace and calm.
Art is never easy Petra. It is a joyful pursuit as well as a consistent struggle. It is also incredibly rewarding because it is so challenging! That peace and calm in Jim’s work is a big draw for me as well. He captures a beautiful sense of atmosphere and light in his work.
Thank you for sharing your insights with us.
You are welcome! I’m so glad you enjoyed it Carol.
Thank you for the great interview. McVicker was spelled wrong in the Flooded Field’s title.
Thanks so much Michael. I fixed it.
Love these interviews. Insight from professionals is always so interesting.
That’s great to hear Janne! I love them as well. I’ve been painting full time for about 30 years and I still love to hear the stories of other artists and glean insights from their experiences and teaching. I recently saw one of Jim’s originals at the OPA National show – it was incredible – superb color subtlety and edge quality. His years of painting from life have definitely made him a master painter.
Delivered with a friendly smile! Always such a pleasure to hear from Jim about how he approaches art. Always helpful and inspiring.
I fully agree Bob! So glad you enjoyed it.
Thank you, Bill for pulling this interview together, and most especially to you. Eric for baring your soul for the sake of inspiring us to do more, live more, be thankful for every day. And you look pretty good for a vegan!! You are trying to surpass David Leffel in years and painting wisdom?? Many many thanks, every day, for all you do. Grateful our paths crossed.
Lovely to look at beautiful art and learn about artist I didn’t know before. Just an fyi. I know the grayed out text color is ‘in fashion” these days but for older folks the lack of contrast makes it frustrating to read. Might want to select a darker gray if not black if template allows.
I agree Elizabeth – we have tried to change it, but the software doesn’t seem to allow a change to any darker text.
I love the journeyman… the face….. it’s all about the face!
I like the brushwork and the colors in the longhorn, but I would love to see a photo of the shadow… They are always tricky for me. I’m sure that, Mr Tennison no doubt got it right.
Your colors in your ocean house, Bill, are just what I’d want if it were mine.
The Yellow Kimono is ..well..Just Beautiful.
The winter scene is spot on!
The apple and cheery blossoms… Lovely!
Prayer in itself is always a beautiful thing, but as you said, is striking as well.
The wren brings focus exactly where needed…
I was so busy looking at the calm noon rocks, that I hadn’t noticed the horizon line at first. It’s still a nice painting though.
Toward Winter……..thumbs up.
Cari, very impressive….
…and Mr Whitaker’s Cove is very brilliant
but last and not least… I was immediately impressed with his Gunslinger!
So, now… does this qualify me to judge the next show???!!! LOL
These are all truly beautiful paintings!
t
I think you are probably just as qualified as any other juror Dianne – it’s mostly a matter of personal interest from what I’ve see – especially when most of the work is of such high quality.
What’s up, the whole thing is going sound here and ofcourse
every one is sharing information, that’s genuinely fine,
keep up writing.
Es español, por favor!!!!!
Dear , mr . Innman, I have read your interview with , mr. Stapleton, He seems like a very dediicated , and diciplined craftsman. The examples of his paintings bring me to places I have newer seen. They have a yearning , even , lonely quality to them, yet dont demand any thing, but just to BE. The movement of the season, or the water and wind , suggests, imminent CHANGE.
Thank you for your enlightening postings.
Thank you Elizabeth for your elegant response! I have admired Stapleton’s work for many years. I remember seeing ads in the magazines back in the 90’s and enjoying the beauty of his paintings then. I was thrilled when he agreed to the interview. I knew he would have tremendous insights to share with our community.
I’ve admired Mr. Kearns since I first began painting 6 years ago. I think the statement he makes about making a painting, not recording reality is so true and a major roadblock to greatness.
I agree Kittie – that’s one of our primary goals – to help artists break away from the constraints of the camera and explore with creative imagination and “poetry”.
Many thanks to both you and Stape, Bill!! I do so appreciate his comments and found them very inspiring. His paintings are really lovely and very inspiring as well. I think it is noteworthy that he has devoted his time and attention to his art, as we sometimes take it for granted and don’t realize that talent needs to be developed. Kudos to you both!! I’m starting out late in life and at 63, I fully appreciate the value of time well spent:)
I loved Stapleton’s attitude toward art. “What can I make out of this?” , is my motto when I paint anything. Break rules and be serious about it!! Thank you Bill for providing this interview.
No doubt Spike! There are no boundaries beyond the ones we make ourselves. Onward and upward, eh.
Marvelous interview with a great artist. Insightful message to those of us who paint at every level. Thanks
I’m so glad you enjoyed it Jennie – I agree wholeheartedly!
Thank you for posting this conversation with Stapleton and of course, including these paintings. I am extremely inspired by his work and much of his comments. I especially am driven by his phrase – “The art comes from you, the data comes from the world.” His paintings showing here have nostalgic value to me as I have either lived there or have warm memories of being there. I am 66 years old and just this year truly finding time to put all of me into painting with gusto and this interview with a magnificent artist is such a learning tool for me. Thanks to you, Bill, and of course, to Stapleton whose information is greatly valued.
What an exciting time Cathie to be so young and have the opportunity to “put all of me into painting with gusto.” You couldn’t have picked a better time in history to delve into painting with all the wonderful resources available today for learning and inspiration. 50 years ago 66 might have seemed old, but today you have the possibility of decades of good painting years ahead. Just think of all the incredible things you can accomplish in that time.
Thank you, Stapleton Kearns and Bill Inman for sharing your insights and wisdom. I love Stape’s matter of factness and have held a similar internal dialogue regarding art marketing verbiage: I.e., what’s the big thing about “plein air”, since I love to paint outside anyway and just do it…. and I’m not French! Lol. Love the ‘fullness’ and ‘polish’ of Kearn’s paintings shown here. It does the natural landscape full justice! – six versus just 2 hours certainly seems to give back the investment of work and studied experience!
Spot on Renate! Back in the 90’s and early 2000’s it seemed that so many thought plein air was about a certain look or direction – that always rubbed me the wrong way. I have been painting on location since the early 80’s and never felt compelled to seek a ‘plein air’ look. I love that Stapleton doesn’t concern himself with stereotypes or definitions – he simply paints what he loves in the way he feels inspired to paint. A wise path for each of us to follow – that’s also why he is a master of his craft.
I am quickly chasing 90 years and have just had my big “light bulb” moment. Your interview with Mr. Kearns was “enlightening”. I have been painting for many years and always kept an extremely clean palette. Throw away the cleaning rags! Seriously, I’m going to play around with
muddy colors as I’m looking at the grass and trees in a completely different way. What a great artist and interesting way of putting the colors
together. Isn’t life great? So much art to enjoy. Thank you for your interview.
Of all your interviews this I have liked the best. He makes wonderful comments and then jars me using the word ” ain’t”.. . his verbiage has the same small surprises as his vibrantly wonderful paintings. It isn’t mentioned , but it seems he has no time for family. I think he would be an interesting person down with for a chat.
Thank you Bill for interviewing and sharing great artists’ insights through Blank Canvas. Thank you Stapleton Kearns for granting an interview with Bill. I will remember to ask myself, “Am I just recording data or am I adding art to my work.” Thank you, again!
Bill thank you for interviewing wonderful artists for Blank Canvas who enlighten and touch us, not only with their work, but with their thought process. Thank you Stapleton Kearns for sharing your insights, experiences and your love of painting poetry. It enriches us all.
You, Stapleton Kearns, are my most favorite artist. I love your paintings, but most of all I love who you are as a painter. You are so sharing and giving. I love reading your blogs over and over. It has been one of my greatest wishes to one day study with you or just watch you paint. It would be a great honor to own one if your paintings. Maybe one day. Thank you for sharing yourself with the world.
Thank you Bill for this interview. Thank you Stape for agreeing to the interview. Stape, you continue to amaze. I have followed your blog since its inception. It was always the first “read” of the morning for me. Now I reread specific sections or topics when I need a Stape-fix. Stape challenges my thinking in his blog and honest and respectful in his critiques. Bill’s critiques actually reminded me of Stape’s critiques in his blog. I don’t miss Bill’s monthly critique webinars, just the deadlines for submissions! So, my gratitude to you both as you continue to inspire this painter to keep going.
Ah an excellent interview and posting of such “poems”. Rigorous, thought stimulating, and the glimmer of understanding about this whole painting thing. Thank you so much Stapleton Kearns, for speaking with our audience, and to our collective artist souls. Thank you also Mr. Inman for sharing.
I gain so much from all these interviews. I especially enjoy reading the names of the artists that the interviewee artist lists; I ALWAYS look them up whether I have seen that artists work before or not. I did watch Jim McVicker on youtube years ago but now I understand what the heck he was talking about now that I have a clearer understanding of colour and atmospheric light. So, thank you Jim McVicker for this interview and all your helpful responses to Bill’s valuable questions.
great areas to paint.. keep up the good work
Thanks for sharing! It was inspiring to read this and now I must get out here in beautiful South Carolina and plein aire paint!
Bill, you are such a talented artist, not only with paint, but with your words and style of writing. You always inspire me and I know all the wonders and challenges you spoke of. Thanks for taking me on that Plein Air trip. I enjoyed the adventure and thought I could feel the breeze and hear the birds songs whilst I had my morning coffee. You are an inspiration to me. Thank you for sharing your gifts. Kindest and friendly regards, joanna
I can not wait for the details of Michaels palletes . It has been raining 24-7 in Texas. I have been very discouraged with the weather here. Thanks for the wonderful discription of your journey.
HI Bill. I am a student to Plein Aire, started 18 months ago. I am beginning to under stand the process, albeit it slowly. For me the challenge is firstly, composition, then perspective. I have found that thumbnails really have helped me with some of the perspective. I can make mistakes on the thumbnail and I am not attached to the painting at this stage. Values are hard, distant colors are greyer and have more white .My challenge has been changing the color without changing the value. I am totally in love with the plein aire process. As you say, chatting to people who come over to talk whilst you are painting are a joy. I have had to learn to be more open and embrace the fact that my painting that day may not be good and to let go, understanding that the firework finale as you put it is just not going to happen. However, I know I can do this just lots of practice and the courage to go out on my own and paint. I love the blogs and I am looking forward to your lessons on Plein Aire.
Thank you Bill- enjoyed your blog. Haven’t tried to paint plain air yet but plan to try!
Stapleton Kearns is the real deal. I do not know another painter out there who does not work harder. Thank you Stapleton.
Hi Bill – I have been receiving your mails for a couple of months now – I live in Cape Town South Africa and would like to know if I can purchase firstly your 6 week course and then go on to monthly – I love reading all the mails I receive and find your information so informative- I have gone for art classes with local artists but I so love your style – it suits me – I have tried other styles but feel totally out of my comfort zone- many thanks
Hi Marilyn! First off, thank you for your kind words, and I’m glad to hear that our content has been helpful to you. We’d love to help you get started with our training as well, so would you be able to email us at bill@inmanfinarts.com? That way David, our Tech Guy, can help answer any questions you have about joining the 6 Week Course and eventually the Monthly Membership.
Bill
I’ve noticed another common question, concern is brush maintenance.
Being the novice I am, early on my brushes would stiffen from lack of proper cleaning. To correct it required leaving brushes to soak in turpentine or other solvents for extended periods.
That however was not my favored remedy
Surching a suitable solutions I’ve settled on using “baby oil”.
Typical application is to remove as much paint as I can by dry wiping the bristles dipping the bristles in the baby oil, perform a second wiping then a final dip and light wipe to complete the process
Furthermore any residual oil remaining on the bristles appears to have no negative affect with studio or professional grade paints.
This process results in perfectly clean brushes without benefit of toxic or expensive solvents, and to date has not shown harmful to the integrity of either natural or synthetic bristles.
Hope this is helpful
I thoroughly enjoyed the interview with Stapleton Kearns, Thank you for these opportunities to hear first hand the priorities and wisdom from long time painters like Kearns. His discipline of painting hours put me to shame, My favorite comment was that he is not trying to record data, but instead, do artwork. His art speaks loudly. Thank you for doing these canvas interviews. They are inspiring and help me know what areas I need to work harder,
Bill, I am a relative “newbie” to the world of painting……only about 2 1/2 years and am enjoying it more each week. Hope to soon have my home studio set up (in a few weeks) so I won’t have to unpack and set up each time I want to paint! As I really like your painting style/technique, I have a couple of questions for you. What do you paint on….a board, a canvas, linen? How do you prep your surface …I like that what appears to be brushstrokes that show up in the finished painting and assume this is done before the paint goes on the surface? Do you add a medium to your paint when you apply the underpainting? Thank you so much for your time (and your talent!)
Skype has established its web-centered buyer beta to the world, right after
starting it extensively inside the Usa and U.K.
previous this calendar month. Skype for Website also now can handle Linux and Chromebook for immediate text messaging
connection (no voice and video but, those demand a plug-in installing).
The increase of the beta provides support for a longer selection of
languages to assist bolster that international user friendliness
I know the Muilwyks! My son, Rick Bell is married to their daughter Patty. Have walked over that farm! Besutiful!
Wow! I’m impressed with your lifestyle. I am a Christian, and do dedicate daily to reading scriptures and devotional. I
Last year, I decided to stop eating meat, and do feel better. I run about 5 to 10 miles weekly, and start my day with green juice and my daily polyphenols too. My art work is not from a university standpoint, but it came to me as the greatest gift from God. I had never
Taken a class in my life, so I do thank Him for blessing me with my art. Some of my works are in Spain, Italy and France. I’m glad I got to read your blog, and thank you for posting it.
Hermi,
Good for you on the running! I can’t get myself on that wagon, but am impressed with those who are. Keep up the great paintings! God Bless!
I am very impressed with how you guys take care of your health. I am not as careful with what I eat unfortunately. I am proud to say I have never had any alcohol and I have never done any drugs of any sort. I don’t smoke either. But I do have a sweet tooth and love salty stuff.. so while my liver is happy with my no alcohol and no drugs diet, it hates me when I eat sugary stuff. I go to the crossfit gym 4 times a week to make up for the 8 hours I spend each day sitting at a desk in my office staring at the monitor, which is destroying my eyes and back. Even though crossfit is a high intensity interval training, I don’t think it can help with what happens to my body during those 8 hours. Changing my life style at this age would be difficult if not impossible.. but I hope I can find the will power to do more to take care of my health. Thank you for sharing 🙂
Azita,
Bill is my benchmark. I wish I didn’t like cheesecake and other goodies so much! So much out there to taste, so little time….
Hello Bill, I follow your emails (really like them, whether they are about art exhibits or painting a specific scene), but this one I keep in my mail box handy. Read and reread it. (Yes, I painted my yellow rose :-).
Needless to say I really like your style of painting and teaching. Just wanted to say thank you for the inspiration and encoragement. Looking forward to hearing from you soon.
Last year I went completely whole food plant based no meat no oil or dairy. I have never felt better in my life. I watched a documentary called Forks over Knives and it opened my eyes to see that we really are what we eat and the fats we eat are the fats we wear. And I have started walking everyday I am 67 years old and wish I had started this way of eating years ago. I was told I was pre diabetic before but not now so there is truth in why this is called the healthiest diet in the planet. I also know how important it is for me to spend time in God’s word everyday and in prayer. Being spiritually fit is as important as being physically fit. One thing I have noticed that as I have started this way of eating lost over 50 pounds and feel better than ever people still think and ask “how can you not eat meat?” So I am thankful to read this about your family and know that there are like minded people who agree that it is a good way to live. Like minded people who share the joy of painting taking care of our mind body and soul. That’s what life is all about. Enjoyed your blog thanks for putting it out there maybe it will convince others to take their health to a higher level. I love painting and want to enjoy it for many years to come.
Joan,
Awesome! We have tinkered with whole food plant based. I’d say we’re 80% there:-) You’re a great example.
Ah ha! The truth is revealed. Since retiring five years ago I have spent a lot of time scouring the web for good art and art instruction. This in an effort to improve my own work. Many times I find work and artists whose work has a particular appeal to me. It is surprising how many on these folks turn out to be “members”. Josh Clare, Bryan Mark Taylor and Carl Purcell to name a few.
As I have followed Bill’s instructional videos and reviewed his work I have been suspicious of your “life style”. I picked up clues like the scriptures on the worktop, references to two years of service and the encouraging language Bill uses in his presentations. The clincher was the photo you used on this post.
Congratulations to you and Bill for being examples of the “plan of happiness”. I look forward to more instruction and more great paintings.
Your secret is safe with me.
Michael,
You’re a hoot. We actually struggled a lot about how much depth to go into with our faith. We never want to seem like we’re pushing our religion on anybody, but also are more than happy to answer questions others may have. It’s a fine line in business. We are blessed with a community of artists that are so kind and supportive, I really love them so much, and it would kill me (and Bill) if we offended anyone. Being a member of the Church of Jesus Christ of Latter-day Saints (LDS, Mormon) is the greatest blessing in our lives. We have had some comment that while they love Bill’s art they can’t be a part of our community because of him mentioning Heavenly Father and His creations too much. So sad.
HI Bill. Loved this Blog. I have been a vegetarian for, well, since 1991. I love animals and so from an ethical standpoint I could not eat them. Thank you for sharing. You and your family are more special than I realized
Awww Sue,
Thank you so much!
Well spoken! Faith, Family and Vocation, the three legs of the happiness in this world. By adding nutrition, healthy activity and awareness of the importance of friends you have a terrific plan for living. God bless you both. The blog is a great idea!
Walter,
I love your “three legs of happiness” comment! Thank you!
I am in awe of the balance you and Bill have achieved in your lives and how conscious you are of living a life of depth and fulfillment. While I have made inroads into plant based eating, I have a long way to go in other areas of my life and uncertainty as to whether I will make much more progress there. I’ve discovered that postponing fulfillment can be a gamble you just can’t count on winning.
Love the picture of the bread loaves. I’ve been thinking about making our own since the store bought stuff doesn’t really taste as good anymore to either my husband or me.
Thank you Linda! And I would be glad to share my bread recipe when you start baking:-)
That was from me – Kristie:-)
Thank you for this blog, Kristie. I think that it is you who are Bill’s “Living Fuel”. Never mind all the other “good advice” ingredients.
They help but it is the lucky man and woman who can say, we love our life, we love each other, we love what we do. You are
truely blessed! Enjoy and Thank You for sharing and caring!
Oh I agree Renate! We are blessed, and our community of amazing artists is part of that blessing. (from Kristie:-)
Oh thank you so very much for this blog. I too knew that there was something different about you and Bill, and in a good way! I enjoyed reading your article and now ask, “where are recipes”?
Hugs,
Joy in Arizona
I’m glad you enjoyed it. And here is my bread recipe (I don’t know if the smoothie recipe exists, Bill’s like a mad scientist putting it together:-)
Kristie’s famous Whole Wheat Bread
(Makes 4 regular loaves)
Easy to make in about an hour!
5 C warm water
½ C + Olive oil
¾ C Honey
3 tsp salt
4 heaping Tbls wheat gluten (In Indiana I’ve only needed 3 Tbs)
4 C WW flour
————————-mix above ingredients together, let it sponge,then add…
4 Tbls yeast
Around 10 C WW flour (or enough to make the dough pull from side of bowl)
On an oiled surface divide dough into loaves, put into pre-oiled loaf pans, and rub a little oil on loaves, let rise 30 minutes. Than bake 30 minutes @ 350◦.
I started following the youtube painting videos Bill does, and am on the email list. How fun to find out that you are the same faith as me! We’ve also been trying to cut back on meat intake, and I also grind my wheat, as well as bake my own breads. We have a huge garden, fruit trees and berries, five hens, and are getting rabbits soon for our meat source. They are much healthier than chicken and also provide great fertilizer. I look forward to reading more of your posts, and growing as an artist. Thank you!
(this is Kristie) Welcome Sheryl! Sounds like you’re living the dream. Someday we hope to find a place out in the country. My daughter wants chickens so bad, as pets and for eggs.
Hi Bill, Well I absolutely love Plein Aire. My difficulties are, !. Composition. Deciding what to put in the painting. 2. my values are sometimes not quite correct. 3. the shifting light. Once I have the values in then comes the color and I am a little timid at putting in the color. I think I get attached to the study too soon. not becoming frustrated and confused is key. I prefer to finish right there on the spot on a 6 x 8. Occasionally an 8 x 10. Most times, ( because I am still learning ) I finish or rather perfect it in my studio, but I have to say I do feel like a cheater when I do that because things are more controlled in a studio. Anyway I have replicated my studies onto larger canvases with the help of a photo, as going bigger sometimes means more detail that people see. Being outdoors id spectacular and I am learning to see color. But, I am getting there , so very exciting everytime I go out.
Completing small studies is a great way to learn and capture the essentials Sue – sounds like they are working out well for you. The controlled studio environment, for me, can definitely be a hindrance if I’m not careful – one of the reasons I don’t pay too much attention to photo references because it often causes me to stiffen up and my work seems more forced or rigid. I have to work hard to maintain the more fluid spontaneous nature of the plein air study. All the things you mention are universal struggles, from beginner to professional and everywhere in between. Composition can be challenging because we see so much it’s tough to decide what to focus on – what to keep or exclude. The sight/size method used by artists like Joseph McGurl seems to eliminate that distraction – I wouldn’t know for sure because I’ve never used the sight/size process – it might be helpful to give it a try sometime though – I just have so much fun pulling from different elements around me, that I’m not sure I would enjoy being confined like that. Then again, sometimes certain boundaries help us grow faster because we focus our efforts on the more important principles and don’t get overwhelmed by too much information and choice.
Bill, I watched your video when you painted this, and loved your process! I belong to an art group here in New Mexico that meets once a month to talk about art and then critique our current works. In addition we go out to paint together as often as we can. Every year we spend four days up at Ghost Ranch in May painting the wonderful ” Georgia O’ Keene country.” Having said all that, I have learned not to expect a masterpiece every time. Instead, I just enjoy the wind in my hair, the sun on my back, the sounds of the birds and the crickets and the absolute joy of painting outdoors.
That sounds idyllic Judy! Painting is meant to be a joyous experience – that’s part of why painting outdoors is amazing, whether we finish a painting or not! Clyde Aspevig is one of the best painters in the world and he said there are some that just don’t work – but it’s all an opportunity to push beyond our present capabilities – to keep learning and having fun doing it.
What type of umbrella do you use? I live in sunny windy Florida. I have a Guerrilla Shadebuddy Umbrella & Stand. It did not last long and need to order a new one. Thanks for your advice.
I don’t consider myself a plein air painter. But in my world, a painting is not really finished until it’s sold.
No doubt Linda – and maybe not even then…I heard a story about a famous artist, can’t remember the name, who went into a museum with his paints and touched up one of his paintings he thought was in need of correcting.
I have tried both the and Coulter and Strada easels. I wanted to order a Daytripper but couldn’t get them to answer messages so I figured their customer service was nonexistent. I sent both the Coulter and Strada back for different reasons and both the manufacturers were very helpful with the returns. The easels are nice designs for those more interested in light weight and easy to assemble easels. I found that I am more interested in a stable surface to paint on so I replaced my 40 yr old Frenchie for a new Mabef Frenchie–it is made in Italy and does have a quality feeling. As heavy as ever–but it does keep almost all my supplies in it and keeps me organized. My painting group of professional artists have many different tripod set ups and were dumbfounded when they saw my new Frenchie. I have to say, though, that there were some real deal breakers with the tripod easels I tried. The Strada doesn’t hold a 1/4″ panel–I couldn’t jam it under the upper lip no matter what I did. I moved to 1/4″ from 1/8″ for stability and didn’t fancy wasting all those panels. Also–the palette is noisy–rattles because it doesn’t sit flat in the box. Both move a lot when in use. I’ve been burned enough with shipping costs so until another easel comes on the market with an intelligent, quality product I’m sticking with my heavy, but stable Frenchie.
Great feedback Elizabeth, thank you! That rattling would be distracting and I also use 1/4 inch panels – I need an easel that will accommodate about any size I throw at it which is an advantage of the French. I have also had trouble with some easels that moved around while painting, or let my panels slip out and that will not work at all – the panel needs to stay in place no matter what the weather is doing or how vigorous I paint. I love the convenience of a tripod, but the pure practical painting possibilities of the French style still stands supreme I think. I am optimistic and excited about the new easel/palette/tripod combo Michael is designing, but if the palette doesn’t quite work with the tripod, I may experiment with attaching tripod legs to a French box for greater stability in wind and uneven terrain – that way I can still set my large palette on the French box.
I thank you and Bill for all the help I get on those webinars.. Even when I don’t have a painting in the line up.. I always learn something.. Sometimes Bill gets talking and teaching and answers questions I never thought to ask.. But just wondered about..color temperatures is so hard to understand.. But durning all these webinars I think everyone has picked up on it..I thank you.. Both are in my Prayers.. dawn
thanks bill for the lecture about critics
A great blog Kirstie – very interesting in what you both do ‘behind the scenes and funny too! I love the image of Bill waving his number 8 filbert and the ‘splattered spider’! Great stuff. I, for one, love being in the community and appreciate enormously all your imput, the critiques, artist interviews – and what I have learnt – and also all the lovely members. Thank you. Elizabeth Williams.
Thank you, Kristie. I agree with everything you said. I took watercolor lessons years ago from a lovely talented elderly woman who I considered a national treasure. She would end every class with a 20 minute critique. We set up our watercolors in a long row. She would ask the artist to give a little background and then she would make comments and invite each of us to comment. It was so helpful. I loved those moments. Our teacher is gone now but I remember her with love and admiration. Bill shares many of those qualities as you so well described. I will echo a comment from above. I love being part of an art community.
When I was in grade 8 the teacher decided to pick two pictures of salvia One was mine and one my sister’s Mine was the epitome of all that was wrong . I think of that day every time I pick up a paint brush or a pencil to draw anything. I am 87 an still it haunts me. I took a couple of Bob Ross style of painting it was really fun.
Bill and Kristie, I enjoyed your plein air blog through N.Y. state. I loved Niagara and especially the country people. May I suggest taking a trip to the Indiana Dunes area. My one and only plein air experience was at the Dunes. So much to see there. In fact Michigan along the Lake is very beautiful too. Keep blogging and painting for us.
Thank you Kristie, it’s been such a priviledge to know you and Bill. I alway’s learn from watching the critiques . Love to you both!!
I am very glad to be here, please I wanna be a member
Hi Animasaun!
If you could email us at bill@inmanfinearts.com we’ll help out in any way we can. We’d love to have you join us!
Nice! I especially loved the “field of dreams” ! Lovely use of color!
Love , love , love , painting and Your paintings of trees . Because they bring beauty and variety to the face of the earth .
What a gorgeous array of paintings! I have always been a tree hugger – each one is a work of art, different from any other, like snowflakes. I wish I could kidnap the “Breakfast is Ready” painting! Or better yet paint something like that! Someday I’ll be able to afford to join your monthly membership.
I too have a love affair with the trees, and you paint the seasons so wonderfully
Where I lived trees were scarce. My friend and I used to cycle miles to a small wooded area. I have always been drawn to them and loved them. Respect is a added now since I read “The Secret Life of Trees”. Your beautiful paintings Bill are thrilling and inspiring.
Bill, I wonder if you offer a video or lesson onthe Picture shown titled. SUN SHOWERS? I really appreciate the atmosphere and light . It is beautiful. If you offer that lesson I would appreciate knowing the cost and can it be downloaded on my laptop. Thank you Bill. I am a relatively new painter and new to you beautiful page. I get inspired by you work. Thanks again.
Thanks for the inspiration! I would aspire to eat clean like this all the time, but I have a problem getting my family on board. I personally gave up pork, shellfish and the other unclean foods listed in Leviticus. ( not easy! We raise pork for a living. So I still cook it for others) people shake their heads at my decision. I juice vegetables, and have fruit smoothies almost every day. We live on a farm and I have chickens and a big garden. (Get your girls some chicks, It is great project!) Blessings, Jaci
Bill, I love all of your beautiful tree paintings. ! Marlene. msfscs94@hotmail.com
Wow, as a serious new artist, I found this article very informative and helpful. It certainly as encouraged me to spend not only more time growing as an artist, but to cultivate relationships as well. Thank you so much for sharing and the insight to being a successful artist.
Thanks Bill for interviewing Jason and writing up this blog. I have the greatest respect for Jason’s experience in the gallery field and the wisdom he shares with artists.
I appreciate the fact that Jason has always been open to sharing his insights as a gallery owner.
Wow.. Thank you.. That aS great Bill..
Thank you Bill and Jason,
Insightful analysis from two seasoned professionals is truly appreciated. I’ll be sharing this with my fellow artists .
Anne Bevan
I have taken classes with another former Hensche student but have never had the pleasure of taking one with Camille. I appreciate the comment that her work has changed over the years and progressed which speaks to taking what she learned about color and fitting it to herself, and then continuing to take workshops with others to improve areas where she felt she was weak. Thank you for this opportunity to hear her words.
COMMENTLástima que estemos tan lejos,me gustaria ver los trabajos de otros alumnos y tus correcciones,cuando puedas mandame un video donde pueda ver cómo hacés tus pinceladas,cada maestrillo con su librillo,es un refrán español,y no tuve suerte al anotarme en el curso de pintura de encontrar aqui en Mar del Plata cuadros de algún pintor que me gustara,para,si podía económicamente,anotarme.Los óleos y las tizas pastel están fuera de mi presupuesto.Tengo la suerte de tener muchos colores,tantos como tienen los paisajes,quizá si supiera mezclarlos y encontrar el color que busco no hubiera comprado todos los colores del muestrario,pero guardo todos,pensando rejuvenecer,ya cumplo 94 años y no puedo estár mucho de pié y compro bastidores de 80,largos como algunos de Sorolla,mi favorito. Perdón por entretenerte tanto tiempo pero cuando escribo mis cartas parecen de soldado,contando todo a su familia.Saludos.
Thank you so much for being so open and honest about what it’s like to be the wife of an artist. I am also a wife of an amazing artist and it is such a challenge to help support him while balancing family/ 3 little kids and my own life. A LOT of sacrifice goes into great art. And a lot of times it is not seen or talked about so it was really nice to read your story. Your words are so encouraging and full of love. Thank you and God bless your heart! 🙂
wow thought it is diffficult
Painting is never easy Ina, but some paintings seem to flow more easily from start to finish. I do love flowers, they give me a chance to really have fun with color.
I just love the colors you used in this painting. So alive!!! Enjoy your videos very much.
Thank you Carol, this was a fun one to paint! I love to hear that you are getting some benefit from the videos.
Bravo,
Thank you Driss!
I loved this. It is so true. My sweet husband does not even question me any more when I yell stop the car. He just looks at my photos and asks how did I see that. Likewise when we go hiking he will wonder off ahead of me and then have to come back looking for me. I am somewhere off the trail take pictures of the light on the leaves or some strange fungus growth or the texture on a tree. He waits for me and smiles and asks me what did you see, show me.
Good husband you got there Christy! What a blessing we’ve been given as artists – to see the world as something beautiful and then to help others see it as well.
I enjoyed your blog on your travels and photo taking i love to take pics as we travel and want to paint some. i want to someday paint just using interesting parts of the photo and make my own picture painting like you do.
Sounds like you’re well on your way Shirley – the most important step is what you just wrote – deciding you want to paint with parts of the photos. Once you decide that, then just go for it and let your imagination have some fun. In no time it will become second nature to you!
Loved the article. I love photography, which gives me a reminder of the beauty that surrounds us each day. I have thousands of photos of rocks, trees, sunsets, waves, etc. that I will never find time to paint. Each photo inspires me to attempt in all of my paintings some aspect of awe or wonder. Back in the 35mm days, the cost was more than my budget would allow, but digital photography opened up a new passion of preserving memories. The hard part is to place these digital memories on a medium that will last the ages and keeping up with technological advances. Like you, I combine images from several photos to develop my painting into a image that only exists in my mind, searching for the feeling of being a unique artist, if only in my mind’s eye. Well done Bill!!
Thanks Spike! Digital photography is incredible – I remember all too well hesitating to take a picture because we had to make our couple rolls last, and then printing them only to find that the exposure was off or the roll didn’t feed correctly or somehow two images got on the same clip (some of those were actually pretty interesting). I have more photos to use than I could paint from in 100 lifetimes, but that won’t stop me from taking another 100 lifetimes worth! I like your sentiment about ‘searching for the feeling of being a unique artist’ – when we paint what inspires us we’ll be unique.
Amen.
Thank you Louise.
Hi, Louise! I’ve noticed you are taking workshops and studying. I’m doing the same. It fun and invigorating isn’t it!
Thank you, Bill, for these thoughts. I, too, take photos constantly of things to paint in a la dscape. I once asked a professional photographer friend, in the days of 35 mm cameras, if he ” wasted” a lot of film looking for the perfect shot. He told me he might take a hundred photos and end up with one good one. Now, with digital cameras, there is no waste, so I shoot everything! Living in New Mexico, there is lots to shoot!
New Mexico is a treasure trove of photo and painting material Judy – a lifetime could be well spent painting just New Mexico landscapes! I’m with you on not holding back.
I am also a New Mexico artist. There are never ending painting ideas here from ghost town, old mines and rustic buildings to beautiful wildflowers and majestic mountains. I also take a lot of photos!
First of all I love your posts. Now about photos, I am not ashamed of using them. Sometimes your memory cannot remember all intrigate details, I often use different things from one photo in 4 different pictures like a tree or a great shapec rock, whatever facinates me. As example near us is a shed that is ready to collaps, further down some cute goats and I decided it would look cute with some sheep added, so I found some pictures from sheep. All of this together became a painting. I love.
Thank you Yvonne! The last thing you said ‘a painting I love’ is what these tools like photography help us accomplish. I believe in using anything that will make our quest as storytellers with a brush more beautiful and memorable.
Love your pictures. I also use photos as a memory jogger and as a reference for something in the image, even though I may never use it. I also cut out photos I see with something I might need – like, what does a duck look like in flight? Can’t imagine how the old masters were able to draw and paint some things without a photo reference. Or maybe they settled for what they could see directly. Still life comes in handy for those of us who want a direct experience of seeing but are trapped in a cubicle every day.
Thanks Linda! We don’t know all the methods of the old masters, but many of them used some type of image rendering tool to at least get them going in the right direction. Vermeer, one of my favorites, they believe used Camera Obscura to create his paintings. It doesn’t diminish my love for his paintings. As you can see from my videos I don’t use tracing or projection or even stick closely to a photo reference, but I’m definitely a fan of any tool that will improve my painting.I figure between direct observation as much as possible, imagination and photo references (with a sound knowledge of photography’s limitations) we have a huge world of possibilities and endless painting material.
One of the greatest things an artist can have is a photo file. Before I throw out old magazines, I go through and cut out all pictures I think I can ever use in a painting. Then I put them in categories: fire plugs, street lamps, flowers, trees, etc. When I am painting a scene, I can go in my files and find the perfect rock, flower, tree, bridge, building, etc. to add to my composition. That is in addition to the hundreds of photos I take. Living in the hot, humid south, it is not always easy to go outside and paint from nature, although I love that too when the weather is right. Love your posts Bill!.
Great post!…I enjoy reading all your posts because they always have such a positive tone and very encouraging for a beginner, self taught painter like me. Thank you.
Love reading your blog. I enjoyed the posts on the photography vs plein aire. I think its great we have the advantage of the camera and can enhance the painting because we were at the site to take in the atmosphere. Best of both worlds.
If you can make a great painting from a mediocre photo, why not try painting from a great photograph? Shoot early and late when the contrast is lower. Watch for light direction. I’m a photographer…?
Wonderful Blog! I too take photos that some people wonder why. Consequently I have thousands. I also see images that spark a thought that reminds me of a photo that I had taken years ago. An “aha” moment; now I know what I can do with that photo! Although I know that I should paint everyday, I don’t always do so but now your blog has given me the incentive to pick up my brushes and get busy painting. Thank you.
When I read your blob it inspires me go there and search for more even at my age of 70 still want to learn more from people like you
Watching the videos and listening to your comments: there is a joy in your work. I look forward to the videos and Webinars every month and try to incorporate some of your suggestions into my paintings. Thanks Bill(and Kristie) for all your time and hard work.
Thank you Richard, that’s exciting to hear! We were worried a bit when we started all of this because of the amount of time it takes to edit videos and put it all together – I don’t get to paint nearly as much as I used to. Hearing comments like yours keeps us going knowing it’s actually helping other artists.
So fascinating…love the evolution of your work!!
Thank you, thank you. Your pictorial journey has inspired me and reminded me that playing is the path…and that no painting I do is a failure if it teaches me something.
Wow, what a transformation! The one thing that hasn’t changed is your love for vibrant colors.
Thanks David for all of your hard work in producing and compiling this blog. Wonderful trip through your history Bill. I enjoyed the changes and challenges that you shared with us. I see the accumulation of your early styles and methods in your artwork today. Well done!!
Great piece and inspiring as we hit our various walls! I love the evolution and the switchbacks.
Loved seeing your experimental works leading up to the present. Especially loved your watercolors.
Thank you for sharing your talent there is so much to learn, colors are radiant love all paintings.
Thanks for sharing your history with us. It’s encouraging to know the joy is in the journey and no experience is ever wasted! Appreciate David’s help also.
Thank you to both of you! What a fascinating journey!
Sharing your painting-journey with us is wonderful. Thank you so much.
It is very inspiring.
It is so helpful to see painting style evolve or blend. That was just great!
Bill, I started following you on facebook and you website about 6 months ago. Now look for your work at the Indiana aheritage Art and Hoosier Salon. Thanks for showing how your work evolved over your liftime, It is always interest to see how an artist progresses over time.
Seeing your early work reminds me that I can continue to grow and improve. And it is a better lesson for seeing than if you just wrote the words. Thank you!
Loved seeing this demo. Its a glimpse into the mind of an artist.
Bill…do you let the titanium white dry to maintain the texture and avoid whitening out of subsequent before you proceed.
Could one apply moulding paste and let it dry rather than using all that titanium white? Interested in your thoughts.
I was thinking same.
Great question Janne – this was a fun experiment to see what mixing colors into the white paint, right on the panel instead of on the palette, would do to the colors, especially with so much white right at the start. I love the wet into wet blending strengths of oil paint – the way I can manipulate edges and mix colors together with either a light touch or a stronger pressure depending on how much mixing I want to have at that moment. For instance, with wet into wet (or direct or alla prima) if I am putting in a tree branch, I might start off with a thick layer of paint on top of another layer of wet paint, laying it on in the beginning of the stroke without mixing it with the under layer – just laying one layer over the other – and then part way through, change the pressure a bit and slightly blend the two colors together to change the look of the branch – like when a branch goes from shadow to more light, or to change the color a bit by blending the two layers together. If I was only going for texture, which with this experiment was not the case, the molding paste might be a better way to go. If you decide to use molding paste it would be wise to consider that molding paste is an acrylic product and could cause adhesion problems eventually. If you use molding paste for texture make sure you use it on a solid surface like a wood panel to help the oil paint remain attached to the acrylic (the same could be said for acrylic gesso). It’s helpful to remember that oil is not porous and eventually dries hard and much less flexible than acrylics – which is why we see so much cracking in older paintings, especially on canvas. Acrylic (plastic) is porous, so oil paint will form a mechanical bond with the minuscule holes in the acrylic. If the acrylic stretches from temperature fluctuations or the flexing of a canvas, the oil will not stretch as much and can crack and fall off. That’s why it’s better to paint oils over acrylics on a solid surface. Based on that understanding, painting wet into wet with straight white oil paint is a better option than using molding paste. Even if we use just oil paint, if we paint thick, it is still a good idea to use a solid surface like a wood panel to avoid future cracking since oils are not very flexible – although they dry so slowly that with some thick areas of paint the inside may take decades to fully dry to a solid state, so it may take a while before you notice any cracking on a flexible surface like canvas.
Bill, Once again you are so generous with your knowledge and time. Thank you for being a such a great artist’s mentor!
You’re welcome Lisa, and thank you for the kind words!
I went through the gamut with camera’s finally chose a Sony a6000, it has 24.3 megapixels. I bought mine at Best Buy was about $700, I am totally impressed with its simplicity and ease of use yet has a ton of features that in all likelihood I may not use them all, still learning.. It is a smaller bodied camera which saves a lot in lugging the weight around that some cameras have. I can’t praise this camera enough, I bought one for my daughter who is a photographer, she loves it and uses it almost exclusively, I highly recommend this one. Check it out.. google it and read some of the information on it, well worth your time.
Thanks for sharing another strong option Lynn. The a6000 came up often in the reviews as a great camera. Glad to hear you like it – cameras are a pretty large investment so it’s wonderful when our purchase works out!
Great comments and ideas – thank you for sharing your insights everyone!
I enjoyed your thoughts on the artistic life. Thank you for sharing them. Your paintings are truly awesome! It’s always good when we find what we love and can use that love as creative inspiration.
I second that Judith, wholeheartedly!
I learned a lot reading this interview. I am combining game call making with my art. Everyone tells me to narrow my focus but I enjoy the adventure of exploring new media and styles. You are the first artist that promotes painting what you like. Have you done any abstract painting?
Bruce, thank you so much for sharing your thoughts with us. Your art is amazing.
Thank you Bruce! You are inspiring! I too agree with you and hope that others will see the beauty in this world through paintings.
The luminosity you talk of is very apparent even in the small photos on the cell phone. Beautiful work!
I appreciate your thoughts on the creative process very much. It affirms my own thoughts and serves as inspiration and encouragement. Thank you very much and all good wishes and compliments on your magnificent art
Wonderful interview. Very informative, insightful, and inspirational. Lately. I have found myself painting compositions that my heart wasn’t entirely into (for sales). And as a result, those pieces have not been my best work. I intend to follow Mr. Cheever’s thoughts and paint what I truly love. Thanks, so much for sharing this with us, Bill.
Great insight Gail. It’s a tough temptation to ignore when we know a particular image or subject sells well. It definitely takes courage to follow the route that strengthens our paintings in the long run, but I believe it is essential to a fulfilling career and to the ultimate mastery of our art. I also believe that when we love what we’re doing it will shine through and resonate with others much deeper than if we follow the commercial trend.
I love your comment about painting what you love! Your work is just beautiful. Your paintings draw the viewer in!
Thank you! Your work and dedication is inspiring!
Wonderful insight to you and your fabulous work. Thanks so much for sharing
Thank you for this insight into your thought process and the evolution of your training.
You’re welcome Ellen. Time sure moves along quickly – hard to believe it’s been almost 12 years since those first videos.
Thank you so much for doing the full length videos. These are the most interesting, most helpful, and are the ones I go back to regularly because I learn something every time I watch them. In the days of art books I always found it so frustrating that they were showing steps 1, 2, 3, and then steps 8, 9, 10 and then baoum! painting finished, but what went on in between, go figure, they would never show you. I was told it was a marketing trick, you’d feel like you’d learn a little bit from the book but needed to know more, so naturally you’d buy another book in the hope of finding out what you were missing. Well, it never worked because we never got the full story. So as far as marketing strategy, I don’t think it yielded the desired results.
I bought a portrait painting videos years ago and it was the same thing, the painter showed how she started, then said she would work off camera, and came back with the finished painting, it wasn’t even entertaining, it was frustrating, you felt cheated, like you wasted your precious $$. What I really wanted to know was the harp part, how one goes about developing the picture.
Whereas with your full length, detailed videos we really see what’s going on, we can watch over and over as you said, and try again and again in our own painting style. So I appreciate and buy only from artists who do full length, detailed demos in their videos. And if watching 3 hours is too long for one sitting, I watch it in 5 to 6 segments, taking notes, playing back the portions that speak to me, even experimenting with paint as I watch. And these days there’s so much good stuff for free on YouTube. So thanks again and my very best to you !
That is so heartening to hear, thank you! We spend literally hundreds of hours on these videos with the hope that they will sincerely be helpful to others. Thank you for letting me know that I have a kindred spirit out there when it comes to the desire to have more than just some tidbits in an art demonstration or training video.
Wow, your thoughts are as good as your painting
Thank you Anil, that is very kind!
I totally agree, seeing the FULL painting process is the best way to learn. Painting is my passion and I don’t care how long the video is, if it moves me forward in my journey. Thanks Bill and family ?
Thanks Peter – you’ve been with us for a long while – it’s wonderful to hear that what we are doing is working for you!. We do love to see the remarkable strides so many artists are making with their art and careers.
Enjoyed the thoughts and insight of this blog entry very much. Beauty is in the eyes of the beholder, or the perfect art rendition is an artwork that enlightens the emotions deep within the artist. If an artist creates a piece that says “Wow!” to others, plus himself, then perhaps the artist has created a masterpiece. My grown children created masterpieces, to me, when they were toddlers. Now they struggle to achieve that same greatness of art to this beholder. I struggle with each painting that I paint, but it is my quest to produce a masterpiece for the ages.
I have no doubt you will be successful in your quest Spike! Your paintings now are moving and beautiful.
Thank you! These are helpful thoughts to reflect on in my own journey with painting.
You’re very welcome Shirley! I’m grateful to hear you enjoyed the post.
I found your blog very encouraging………..and I loved your first landscape and wish I could produce something like It! Since giving up on myself and loosing confidence I am back to the very beginning……but I am now determined to paint every day, if I can, even if only for 30 minutes!
Thank you Patricia, I love to hear that what we are doing is encouraging others! 30 minutes a day is better than 8 hours every couple weeks – there’s something magical about daily habits over periodic marathons – we progress faster and with greater insight and clarity. With that first landscape painting – it’s amazing, but I still remember painting it and how excited I was when I finished at realizing what was possible with oil paints (I had been using pastels and watercolor before that, which I loved, but oil paints for me seemed to have even more directions I could take).
THANK YOU BOTH… Great blog.. It really made me think about my paintings and others who paint… But I come from a long line of kniters and sewing.. And the perfection they would strive for.. I think Art is in many things and we can live our lives seeing art and wonder.. Or anger and limits..
I agree Dawn! I’m grateful for the vast variety of different types of art. Creativity, even in seemingly mundane things like shoes or door mats, brings joy to life and living.
I loved reading this blog! I definitely feel that when I focus too much on the “rules”, I lose the emotion and the paintings are just not as good! This blog has inspired me to paint more with instinct and emotion. Thank you!
Thank you for that Silvana! Stapleton Kearns said it well when he spoke of painting with poetry. When I let my instincts and emotions guide my intellect the result is much more fun and invigorating. Knowledge is definitely critical for successful paintings, but the creative flow does not come from intellect alone.
Thank you so much for sharing this. I read it out loud to my husband, because in our household I am the artist. And I wanted him to know he was not alone trying to get me to come down from the studio for lunch and dinner he prepairs for me only to find out I cant come because I am in the middle of an intrigate partt, or that I just mixed paint and dont want it to dry out because it is so hard to get the exact color again etc etc. I paint basicly from 10 to 10 and sometimes longer, My poor husband often is alone, because I am always upstairs, but he is gracius, and understanding he gives constructive critique and beams with pride when showing my work. We artist need people like you and him and thank God for the blessings he bestowes on us.
Wonderful Yvonne! Maybe someday we spouses of artists will start a support group:-) ~Kristie
These small blogs written by you both are very helpful. thanks
Well thank you – I like to be involved with this amazing group of artists, it’s a privilege!
That was me (Kristie) commenting there – for some reason my computer only recognizes Bill’s account when I comment:-) Hmmmm, I netter be careful with what I say:-)
Hi my name is Maria Demosthenous..i am quite new here. i have been painting for nearly 40 years..selling some..i live in Durban South Africa..yes the subject here..painting the edge..What i like to do.. i paint right over the edge all the back….its got to flow.thank you fro all your advice and tips..love your vedeo..God bless take care
Loved the comments for when you paint in the small (3 x 4 inches) and the rabbit of the frame is 1/8 inch I become very timid about those edges. I even had one framer who wanted to float the paintings so not to lose the edges. I will try to rethink my compositions. Thank you.
(This is Kristie) Myra – did you end up floating your paintings? I have seen so many of those around now and wondered how you liked them? Is the cost much different than a normal frame?
Thank you, Kristie and Bill. Your comments about edges will stay with me. It’s so much better to slow down and study the work before deciding it’s finished. You have pointed out my bland nebulous edges on prior critiques. I finally got the nerve to imagine what lies beyond the edge and paint as though my scene extends into that external space. It works for me. It’s fun to do too. Years ago I took a workshop with Frank Francese, a wonderful watercolorist and teacher. He stressed the importance of painting to the edges. Really enjoyed reading your ideas as always. Best wishes for a beautiful Thanksgiving.
(This is Kristie) Thank you so much Margaret! I hope your Thanksgiving is wonderful as well!
I’m glad to hear your having fun painting to the edge Margaret – and to hear that another teacher expressed the same sentiment – that reinforcement helps cement the idea in our minds better! By the way, Frank’s paintings are excellent – very fun and colorful – I love his simplified shapes.
Learn moreeach time I read your musings and advice. An other artist I admire told me to paint not only to the edge but also the edge itself, and it truly made a diverence. Especially since I cannot always afford a frame, but cannot stop painting, I even dream about my paintings I hope to have enough soon to have a show…. how to aproch that is another matter maybe one time you like to discuss. Thank you Yvonne
I’m glad to hear you have some good instructors helping you along Yvonne! I know what that’s like – struggling to pay for frames and still wanting to paint daily. Just keep at it – paint now and let the frames take care of themselves later. Once the work is powerful, a good gallery might help you with the framing. We had an excellent interview you will enjoy, with Jason Horejs, who went into detail about how to get into galleries and sell our art: https://www.masteroilpainting.com/blank-canvas-an-interview-with-jason-horejs/
Bill: I feel so great full I discovered your site. I have been painting for many years, first in watercolor, acrylic, pastel, and now teaching myself oils. Your philosophy as an artist and instructor is so inspiring. Love watching you paint. I am most enamored by the way you use your brushes; so much to learn?
Thank you so much Valerie! Sounds like you have a wonderful foundation for oil painting. I’m so grateful I started out with pastels because I feel like I learned a lot about color and how one color looks placed next to another from using pastels. I hope you have a joyous journey as you learn to use oil paints.
Thanks for pointing out the obvious in your last Critique, Bill…that you have a blog! I am enjoying and benefitting from it. Christie’s comment about throwing the loop, and aiming right through the finish resonates with me, another cowgirl. Now I will remember that when I boldly paint to the edge.
Merry Christmas!! What a lovely painting!! The love of God is expressed deep within each of us, as well it is displayed throughout the universe, in my humble opinion. To capture even a portion of this on canvas is a tremendous talent that demonstrates the heart. Thank you for sharing and may the world truly find peace and true agape love.
Merry Christmas to you and your loved ones Bill. You have captured the feeling of live in that painting.. something not many are capable of doing. May kindness and love for humanity be the guide in everyone’s life.
feeling of LOVE not live …
Wonderful painting! Wonderful story! Merry Christmas to you and your family!
I have often thought about what a man Joesph must have been,,, How tender she is toward him in this portrait is wonderful.
May God bless you and yours during this season of His love. Nancy
Your talent is amazing, and your reverence shows through in this beautiful expression of love. Well done, sir.
Your painting is wonderful! I appreciate your testimony to Jesus. It means a lot to me to me to be associated with a family of faith. My church maybe different From yours, but we share a love for Jesus. Merry Christmas.
It is just beautiful, Bill! I recognized that tender scene from “The Nativity Story” movie. Our cherished Christmas eve family tradition is that my husband reads the account of Jesus’s birth from scripture, then we take communion together, then watch that movie. Thanks for sharing your faith, and the wonderful loving heart of our Father God!
Tome this s the most inspiring painting I have ever seen of Mary and Joseph, You have captured so well the feeling and the event of that wonderful day when our Savior was born! The painting along with your testimony has moved me to tears. Blessings to you and your family this Christmas! Thank you from the bottom of my heart for sharing this. You are a most giving person!
Thank you for sharing with us not just your art, but also your faith and testimony. I teach art at a private Christian primary school from grade 4 to 7. I would love to share this picture with them, especially the grade 6 and 7’s who have to do facial sketches and art from photos. May God bless your talent and sensitivity to the guidance and anointing of The Holy Spirit. A joyous Christmas to you and your family. Charlette Waldeck.
A most moving painting. You captured it beautifully. Thank you.
Lovely! Merry Christmas to you and your family!
Thank you for sharing your love for Jesus and Our Heavenly Father. Your painting of Mary and Joseph and your love for them is so real. Thanks for sharing the process, too. I long to be able to share God’s glory in my painting and pray a lot about what I do.
Advent & Christmas blessing to you, Bill, and to your family.
Bill, this is one of my favorite paintings. It reminds me of a friend’s home in PA where I often went with my children to visit. It evokes wonderful memories of times gone by, fishing, swimming and beautiful friendships!
A beautiful painting, Bill.I did a painting of Jesus a number of years ago,for my church Christmas program,but it does not begin to compare to yours. I have taken many courses, but never one like yours. Thank you for your generosity. God’s blessings to you and your family.
Audrey
Thank you so much Bill. A painting of loving Parents at a very special moment. Happy peaceful Christmas!
Bill, I think your painting is very special and it has a beautiful feeling of hope. Thank you for your story of the technical aspects of painting an iconic image. Just wonderful. Merry Christmas to you and your lovely family.
AS Joseph was to his family, you are truly a blessing, Bill, to our art family. And Kristie’s love and respect shows through for you and for your family in our webinars. Thank you!
You shared the most important message of all. I believe your work will go straight to the heart of many.
You have captured the love that Mary and Joseph shared in a beautiful and moving way! Having never consummated their union, this painting shows their deep and innocent love for each other and their precious holy child. There can be no doubt of that love as you have portrayed it. May you and your family have a blessed Christmas as you celebrate the recent birth of your own little baby granddaughter.
Thanks Stape… yes, very helpful. Love that you do t compete, you contribute. Thanks Bill for this interview.
your painting is beautiful and amazing,God bless you
Enjoyed the progression of your paintings.
Merry Christmas to you and your family, Bill. It takes courage to stand up for what you believe and I know God will bless you for it. I appreciate your openness. I just want to comment on one thing. You said, “Although my skills fell short”, let me comment on that. If God gave you the talent to begin with and the ability to use it to reach so many with your message, then don’t say He only gave you ‘half’ of what you needed. Give Him praise for it all! What a joy it is to be able to reach so many with your art. What a gift it is to have media to do so. What a compliment and praise to our Lord for every brush stroke he guided. Putting yourself down is putting Him down for not doing enough. You said it yourself…guided by the Spirit. I love that you use your abilities to help us all grow in many areas. Thank you!
Well said!
Beautiful! Thank you for sharing so much with us! Merry Christmas to all!
God bless you for your dedication to using your gifts to glorify our LORD and Savior! I love your work!
It is beautiful! The love that they show took my breath away.
What a beautiful piece, radiating with loving energy!!! Sharing your gifts and this stunning painting is indeed a gift to all! Merry Christmas!
So beautiful. What a blessing. Merry Christmas
I am going to have to try this! Thanks, Bill for sharing.
As a New Mexico artist and a theme “Places Seldom Seen”, I find that by the time my husband and I have reached the old ghost town, old mine, or hiked a trail I have very little time to paint on location. I try to paint en plein air whenever possible, but good photos are invaluable to me. Yes, I usually add “something” to the photo later to make a more pleasing painting. I wish photos showed better light. It seems I almost always have to create shadows because the photos are taken mostly mid day. I love getting out into these unusual places though. They bring unexpected surprises! Blessings!
Bill: Thank you for sharing your beautiful nativity painting and your story behind it. I can feel the love and emotion that emanates from this moment; it makes me want to drop to my knees in prayer. I feel grateful to be associated with an instructor who glorifies our Lord through beautiful works. Merry Christmas to you and your family.
Bill, thank you for sharing this painting and your story! It is breath-takingly beautiful! You truly have a God-given gift of art, and the humility of a faithful servant in His service. Merry Christmas to you and your family!
Remember to breathe! Have fun and enjoy the journey….
I am excited for you. You might start by getting a sketch book and try your hand at drawing. Just 15 or twenty minutes per day. Copy anything and everything. Capturing the form of a thing or things is essential. Good luck
Great idea! We have a daughter who carries around a sketch book everywhere. I need to do that aas well. Thanks fo rthe advice!
Thank you Cheryl, I’ll have to bring my yoga breathing into my painting I think!
Hey Kristie I am terrified every time I get in front of the easel (with good reason). Another artist once told me to just paint some colour randomly on the canvas to take away the fear of the white and get started. Unfortunately that won’t work with pencil or ink but works beautifully with oil and pastel and acrylic. Just start then you work with it as Bill does so beautifully. I like the idea of the new course.
Good advice! I will keep that in mind. Thank you!
Thanks You I enjoy and lot of lern
I hope so Marta!
if you can ride a horse, you are half way to being an artist. You balance on a horse. You balance your colors, color temperatures, shapes, and values while creating a painting. You feed a horse to keep it alive and to grow strong. You feed the canvas with brush strokes, color, and shapes to build a strong story. If you get bucked off of a horse, you get back on. If you mess up a painting, you save it, start another, and then go fix the problems on the first one. If you walk a horse and never gallop, you miss all of the fun. Get on that easel and gallop!! Show us your progress, as we all learn from every painting we get to look upon. I have never met a person that did not have talent to express emotions. Put those emotions on your canvas and the rest is just plain fun! Good luck Kristie, post your work soon!
Well said Spike! We should have you be a guest blogger – you have a way with words! Nice thing about art, my teeth won’t get kicked out and my bones shouldn’t suffer any breakage:-) (would still rather be riding though!)
After breeding horses for 40 plus years, I sold my ranch. Riding was my therapy for everyday life’s issues. My favorite part–after a foaling–was to teach the young horses how to socialize, to watch their development with people and each other [all different personalities]. Bill is such a good teacher, with his Love and support and knowledge, you will be soaring across your canvas in glee. You already recognize beauty, so you are 80% there. Much luck in your development as a ‘painting’ artist!
Just go for it. Learning to draw what you see instead of what you think you see is the hardest part. Draw often and learn to look at nature in a different way by seeing the shadows and differences in shapes and colors
Thank you Jane! I should know that, Bill is always talking about the need for good drawing skills. So much to learn!
Just like anything else Practice makes perfect.Just relax and enjoy the journey.
Kathy, you are so right! And that’s a struggle I’ve always had. Maybe I can practice enjoying the journey:-)
Draw an apple while observing It. Paint the apple. Eat the real apple/evidence. Say to yourself, that’s a realistic ?. Enjoy yourself.
I like that Margaret – a great way to ‘internalize’ the work!!
Seems to me Bill said that there’s no wrong way to paint and interpret. I love that he is so positive. Maybe start with loose brush strokes and see where it goes. Maybe the master will rub off.
Truth be told: I think he’s a little apprehensive – I think he’s afraid I won’t like it. But he always keeps a positive outlook and that will be very helpful for me.
Kristy.. I started 2 years ago with roses..I wiped off lots of would be flowers till I finally got the rose painted.. The background is all the Trys I made.. I’ll send you a picture of it..my paintings are slow going now because.. I never new how to draw.. This summer I picked up a pencil and am learning to draw.. I love animals and trees.. The trees I can draw.. Animals are different.. Always live life to the edge!!! Just like painting to the edge don’t leave it have done.. Dawnmarie
Spelling is slow for me too.. Its supposed to read.. Life.. Like painting to the edge… Don’t leave it half done.. You got this girl!! Dawnmarie
Wow! 2 years and look at you! amazing! Thanks for the pep talk, I need it!
I am a 72 year old German grandmother of nine. Always wanting to be able to paint but told myself I had no talent to do such things. A friend told me “talent is overrated” and I should give it a try. From somebody thinking that I barely could draw a stick figure, I am doing alright. Bill just critiqued one of my paintings.
I am content with being an amateur. Looking forward learning with you.
What an example you are! Thank you for your courage. I remember your piece in the critique – you are gifted!
To learn how to ride a horse you need to keep putting your bum in the saddle. Keep putting yourself in front of a canvas or sketch book and you’ll develop into the unique artist you are. You’ve got one of the best teachers around. The motto of our special forces in the UK is “he who dares wins” Go for it girl and enjoy every mistake for next time you’ll be better.? Enjoy the ride. Pete
Pete – I think I may adopt your motto for the UK – maybe change it for me personally to “She who dares wins”. Thank you!
I have no formal training other than instructional art dvds and books. I started painting years ago and got caught up in my work/career. I let fear get in the way of trying to expand my horizons. No longer. The last five years I have progressively worked on my art, bringing back what I had learned and expanding upon it. I started taking chances and looking at the world closer. Using my artist eye and memory. Recently, I have tried stepping further out of the box and bring more impressionism into my work. What I am trying to say in a long winded way is go for it, be you, find your path as you learn the fundamentals needed to paint and believe me your style will come through. One of the most rewarding things in painting is when they recognize the painting not only for the quality but for the signature style that will be you. I have no doubt that yo will do well. Best wishes and Merry Christmas. Lee
Thank you Lee! I have to tell you we framed up the card and it’s sitting in my dinning room right now. It will probably go to the studio for it’s permanent home. But I love the simplicity you use to make a wonderful scene! Thank you!
As a old (89) newbee at painting I would love to have this training made available to us right from the get go.
Yes Douglas! You and many others. I’m impressed with those who have stuck with it and continued in the community! I could never do it! Great job!
Kristie, I started 8 years ago. I traveled a lot with work and just did not have time. Then I wrote my self out of a job and decided to take lessons from the local gallery. My daughter had painted there while a teen and I used to love the smell-of the paint and what the kids came up with. I have had some flops and some great ones. I had dabbled with pastels in high school, but I wanted to hold a brush and push the paint around like a conductor. What I found was it was my calmer, my realm. I get into a zone and I can be painting hours and not realize. I’ve surpassed my teacher and decided to find artists that I could learn from to be better.i now continue my class but for the companionship and the wonderful critiques. You may wNt to find a group of artists that you can paint with. It is exhilarating and I continue to learn from them.
(This is Kristie) That’s a great idea Debra. I love learning in a group – I get so inspired by the people around me!
The first week of November, I invited an elderly friend to lunch. When I arrived at her house to pick her up, she was wearing a sweater with bright red cardinals on it, so I told her that I had started painting a pair of cardinals a few days earlier. She said, “Oh, cardinals are my favorite!” After lunch, I showed her a photo of the in-progress painting. When she saw it, she started crying, and said, “My son!” I waited for her to regain her composure, then asked her to tell me about her son. Then she poured out the story of the death of her 3-day-old baby boy many decades ago, and of her great sorrow because she had never even gotten to hold him after giving birth. She had not been a believer in God at the time, but in her deep grief, she had cried to Him asking for assurance that her baby was in heaven. Almost immediately, a bright red cardinal showed up in her yard, and she received it as an answer to her prayer. Throughout the years whenever she experienced a feeling of sorrow and loss about her son, inevitably cardinals would show up and she would be comforted. She said, “Linda, the reason I’m wearing this sweater today is because I’ve been missing my baby boy, and and once again God has comforted me — with your cardinals!!” A week later, I was blessed to deliver a full size print of my cardinal painting to her. That I got to be a participant in what God did for this precious woman was an amazing, joyous experience!
What an amazing experience Linda and a privilege to be a part of something sacred like that! Thank you for sharing your story with us. Heavenly Father loves His children and watches over us – and usually answers our prayers by sending someone like you!
You are the first artist that I have had contact with that says their art is a gift from God. I do not take credit for any work created through me. The Holy Spirit guides my hand, and when I totally tuned-in, sometimes the paintings don’t turn out too bad. Thank you for sharing. I want to download and print the painting to take to show to our church.
What a beautiful expression of your faith. Thank you for sharing your deepest thoughts and feelings this Christmas season and may God continue to do good works through your talent and your art.
Thank you so much, Bill & Co, for this very thorough interview of such an inspiring artist ! I would strongly recommend JG’s blog, you’ll learn little tidbits here and there about every aspect of art making, and pretty soon you’ll have amassed a wealth of information, it will transform your way of thinking about gathering knowledge and artistic skill, how to go about building your learning experience, and acquiring new habits. JG’s work and career path demonstrate that representational art is alive and thriving again. He doesn’t hide how much work it takes, but really is it that painful if that’s what you love doing, what you enjoy most ? Happy Painting and Happy New Year everyone !
I agree wholeheartedly Dominique! James is an artist’s artist – and he is very generous with sharing insights and methods for creating stronger paintings and growing our skills. He really explores the depths of direct painting.
Remarkable insight from such a versatile talented artist! Thanks for sharing.
Thank you. So inspiring and inciteful.
You’re welcome! We are so grateful James took time out of his demanding schedule to share with our community.
Although we are into the new year, my heart is still ‘full’ from the celebration of Christmas … the peace and holiness of the season. When I looked at your painting of the blessed family today, I was once again filled with a feeling of peace and quiet. Many blessings to you and your family …
Thanks Bill! I started following James Gurney’s posts earlier this summer. Enjoyed the interview!! Happy New Year!
I have been a fan of his work since the early 90’s and was very excited to share this interview with everyone! Hope you get some great snow paintings done this winter Spike – this cold spell should be good for something.
What a phenomenal interview! Talk about value!? If I were a young art student again, I would print this article/interview out (with permission of course) and plaster copies in my studio,on my easel,next to the toilet – everywhere. Mr. Gurney has kept a childlike view and enthusiasm of the world around him, and when the world he wanted didn’t exist, he reimagined it, in his own, remarkable way. I’m sure it helped that he was fortunate enough to come from a background of “means” and creative thinkers, which I can only say that I did not (I joined the Army National Guard and became an Army Illustrator with the tuition assistance program = 4 yr degree, private art school, $0 student debt!). I’m in the same age range of James, so I understand where he’s coming from, from still owning (and using) an erasing template to using digital processes as a means to an end in traditional painting. Unfortunately the “pilot light” of enthusiasm for painting has flickered and all but has gone out for me. So few outlets for displaying representational art and the illustration market has become increasingly digital based. Subject for a future article?
Gurney does a fantastic service to representational painters in showing us how to look at the world with imagination and exploration! I’m sorry to hear about your flickering enthusiasm – maybe following James’ example and getting outside to paint and trying new approaches will fuel that flame again. There’s a lot of power in the doing of something – especially in the arts! Don’t give up – get creative – look up painters and illustrators on Patreon and see some of the fun ways artists are supporting their creative pursuits.
Interesting. I cannot recall any of my paintings that have ended at the edges, especially the landscapes and seascapes. They all tell a small part of a big story that has no boundaries.
The difference between painting and illustration is not so difficult to understand. You could start with the difference between a painting and a picture if you like. A picture specifically tells a story, that you could actually easily put into words. The illustrative nature if you will. It describes a so called ‘reality’. A painting doesn’t necessarily negate the illustrative nature, but it’s real value transcends the story line, and enters into an aesthetic space where the artist is expressing other aspects of the medium. What Mr. Gurney calls ‘making a painting look like paint.’ Sounds simple, but, how many Van Gogh’s are there? Cezannes? How many Monets? How many Sisleys and Gauguins? They certainly make paiontings that look like paint. They also express themselves as the medium in a way that very few are able.
Another quote to consider:
The artist must scorn all judgment that is not based on an intelligent observation of character.HE MUST BEWARE OF THE LITERARY SPIRIT which so often causes a painting to deviate from its true path – the concrete study of nature – to lose itself all too long in intangible speculations. (Paul Cezanne)
Also this idea that you were somehow doing ‘plein air’ before they called it that?? Where do you get that from?
Wow wow wow What a generous piece of teaching this is,
what a generous teacher you are. Thank you, Bill. xoxox
Thank you Sara, that makes my day! I love to hear that these posts are helping other artists.
Dear Bill thank you for an awesome inspiring video. I came across your website after my first hand surgery. Have had another one but am healing well and cannot wait to start painting again. Will definitely check in with you again and follow your painting courses.
Just lovely Bill! I love all the colors and really love when I get to see skies like that myself! Always takes my breath away at the gifts God gives us!
Thank you Diane – I hope you are getting plenty of painting in!
Very helpful, Bill, Thank you for sharing like this.
You are very welcome Earl! I love to see your beautiful paintings in the FB group. Happy painting.
What an awesome painting! A feast for the eyes – Love it
Thank you Donna, I really appreciate your kind words!
Thank you, Bill. I so enjoy your videos. As a beginner…started doing this in retirement with no training ‘painter’….I just love watching you work. I also love the Christian joy and spirit that shines through your work.
Thank you so much Teresa! Don’t worry too much about trainers – this is a golden age for learning with so many resources available – you will painting like a pro in no time. Christian joy is a perfect phrase – to me the Gospel of Christ is a Gospel of joy – I’m glad to hear that the joy it brings me comes through in my paintings!
Thank you Bill for this great demo. I can’t wait to do it “with you”.
Thank you Lord for giving us such great inspiration.
You’re welcome Ursula – thank you for the uplifting comment!
Thank you for the terrific lesson. What is the music playing in the background? I loved it too!
You’re welcome Danna! The music is from YouTube – part of the Creator Studio – I’m grateful for that because buying the license for music can get a bit pricey. I have to search through a bit to find music that seems to fit, so I’m glad to hear you liked it.
Where can I find this course you are referring to? I want to learn to paint.
Hi Margaret, the beginner’s course is in the creation stage. Since it is basically Kristie, David and I, and with none of us being professional internet gurus, it can take a while for us to complete a new course. My son David (while working full time for the Air Force) and my wife Kristie take care of most of the internet work to give me more time to concentrate on painting, video editing, blog posts, webinars and answering comments as often as possible, but that alone keeps me working long hours 6 days a week. We will definitely keep you updated on the course progress.
gracias por el aporte para acrecentar el conocimiento de tu prójimo.
You’re welcome Liliana!
Hi Kristen and Bill, and everyone else,
I was wondering if this “painting to the edge” also applies to top and bottom edges. I see a lot of contemporary artists leaving the bottom somewhat unfinished, intentionally in most cases, perhaps haphazdly in the case of a painting intended as a study which turned out to be so good that it can stand as a completed, finished work. Sometimes, thouh, I deplore the unfinished look as the painting would be so much more convincing if equal care had been given to the overall appearance. Perhaps it’s just my own biais for neatness that gets in the way here, and I should learn to appreciate the ‘unfinished’ look, which btw appears to be sort of trendy at times.
Best
Thanks for your fantastic work
There is sooo much to learn here. I will read it again and again. I try to use hard edges to make the painting work for me. Lots of experimenting to do! Good artists to study! Thank you!
;Awesome! Now I have to find some quiet time to wrap my head around this. Thank you!
You’re welcome Harriet, and having seen your paintings you already have a strong grasp on edges. Just like the rest of us, it’s just a matter of tweaking as we go and adding to our skills and mastery. Isn’t it fantastic to know that we get to keep having fun learning more and more about this magical thing called painting!
Thank you for the lesson on hard edges and value. As a new painter and self taught, I can appreciate the approach you have shown me.
You’re welcome Lisa! We are all eventually self taught if we want to progress, and yet we are all connected to and dependent on each other. Glad you enjoyed it.
I love Childe Hassams painting and the brushstrokes that he uses seem to come naturally to me. I like to let edges and colors mingle and flow and yet when you stand back the whole thing works. I can’t describe how I do it, it is more about seeing subtle shifts in color and seeing tone against tone and light against dark. You must not lose concentration.Keep your brushstrokes free and loose, do not tighten up too much.Keep your attention on the subject and your attention sharp.Do not lose sight of the whole painting as you work on detail.Keep coming back to the painting as a whole.
I am an acrylic painter so I have a difficult time with soft edges. Any suggestions are helpful. Love the lessons, blogs, and Bill’s passion and talent.
We have a Blank Canvas interview coming soon with an amazing acrylic painter named Ezra Tucker who produces acrylic paintings that have the translucence and edges of oil. I believe he will have some helpful hints for you Julie.
I would like to know more about this interview as I too use acrylic paints and am fascinated by this article on edges. Thank you.
is there an additive to make acrylic stay moist a bit longer so that it can be msnipulated afterwards… delay its drying time? learned a lot from these examples. thanks. ed
I don’t know Ed. From what I gained doing research for Ezra’s interview he only uses water during the painting, but he does list a polymer satin varnish as a medium – now whether he uses that varnish during the painting process or only to seal it at the end, I’m not sure. I think he works fairly quickly, so the dry time may not hinder him much.
Since this blog is from Jan 2018, where can I find the interview with Ezra about the Acrylic painting.
I enjoyed reading about the edges ,learned a lot and a lot more i=to absorb. Thanks Bill.
You might try a line of Golden Acrylic Paints, called Open. They do not dry as quickly and allow for more softening of edges. Also, there is an extender you could try by Golden it is called “Matte Medium.”
A terrific instructive article. I didn’t understand the credit card example. Was this to show the basic structure underneath? I know an artist who scrapes to get down to essentials.
Thank you Joyce! Quang Ho says he uses the card to make the painting a bit wild – he loves the way the colors and values intermix. He does it so lightly he only pulls bits of paint in a way that you can see clearly the structure underneath – not much has been altered except that bits of color have been dragged across the painting. In this case it’s not so much to get down to the essentials as it is to beat up the more careful, pristine work that has been done – to help him remember not to get too attached or curtail creativity and experimentation, and to explore textures and surprises.
I’d like to understand the section on shadows on the flowers better.
Thank you Bill! This is so interesting, never stop learning!
You’re welcome Ruth! I agree – onward and upward in our quest to improve and grow.
Great article!!! Wonderful insights and examples on a tough subject to wrap my head around!!! Thank you!
So glad you liked it – it is a fun area to play with in our work – values and edges overlap so much in their effect that it becomes one of the foundations for successful realism. Besides that, the possibilities are endless for tweaking our paintings and seeing where edges and values can take us – as long as we don’t let caution cause us to put up road blocks.
I am like a child discovering art for the first time, at almost 70 years of age. I’ve had a successful career, which was all consuming. I still work, but choose now to pursue the things I am running out of time to do. That which stirs me is how awesome the spirit of life is. I am laughed at sometimes at work because I go to great lengths to rescue a bee that is trapped on the window pane, or a grasshopper that is exposed on the cement and could become a morsel to the birds…. I think I am more aware at this age, which reaffirms the fact that every age has its advantages. With that awareness, and the work involved to learn to paint, I will continue to enjoy.
I am with you all the way Cheryl – I too go to great lengths to save a trapped bee! Kindness as a way of life tends to increase our happiness and optimism I believe. Painting will go a long way in helping you continue to be stirred by the awesome spirit of life.
Awesome! I know so much if that is true. Been an artist my whole life and I am 83. I teach art to Seniors and they blossom in class from the. Creative process but also from the social aspects. Art is keeping us all Young!!!
No doubt Yvonne – teaching art is also a fantastic way to stay young and keep our minds active!
Love this! And yes, my parents still hang my pictures up, but on the walls instead of the fridge. 🙂
Aren’t parents a wonderful thing Jennifer! My parents have also been a great source of encouragement for me.
Wow I never really thought about it that way. I tend to struggle with hard edges in my paintings complaining to myself about not being able to draw a straight line, thanks to you I am learning I dont have too! In your “Lovingly Yours” painting I see exactly what you mean..I would struggle to make every thing the same and loose all depth and contrast. Yes I will be reading this again and again I find it hard to concentrate in my 60+ years but you are an excellent teacher . I so enjoy seeing your painting “Voice of Rushing Waters”. You are so patient! I thank you for sharing your knowledge.
Thank you Bonnie for for your wonderful comment! 60+ is still young and painting often will help keep your mind lively. Edges are a lifetime pursuit – be patient with yourself and when you feel like some edges aren’t working in a painting just play with them and experiment and in no time you will be creating masterful edges.
enjoyed this article…food for thought. Mmmm…
Great to hear Kathe – edges are definitely one of the more fun parts of painting!
Thank you so much EZRA..WOW your work show’s the heighths that can be reached.. Thank you.. Dawn
Ezra’s work is definitely inspiring Dawn! Makes me want to keep reaching higher.
Hello! I’ve just “discovered” you and am in love with your paintings of animals – I too love to paint animals but my main interest is domestic farm animals – the eyes have always been the most important area in my way of thinking for animals and people – I like your warm colors and the way you leave things up to us the viewer – you said all the things I’ve wanted to say myself –
Rembrandt had the same idea about eyes Peggy and his work seems to be timeless in its appeal. Eyes convey so much life and personality. I’m glad you enjoyed Ezra’s work and ideas.
Wow that’s says it all to when l,m looking at your art work. You are the man your work is really terrific l always look for wild life artist and in you l have found one thank you for showing us your work . I agree with all that you are saying about the subjects you paint ..lm hoping that when l go to your web site maybe just maybe l will see that you are giving lessons on how to do it 5ank once again
Sincerely
J. GOGUEN
Hi Jennie, on Ezra’s website you will find an article from International Artist that covers some of his techniques and painting practices that you might find helpful.
Truly amazing giftedness, Ezra! What a wonderful way to enhace the world with this beautiful artwork of God’s creatures!
I agree Nancy – the paintings are stunning!
Ezra, Thank you for sharing your talent with the world, for developing it so fully and blessing others with each piece’s extraordinary beauty.
I have been a fan of wildlife art since I was in high school starting with Carl Runguis and Manfred Shatz. Ezra’s work is no doubt among the more powerful wildlife paintings.
How wonderful to see this quality of paintings! The interview was engaging and very enlightening. Thank you for sharing it.
You’re welcome Judy – I’m so glad to hear you enjoyed the interview. We are grateful Ezra took time from his packed schedule to share with our community.
Thank you Ezra for your inspiration and insight. I am in hospital atm so your interview was even better reading for me. I agree with all you say. I am an artist…mainly watercolour but I love colour and experimenting with it and techniques. Your paintings are amazing and something for us to aspire to be. Thank you.
Sorry to hear you are in the hospital Caroline – I hope it is not serious. I’m happy the interview gave you something uplifting to focus on. Experimenting with color and fun techniques is part of the great joy of being artists. I am praying you are back at the experimenting easel soon!
I know this is true! I have experienced the feeling of failure but I have also known the felling of exuberance when I completed a painting to my satisfaction and to hear comments of other people when looking at it!! There is such a feeling of accomplishment being able to paint a picture that brings myself and others joy! Especially something I never thought possible! Thank God for placing gifts in us that we have no idea that we have! I really believe anyone can paint with some instruction. The most important to remember when painting or creating is to not compare yourself with others because you are the only YOU God made!!!
Well said Alice – I agree wholeheartedly! I believe that once we understand the underlying principles of art any of us can become proficient craftsman and create wonderful things. Our desire with all that we do here with Master Oil Painting is to teach correct principles so others can become accomplished and unique painters – not to teach others to paint like me, but to hopefully exceed what I am doing and contribute to the wonderful variety that makes the art world so engaging.
Everything I see, I see as a painting. I love nature and most everything. I am all over the place about what I want to paint! I just joined your group and cannot wait to start to paint!! I need to learn most everything! I don’t know anything about composition or color mixing. I just love trying! I don’t think I will ever run out of ideas of what to paint because God has set the standard pretty high when it comes to creating,color,composition. Of course, He is the Master Painter!!
Thank you for the encouragement. I’m starting out and trying different mediums. Only thing missing is my confidence. Trying to trade my ‘real job for my art. I can do it… I just have to get cracking!
Great sentiments Alice! I feel the same way, I will never run out of things to paint – we are surrounded with so much beauty – God has richly blessed us. I hope you find plenty of useful information here that will help you progress in your journey.
Ezra does a great job of showing us how our confidence grows as we work and improve our skills. I have full confidence that as you put your heart and might into it you will achieve your goals in art. I started with pastels and feel they greatly helped in my understanding of color. Experimenting with different media is a fantastic way to learn what resonates with you and what you will most enjoy. Have fun with it Nancy!
I have only recently begun offering pieces for sale. There is a local salon that earns a small commission from any painting sold. Thus far, I have hung my paintings with the sides painted, whether they be standard canvases or gallery-wrapped, simply because I figure the buyer may have a certain style in mind for framing to match their decor. I leave that chore to them once they have purchased a piece, and that also means I can offer the art work at a lesser price, since I don’t have to cover cost of framing. Obviously, I’m a small-time seller, and some galleries may require that works be framed, but until I reach that point, I will continue to offer my works *unframed* and let the buyer later choose what suits them best. Great post here! Thanks for sharing!
Great idea to get your work out there Mike. It’s a magical thing when we see others enjoy what we’ve done. John Horejs at the Xanadu Gallery paints his work on gallery-wrap canvases and does very well in a high end collector environment. It’s often good to experiment, but you might find that you never need to worry about framing your work.
Thanks for the tips, they are a big help. I’m currently doing small 5 X 7 paintings on Masonite hard board. What would you (or anyone) suggest to frame them?
That’s a tough one Val because it depends so much on your work and your market. If you are painting mainly for family and friends and cost is a concern then any of the hobby stores or art stores like Dick Blick will have frames that work. If you are painting to sell in galleries I would explore the many frame shops around the country – all of them ship. You will see many of them advertise in the art magazines like Plein Air Magazine. Ten Plus and JFM Frames have some nice frames at reasonable prices in 5×7 sizes – and there are many more companies like them.
I use Franken frames online. I bought a gun to insert the points and do cover backs with craft paper. I am not in galleries but the shows I have been juried into have required this full framing including back covered with their i.d. labels attached.
Sounds like you do it right Elizabeth. I have a tendency to take my paintings in and out of frames so much, covering the back was too much of an inconvenience. Fortunately, the shows I have been in haven’t been picky about that sort of thing. In the late 80’s I used to use finishing nails through the stretcher strips to attach my canvases to the frames – a helpful art director at the Quast Gallery taught me to use clips so I wouldn’t accidentally damage my paintings. Clips have worked out wonderfully for me.
Great blog post, Bill. Thank you for the tips on what you’ve given in regards to framing. I’ve been ordering my frames from Guerilla Painter and the Lamar series .https://www.amazon.com/dp/B01N6P6CHR/ref=asc_df_B01N6P6CHR5362922/?tag=hyprod-20&creative=395033&creativeASIN=B01N6P6CHR&linkCode=df0&hvadid=191947865676&hvpos=1o1&hvnetw=g&hvrand=7881500121305743059&hvpone=&hvptwo=&hvqmt=&hvdev=c&hvdvcmdl=&hvlocint=&hvlocphy=9017451&hvtargid=pla-301109680779 They are expensive but I don’t frame all my work as I use Gallery Wrapped canvases sometimes. I’ve ordered from other big discount places and have been sorely disappointed by mismatched corners, etc. I have found that the pure black does exactly what you said, brings the color vibrancy down, so I usually get the gold inset frames.
Thank you Terre for sharing that with us. It’s nice to have plenty of resources when it comes to purchasing frames. When you mentioned the frame being expensive I noticed the Lamar frames are about $35 for an 8×10 – at the Oil Painters of America Show I purchased an 8×10 frame for $115 – and that was at a show discount. Price is all relative – sort of like that $2000 gold leaf frame. Hopefully we can recoup the cost when we sell our work. It can make an artist a bit anxious though when we need 30 frames for a show!
Sometimes what I do, I purchase a frame that I find at garage sales or thrift shops that looks great & in good condition, then I find out what I would like to paint using that frame. It’s easier for me that way.
That’s an excellent idea Carol. I know plenty of professional artists who build their own frames so they can match them exactly to the painting – T Allen Lawson does that I believe. Others send their paintings to a framer and let the framer design a frame to match the painting. I may start doing that myself. Starting with the frame in mind and painting a subject or in a specific color harmony to match the frame sounds like it would work out beautifully.
Thank you so much for this useful information. I just finished volunteering at my art council’s big annual show, and even though our prospectus sets out detailed instructions on how to properly wire a painting, we had several entries some in that were improperly prepared. One lady’s wire was so thin (for a heavy, large painting) that, when hung, the wire broke and her frame was damaged. Another artist had her canvas taped to the back of the frame with duct tape. This information is badly needed and I will share it with our members.
Thank you for the helpful information regarding frames. I used to buy garage sale frames but never was able to use them for one reason or another. Generally I don’t frame my acrylic paintings and use the gallery wrapped canvas for larger paintings and offer them for sale unframed. Everyone has different tastes and the younger crowd (judging by my married granddaughter & her friends like to hang them without frames. Smaller canvas panels for daily paintings usually sell unframed as well. Good information for purchasing hanging wire also. Appreciate you and Kristie so much! Thanks!!
I read and reread every post. Sorry for another “food related” comparison, but it (alone with other article of your) needs to be consumed, digested, absorbed…. And transformed into our own practical vision. The last part is the hardest. Thank you for helping us!!! Truly appreciate!
Wow, thank you for those kind thoughts Olga, I’m so grateful to hear you enjoy the posts! And feel free to keep the food comparisons coming – I love food.
Bill…what an inspiring article. I love how you articulate your beliefs about God, beauty, and art. I am a new student in your 6 Week course and am excited to get started. I have played with acrylics and watercolors for years but wanted to try oils. I’m glad you are my teacher. I too am one of those souls wanting for the other shoe to drop with one more MRI (two brain surgeries so far) and I too lost my brother at a young age (25). You are so right. None of us know how long we will remain here but I too believe our relationships continue into life everlasting. Thank you for being you.
Thank you Linda for your kind words and sharing your struggles – you are an inspiration! You will be in my prayers for a successful conclusion to your surgeries and your continuing to explore painting and the beauties of this earth.
PS…I meant “waiting” for the other shoe to drop, not “wanting” for the other shoe to drop. LOL
How wonderfully inspiring. Although new to painting, I can see that sometimes it’s a “release” or a “rest” from the troubles f the day. Recently my son’s best friend, who is fighting leukemia, was married. After the wedding, I came back to my empty canvas and a mystery occurred. Actually, it was the hand of God. Out of my worry and grief, which are opposite of faith, I was the vessel that painted them a special masterpiece with their initials carved into a tree (I’ll post the painting). It made them cry. It makes me happy.
I love to hear stories like yours Pamela! Art has the potential to bring incredible light and beauty to an often downtrodden world. What an exciting thing to be a part of lifting someone’s heart like you did.
I am going through chemo for my second bout with breast cancer. I want to paint again, but I can’t seem to get to it. However, after reading others’ experiences, I will set up my easel, and just play, but having fun too. Thank you all!
I am so sorry for your situation Karen, we have had many friends endure the painful treatment for cancer like yours – I will definitely say a prayer for you. I hope your easel and art help you smile often even through such a tough ordeal.
Would just like to thank you for being you. You are gifted in many ways not just as an artist, thank you for sharing your life, your faith and your words Bill it touches many hearts and souls.
Bill, I am not a member of your club but receive you mails. Off course I am also an oil painter but lives in South Africa. Because of numbers
of ill health incidents I started reading natural health sites in a very serious manners as the usual medicinal industry has not been able
to assist in an effective manner. After approximately 3000 hours of reading, it seems I only now, might have found solutions to my own situation.
I ventured on this path because I am also one of serious faith. This faith has lead me to to developing the conviction that, as creation is perfect and we are part of it, there must be perfect answers to any and every problem we as humans can come across and that these
problems are always for the better for us when we look back, once we are a little further down the road of life.
Because of all this, I have now become to understand the terrible effects so many people suffer because of the conditions we live in today,
regarding all the pollution on every level of our lives, even on the spiritual level. I have also become aware of the immense uphill battle the
proponents of natural health, both in terms of treatment and prevention, are experiencing in their efforts to make the general population aware of all the relevant factors.
It has thus come to me that one of the most effective manners in which this message( I believe it to be mostly Godly as most of the peoples involved are free giving and have loving attitudes – even towards strangers) can and should be spread, must be via the arts. The philosophies, insights and correctional approaches of these proponents of natural heath, can be spread far and wide if the themes and ideas
and concepts were, for example, included in competitions ?
I have read that your family is also pro this approach, so I thought in the light of your article, I should mention this to you. There is really just to
much mayhem in terms of health today, for us to just ignore it. Most of it is totally unnecessary and definitely not of Gods making.
Thanks Bill for sharing your process in creating this wonderful painting of Colorado’s Spanish Peaks! As I grew up in southeastern Colorado, these Peaks always were part of my horizon to the west. Your thoughts and actions of completing this fabulous piece of art provides me with a foundation to enhance my own. Thank you and Happy Painting!!
Thanks Spike – those peaks definitely get my painting fingers raring to go! I would love sometime in the near future to go out on location and paint the Peaks with you!
Bill this instruction is so helpful for me! I am particularly learning from what you share when you cahange something with why you changed it Thank you so much!
I’m so glad to hear that my struggles are helpful Nancy! Sometimes it gets pretty complicated to articulate why I do some things, but I believe it’s good for me too because it forces me to dig deep and try to simplify what might otherwise be complicated which in turn helps me simplify my thinking and focus better while I paint. Then again, sometimes trying to think about what to say while I paint breaks the flow of creativity and doesn’t work out too well. That’s the challenge of painting and what makes it so wonderful!
Gracias por tu explicacion me sirvió mucho
You’re welcome Monica!
Thanks for the step by step of the work behind the peak painting. To answer the question, I think keeping things simple and remembering what the subject is you are painting so you don’t get sidetracked and clutter the iimage to the degree it makes one tired just looking at it.
I agree Denise! The foreground bothers me more the longer I look at it. It gives me a great reason to play with some glazing and see if it is worth keeping any of it or if I should scrape it down and simplify completely. I love from the lake up, so I will just experiment a bit. The nice thing about the rocky area is that the rocks and bushes turned out well (if they were in a different painting), and part of the reason I put so much stuff in there, is because it gives our members who watch the video some good info about creating rocks and sagebrush.
His classes are always inspiring.Thanks
Thank you Aurora, that makes my day! By the way, love your name – that’s why one of our daughters is named Aurora – she’s a twin to Eve – we thought the combination of the “Life” and the “Light” was fun.
Thanks for explaining why, instead of just doing it. It certainly helps me to retain the information to use in my own work.
I’m so glad to hear that the tutorials are helping Connie! Explaining ‘why’ is not easy – so much feels intuitive that when I began creating these courses I had to really ponder as I painted to understand why I was making specific decisions and what the underlying principle was – and then figuring out how to explain it in a simple or understandable way was really challenging. That has been good for me as well.
Great tutorial, Bill! I really enjoy these short, simplified videos. Now, I’m looking forward to watching the longer version and painting this scene again!
Great to hear Linda, thank you! I am also looking forward to painting a larger version and tackling simplifying the foreground in a way that is engaging while letting the mountains be the star of the show.
What a comfort to read that you still scrape off paint. Or is this a relief? I suppose it’s true everyone still is learning. I love the step by step information. Thanks Bill.
Oh yeah Pamela, I think scraping off bad painting decisions is part of the process of growth. When we have it all figured out it means we are following a formula and that just wouldn’t be any fun for me at all!
I really enjoyed reading your thought process in creating this painting. Love the statement “ants lined up in an imaginary straight line “ building a bridge for the viewer to cross the lake.
Bill thanks for the blog.
Hah, I’m so glad that resonated with someone Venkatarao – it made me smile when I wrote it! I wish those descriptive lines just flowed off my tongue everyday, but I will certainly take them when they come.
As a novice painter I find your openness about the trials and setbacks of the process very useful. Thanks for letting us see the bumps and warts – it’s a great learning experience.
That is great to hear Suzan! Kristie (my wife) says I’m very transparent. I figure it’s the best way to learn and teach – and that’s my favorite part of life – constant progress forward and hopefully leaving the world better for having been here.
Yesterday Judith T left a comment that we replied to on Facebook before we saw it here. The comment got inadvertently deleted so I am replacing it from the email that recently came through with it – we want everyone to know that we never delete comments, positive or negative (except spam):
Comment:
I have left several inquiries about drying time.with no response… so this time i am screaming it…. Please add comments on drying time between steps. I am going crazy trying to understand and make my painting work. thanks…. feeling helpless here.
Here is the answer I left on Facebook yesterday for anyone else who might have this question:
Hi Judith, great question. I have always been an alla prima painter which just means I paint wet into wet. Many artists like to let one layer of paint dry before they work on a new layer so that the under layer doesn’t mix with and muddle the next layer. If you are struggling with colors mixing together too much, you might want to wait a few days between layers to let the paint dry a bit. For me, I have painted alla prima for so long I can lay a new layer of paint on an older one even when wet without disrupting or mixing the two layers together, unless I want the two layers to mix. It takes some practice, but really it comes down to personal preference. There are pros and cons to both ways of working. As a monthly member next week we will be putting part 1 of Misty Mountain on the site and I discuss both ways of working because the painting has lots of thick paint for the first couple days, but then a month goes by before I get to finish the painting and everything is dry. That video should be very helpful for you. On my larger paintings that take several days or longer to finish I often have to work on dry layers, but I prefer to work with the paint wet because of the edges I can make.
Hi Judith, yesterday on Facebook was the first I saw of your question – when I first created the Master Course I never envisioned that it would prove to be so popular and that our community would grow so quickly and so large. We have just myself, Kristie my wife, and David our son working to keep up with all the demands and sometimes emails or comments slip past us – we feel very sorry when we miss something because our whole focus is on serving and helping artists in whatever way we can. Please be patient with us – none of us are professional internet gurus – we are figuring it out as we go. Fortunately we have an amazing and uplifting community who are incredibly supportive. Thank you everyone for your kindness and encouragement.
Excellent read Bill – thank you so much for sharing! Thank you also for creating this community, all the encouragement and especially the inspiration you provide. Kay from North Carolina
I’m so glad to hear you enjoyed the post and our community Kay – our community of artists is amazing!
This guide is invaluable and I thank you so much. I have tried to print rather that take extensive notes. Unfortunately the print icon only brings up a page 1 of 1. Any suggestions ? Even when using the ctrl and p only page 1 of 1 is available.
Thank you Bill for helping us! Ruth from Tennessee
You’re welcome Ruth!
Have you ever used oleogel as a medium. If you read what some artists have written, they use it throughout the painting pricess. Oiling out. Varnishing. Everything but putting it on their morning toast!
And THANK YOU so much for information that is invaluable! I am moving into oil from watercolor and pastel, though I still love them both.
Great question Avery – I have not used it because most mediums are more of a hassle than a help for me, but the Oleogel sounds like it can be pretty helpful for some artists, especially as a glaze vehicle if they use thin layers of paint and have trouble with the paint becoming too matte looking. I would love to see a painting after a decade or two kept half in the light and half blocked so we can see the long term affects. The reports by artists are positive, but even professional artists are notorious for trusting manufacturers and not really knowing if a product is good long term – not a criticism against artists – we only have one life and I would definitely rather be painting than researching materials, especially since reliable information is tough to come by. My suggestion – if you are painting and trying to achieve a specific effect, like transparency in a hue, and can’t get what you want with straight paint from the tube, then buy a tube of Oleogel and give it a try. I find that keeping things simple for me works better, but I am open to anything that will help me improve the quality of my work. I am a bit leery of adding more linseed oil to my paint (which is what Oleogel is mostly made of with some very fine silica) because it yellows and I don’t know how that increase in linseed will affect my paint colors over time. For the most part, paint is formulated today with a fairly optimal balance of oil to pigment which is why I mostly use extra walnut oil only in the initial washes, and even then I use it sparingly – just enough to make it more fluid, without getting it soupy.
Thank you so very much. Maybe, I have read too much. Lol. It would seem if I just stick with the tube paint only all will be well. At least with the stability of materials! That leaves my head free to create. You are a generous soul. Bless you!
Thank you so much Bill!
This is exactly what I needed.
Blessings!
Amadou
You’re very welcome Amadou!
For the beginning oil painter, with skills in watercolor and pastel, what is the one book that would give the most help to the use of materials in oil?
Avery, there are a lot of books about materials, but if I had to choose just one it would probably be Alla Prima II: Companion – it is Richard Schmid’s art materials, tools and techniques book that was co-written with Katie Swatland. My hesitation in recommending it is that he paints on lead primed linen which I have a roll of, but do not use because lead primer yellows and priming canvas myself with lead primer is a hassle because it takes months to dry enough to use – he also talks about using turpentine which is highly toxic and which I stay far away from. Turpentine is wonderful to paint with, but horrible for our brains and bodies. Another book I purchased a few weeks ago by Simon Fletcher titled The Painter’s Handbook is better informed than most I have read about pigments and their permanence and he covers well what materials to use and what to avoid – the book covers several other media as well like watercolor and acrylic, but the information is easy to understand and more accurate than most others I am familiar with. James Gurney’s Imaginative Realism is a fantastic resource for out of the ordinary techniques like creating models out of clay and other materials to simulate shadows and reflected light for painting purposes when you don’t have the building/s right in front of you.
What is the most basic book you know for the use/technique of oil materials? I keep reading comments made by artists about fat over lean, mediums, etc….I am not sure i am absorbing as much technique as I am becoming confused. Help!!! And thank you for all you do to offer encouragement for new oil painters.
Hi Avery, I just answered this question for you on the Art Books I Love post before I saw your question here – I thought I should paste the same response here for those who might not see it there:
There are a lot of books about materials, but if I had to choose just one it would probably be Alla Prima II: Companion – it is Richard Schmid’s art materials, tools and techniques book that was co-written with Katie Swatland. My hesitation in recommending it is that he paints on lead primed linen which I have a roll of, but do not use because lead primer yellows (which isn’t really a drawback since the yellowing tends to work with colors more than detract and it will lighten when exposed to light) and priming canvas myself with lead primer is a hassle because it takes months to dry enough to use – he also talks about using turpentine which is highly toxic and which I stay far away from (although I believe most of his references to Turpentine are actually meant to refer to Gamsol mineral spirits – he just says Turpentine out of habit). Turpentine is wonderful to paint with, but horrible for our brains and bodies. Another book I purchased a few weeks ago by Simon Fletcher titled The Painter’s Handbook is better informed than most I have read about pigments and their permanence and he covers well what materials to use and what to avoid – the book covers several other media as well like watercolor and acrylic, but the information is easy to understand and more accurate than most others I am familiar with. James Gurney’s Imaginative Realism is a fantastic resource for out of the ordinary techniques like creating models out of clay and other materials to simulate shadows and reflected light for painting purposes when you don’t have the building/s right in front of you.
Also Avery, the important part to know about fat over lean – don’t use mineral spirit washes on top of other paint, only in the initial stages on a fresh canvas or panel – other than that, if you are using paint straight from the tube without mediums you will not need to worry. If one layer dries and you want to add another, you may want to brush a very thin film of oil like walnut oil on it to bring back any paint that has that sunken look – so your values are correct – but you can paint on top of other oil paint without any worry because it will chemically bond to the previous layer. Never use too much extra oil because the oil needs the pigment – like gravel in cement – to give it strength. That’s the reason I don’t use mediums – I don’t trust that I will keep my mixtures in good ratios – also, I just haven’t found them to make my painting experience better than paint as it comes from the tube!
Thanks Bill! I’m in your 6-week course and you were just trying out some of these products. I love having a list as I can use this list to replace things as needed. You’re the best!
So great to hear Linda! I am generally experimenting, so I will update this post periodically as I learn new things.
Thanks Bill for all of the good info. I bought your 6 week course a few months ago and am looking forward to diving into it in a few weeks. Unfortunately a total knee replacement for my husband and arthroscopic meniscus repair on my knee have prevented me from painting very much for the better part of 2017. But, it’s a new year and a new attitude for me. So…..a trip to care for my mother for a week, then taxes get done and then painting!!!! Hope to join the monthly group soon, also. Again, thank you for all of your guidance and encouragement. Cindy Harris
Yikes Cindy, so sorry to hear about the life struggles – I hope 2018 is a stellar year for you, your family and your painting pursuits!
HI Bill. Thank you for the info. Which outdoor umbrella do you use for Plein Aire
Susan Flanigan
I have two – one I purchased about 20 years ago from an art supply store that does not have the brand listed anywhere on the umbrella – it is about 4 feet in diameter and comes in a black canvas carrying case with a heavy duty clamp for attaching to my easel or a wood handle for holding by hand. The other I bought last fall to help with filming the plein air course – I had gotten out of the habit of using an umbrella because I generally turn my painting and palette so the light source is right on both, rather than shading my painting – especially since even a small gust of wind can cause problems when an umbrella is attached to the easel. The one I just purchased is a photography umbrella and I quickly discovered the post is not strong in even a small breeze – but the umbrella itself is wonderful – it is 7 feet in diameter and diffuses the light beautifully. You can find it here – https://www.amazon.com/gp/product/B00AE1M1G6/ref=oh_aui_detailpage_o09_s01?ie=UTF8&psc=1 – I attach it to a separate tripod with a photography attachment, so it is not convenient for most artists. If I wanted to use a smaller umbrella on a regular basis I would probably buy a simple windproof golf umbrella (http://www.umbrellaheaven.com/product/budget-storm-golf-umbrella-white/) and attach it to a tripod that I could stake into the ground using the Orange Screws listed above and a photography clamp like this – https://www.amazon.com/Neewer-Studio-Practical-Durable-Umbrella/dp/B00QRRVX3I/ref=sr_1_cc_1?s=aps&ie=UTF8&qid=1519930736&sr=1-1-catcorr&keywords=photo+umbrella+clamp. Thank you for asking about umbrellas – I need to add some info to the blog about this because most art umbrellas are overpriced and many don’t know of other alternatives or they think the art umbrellas are ‘special’ for painting. I prefer the light diffusing white to the light blocking art umbrellas.
I AM GLAD TO HEAR YOU WILL START A COURSE FOR BEGINNERS. I WOULD LOVE TO JOIN TOO. BUT I AM 73 YRS OLD, RETIRED, BUT STILL ABLE. I JUST HOPE I CAN AFFORD IT.
Hey Bill. Where does one buy the Eco primer for oil canva?
Pamela, if you click on the words in the blog you will find that they are a link to the website for each product. Click on ‘Ecos Passivating Primer’ and it will go to the site I purchase from.
Thank you for this excellent supply list. I find that I have mot of the items and jut need to purchase a few. Can’t wait until your video course is available on DVD. Best regards, Cat
Glad to hear you’ve got the supplies you need to create some beautiful artwork Cat. We hope to have the DVD’s available soon – will let you know.
Thanks for the framing info. It inspired me to begin and I found 3 useable older frames yesterday! But before framing, what do you recommend for varnish on oil paintings? I had formerly used spray varnish, but YouTube videos seem to favor brushing damar varnish on after 6 months drying time. Or using retouching varnish to be able to varnish after just weeks of drying time. What products do you use or recommend? Thanks again
Just so lovely. All that artistic talent in one family…..Sharing God’s blessings. Thank you!
(This is Kristie) Thank you Teresa! We do love to share!
Very lovely work! I enjoy reading your blogs, from you both. God has richly blessed you. I am inspired.
(This is Kristie) Thank you Jeri! It’s so good to know that you enjoy our blogs!
Your sharing of family and personal talents has moved me to tears.!
Thank you Kristy & Bill for sharing your love of life and your talents.
How beautiful!! We used to have an artist group at church of all kinds of artists, those who painted with abrush, those who painted with words, and those who could tell oral stories to those who played the music. We would paint to the words and then write for a painting, or make music for words and painting. I am saddened that we no longer gather to share our art, but it was a beautiful two years. Thank you for reminding me that words can flow from our artworks and vise-versa!
Kristen you write such beautiful poetry. Bill’s beautiful paintings go along well with the poetry you have put up yoday. Wordsworth is one of my favourites too.
Thank you Bill – I am hoping to change to oil. It’s a process finishing the bulk of ones acrylics. But I have taken the info from your notes and will plod on adding one or two oils at a time.
I am also enjoying your 6week course.
I am mighty slow – that’s all I can say!
There’s nothing wrong with being slow Belinda – it’s not a race, it’s a journey! George Carlson, who’s paintings sell quickly for upwards of $90,000, produces only about 7 a year. He doesn’t seem to be in any hurry. I’m glad to hear the course is helping. Happy Painting Belinda 🙂
Beautiful, inspiring, and makes me smile! Thank you!
Sooo beautifull, both the paintings and the poems, my eyes feasting and my heart filled with joy and my mind drift off to memory lane. Thanks both of you.
I just completed my last chemo treatment for cancer of the lining of the eye and inner eyelid a few days ago. Two years ago I had radiation treatments for the same problem. Fortunately, I started painting before cancer and painting became a passion. I prefer to paint non-objective abstracts and more representational paintings with a western theme. Painting gave me direction, focus and purpose. It allowed me to create and share with others and I was heard through my art. Painting pushed my mind outward and allowed me to learn and problem solve instead of feeling victimized by cancer. Painting gave me a goal, sense of control and feeling of accomplishment. A strong belief in God and my passion for painting have done much to help me face life’s challenges with a smile and new found wisdom. I look forward to participating in the oil painting classes and learning more about each of you. Painting is never really just about art it seems.
Awesome, your words have moved my heart. Thank You!
I just suffer with my husband not only is he a musician but he is also insane. He can be in the studio from 5 am until up to 9 pm and beyond. It isn’t soundproofed so I hear vocal after vocal take, endless guitar parts repeated endlessly and in the five years we have been together this 7 day a week work mentality has been fruitless. Countless songs written and then recorded but no finished product. It’s all in vain! If I so much as disturb him because any time spent away from the studio is a disturbance in his opinion, then I am made to feel like someone completely unworthy of his time and attention.
My artist spouse is sane, but works 70 plus hours a week. every day, every night. Brings in no money. I am sorry your husband is “insane.” That must be particularly hard. Hopefully someone is making an income. Everyone is worthy of respect, compassion and care.
Hi Bill, Thank you so much for the valuable information you share with us. I wanted to let you know that when I click on the link to the ECOS Passivating Primer it goes to ECOS Interior Atmosphere Purifying Primer. When I search their site for Passivating Primer, it says “no results found”. I just wanted to be sure I am looking at the right product that has possibly suffered a name change. lol I do say that the one it takes me to says good for MDF board but sometimes I know when a name change takes place, it will occur with a change in formula.
Thank you for letting me know about that Julie! I happened to go to the site yesterday and saw the same thing. I have not had a chance to research whether the formula is different or not. Maybe they changed the name because ‘Passivating’ is harder to understand for so many. Hopefully everything else is the same or better.
Thank you for breaking down the complexity of your beautiful painting. It helps instill the confidence, that with lots of practice, I may be able to paint quality paintings myself…in time
Thank you Cheryl – I’m a firm believer that anyone who puts in the time and constantly observes what they paint can master their craft. I hope you continue to grow in confidence and have fun learning and painting all along the way.
Lovely!!!…inspiring and relaxing.
I am a monthly member but I forgot how to access the monthly lessons. Will you tell me again?
Hey Betty! Could you shoot me an email so that I can help you get access?
Thank you for this interview, Bill. His work is like Norman Rockwell’s. It tells a story. Just a curiosity I have, though, is there a reason why all of his figurative paintings have an orange cast to them? Is that just a favorite color or perhaps he sees color differently than I do? It was a really though-provoking interview, however.
Awesome pics,will love to learn how to paint!
Inspiring and challenging article ….. just what I needed to hear. Thankyou! Estelle Hudson, South Africa
Hi Bill. I am trying a mixture of about 40./60 Gamsol and stand oil and like the results too. :o).
Many artists like a similar mixture Linda, glad it is working for you! That’s the fun of experimenting – discovering what works for us and makes painting even more enjoyable.
Can you substitute walnut oil for cooking? Is it the same?
Not really Mary. Oils used for painting have characteristics that allow the suspended pigments to harden and dry, while most cooking oils won’t. I would recommend sticking with the oils used as a binder in paints – walnut, poppy seed, linseed or safflower. They are used as binders because they are poly-unsaturated, while store oils are generally mono-unsaturated which don’t dry correctly for painting. If you really want to use a medium then either linseed or walnut are the best choices because they dry with the toughest films. They yellow more than safflower or poppy, but the latter lack linolenic acid (which is why they yellow less and why they form a weaker paint film). You’re better off using paint straight from the tube if possible for many reasons – anything added to the paint can cause longer-term problems.
Does the brand of oil matter? I tried boiled linseed oil from lows, and it made my paint awfully yellow. I feel as though the gamsol linseed oil did not have such a yellow tinge. I really enjoy thinning down my paints yo do glazes. However, I do not care for turpentine or mineral spirits. They claim to be odorless, but the ones I have purchased smelled quite strongly.
Thank you for listening.
I use walnut oil but not for washes. Mineral spirits just washes paint away, I prefer turpentine.
Turpentine creates beautiful oily washes Sharon, but the fumes are so toxic to our bodies I have mostly stayed away from it. One of my professors when I was in art school had to give up oil painting because of turpentine and I have heard many other horror stories from professional artists since then. Make sure you have excellent ventilation when you use it.
As a very inexperienced ‘artist’ ha ha I have used Almond oil with some success. however drying time increases. Also used Rosemary oil which is rather pungent. I will try Safflower oil and Gamsol if I can get them.
Walnut oil is a binder, turpentine is a solvent. A nice painting medium is half oil half solvent. Painting with solvent alone undermines the durability of the paint.
Haven’t heard of using Almond oil Gordon – I would love to hear how well your paintings fare over time.
I studied with Alex Shundi for a couple of years. He recommended a medium of one third linseed oil, one third damar varnish and one third good gum turpentine. He Usedmineral spirits only to clean brushes an palette. The only exceptions were for an initial sketch or toning a canvas when you needed the quick drying.
That mix was a standard for artists for a long time Daisy. Turpentine works beautifully for washes, but I shy away from anything that emits toxic fumes. Damar has been replaced by many with more recent mediums that have less of a tendency to yellow and bloom, but since I don’t use mediums I don’t have any good recommendations otherwise.
I have been using Georgian Paints and they are creamy and have good colour. I see that they are listed here as Student Grade. Should I be replacing them now? Since my paintings are selling (a few) and my work is improving, I would like to use good quality paints. I enjoyed this blog and am finally starting to use my subscription ! I have mostly all large tubes of Georgian Paints. I have been tied up with ‘life’ and haven’t updated my website, but do get out to paint at the Gibson Center with a retired Ontario College of Art professor as a mentor. I am nearing retirement age and would like to do my painting as my income. What are your comments on the Georgian Paints?
Good middle of the line paints for professional use are Winsor and Newton Artist grade and Gamblin oils. I can get W&N at Hobby Lobby and Gamblin at Michaels. Since they both offer 40% off coupons weekly, this has made it affordable for me to use artist grade paints. I, like you, am transitioning into selling my work and want to use quality materials. My favorite paints are Gamblin and Rembrandt but I also find that the W&N artist grade paints are good too and mix well with the Gamblin paints. To get a starting set of Gamblin paints, you may want to purchase a set at Amazon. The sets on there are very reasonable and some of the colors you get would be quite expensive otherwise, like the cadmium yellow light. I like the Gamblin gel medium too, it’s in a blue and white tube and it contains alkyd which makes the paints dry more quickly. Gamsol is a pleasant odorless thinner you may want to try as well.
I would never buy cheap canvases either. Learn to make your own canvases or boards so that they will be archival and save you some money.
The Georgian paints are full of fillers that will yellow and fade over time. I had an instructor who impressed this on viscerally by taking a tube of some yellow icky looking medium gel and putting a big glob of it on a palette. He took a bit of paint and mixed it with the gel. He said this is what you are getting when you buy cheap paints.
I’ve only used Walnut oil in glazing. I’m confused on the wash because isn’t Walnut oil with oil paint a fat?
Yes it is Susan – oils make the paint fat while solvents thin. I have never worried too much about the fat-over-lean conundrum because I paint wet into wet mostly and because I use so little of it for my washes – they are never soupy like a mineral spirit wash. Then again, artists in the past have used soupy oil washes without any cracking issues that might be caused by longer and slower drying times. Fat over lean is much less of a problem when we paint without mediums and complicated processes. If we get too worried about it we would need to take into account the slower and longer drying times of individual pigments like an umber compared to a cadmium – beyond the scope of most artists and generally not necessary at all to concern ourselves with. Most of us will never be in museums (and look at the work that is anyway – created with all kinds of non-archival practices and materials) and the use of reasonable painting practices will last at least our lifetimes and the lifetimes of our collectors. I paint on panels now, but I still have some of my canvas paintings from the early 90’s and even they are holding up incredibly well even though I haven’t been gentle with them. One of them has some paint that is 1/4 inch thick and only two small cracks in some white clouds – and those came from something pushing the painting from the backside when it slipped down a wall. It is definitely a good idea to understand the fat-over-lean principle, but maybe not to over-complicate painting because of it. Have you heard of specific horror stories from someone not following that principle with the use of too much oil early on? I am always interested in info that will help our community.
Hi Bill, I was told by a famous artist on cape cod to try walnut oil so I did and I’ve been very happy with the oil colors staying bright and true.
Great to hear Diane! So far so good for me as well – although it’s only been about 6 years since I stopped using mineral spirits.
Have a question. I have a couple of oil paintings that were done in the late 50’s. I need to clean and put something on them to get the paint that seems to have sunk in in places. What should I use? Not experienced with this so don’t want to ruin them.
I’m not sure either Karen, restoration is a tricky business because there are so many variables that can affect the outcome. You don’t want to use water or soap in any way. If they are historically valuable, you will want to consult or hire a professional. If they are more sentimental or just for decoration you might try cleaning with a duster first and then some mineral spirits or oil like walnut or linseed and wipe gently with a lint-free cloth. Then let it dry for a few weeks and if it looks clean use a varnish like Gamvar to brighten it up.
I’ve been very happy with LaFrame in CA. Here is a link : http://www.laframe.com/LT12G–Custom-Size_p_1664.html
They have a great line of plein aire frames as well as others. I also love their custom frames at almost any size you want. Their shipping is prompt and the products are well protected. I’ve had no damage. My shipments come in by FedEx. I find the prices to be excellent. You can order with or without hardware.
I have been using 50% M. Graham walnut oil and 50% M. Graham Walnut Alkyd mix for my oil paintings. Anyone else?
I tried the galkyd once and couldn’t stand the stickiness and quick dry time Linda. I have heard other artists say they like the M. Graham Alkyd, but they use just a tiny amount so the paint doesn’t get sticky – also some said they do the same thing with the oil and alkyd and it works great.
Good question I painted some in the 1980s and never varnished them, how to clean them now and what to use on them? Well tried twice to comment and selected FB think they both failed……or worked twice. Plus am on FB already in a different window:)
I have not worried myself much about that before Patricia, but I will make a point of researching good cleaning methods.
Hi, I have been using a mix of half walnut oil & half mineral spirits for my initial layer of underpainting, then putting it away & then sticking to my oil paints without anything else. It works well especially when you can finish your whole painting in one sitting. It is important to clean my brush frequently to keep colors clean & avoid picking up the underpainting color & making mud.
Please help me! I am a pastel artist and need a sturdy but light easel to travel with. I am also tall (5’10”) and had to return 2 due to height.
Due to the pastels- I need a tray. Any easel suggestions? Easy to assemble is very important also.
Thanks!!!!
Hi BIll,
I just want to clear up a question that has been driving me nuts. If I use a walnut/paint wash for an initial wash/underpainting, won’t that be breaking the fat over lean rule when I apply the next layer of paint?
Thanks for clearing this up.
Kathy Martinez
Bill, I was there, too! I actually came four days early, did the Kevin McPherson workshop and all the paintouts. Wish I had known you were there. It was my 6th year.
Oh boy, sorry I missed you Terre! Sounds like you know how to take advantage of the opportunity though. Will you be at San Francisco’s convention? What are some of your favorite takeaways from the 6 years of workshops?
Well done Bill! Enjoyed the article. So much to learn and so little time, thank you for sharing your insights and experiences!!
What a great treat it was seeing you, your wife and friends at the Broadmoor show Spike! Thank you again for the beautiful painting and friendship.
Great question Kathy! I rarely think about fat over lean because I paint mostly alla prima and everything mixes as I go. The fat over lean idea is much more important to think about when someone is using something like mineral spirits which reduces the ‘fat’ or oil content of the paints. Since I use straight paint without any medium or mineral spirits through most of my painting it is already fat right out of the tube (although some colors are more fat than others). It is also something to think about when painting over dried layers – some paint, like umber, may possibly crack if scumbled over thick impasto paint. When I use walnut oil for my washes I am using only a small amount so the oil doesn’t fill up the tooth of my primer – that said, at least one historical artist used oil washes that were soupy and his paintings have not had any problems 100 years later. If someone uses ‘lean’ paint over fat the lean paint will crack – I have not had that problem ever that I am aware of.
Lovely!I feel relaxed.
Awesome blog Bill! Thank you for taking the time to explain your technique. I learned very much!!! Can’t wait to give it a go in the ol studio!!
Thank you Emma, your kind words made my day! I’m excited to hear that you’re motivated to paint the sunflowers yourself. They are fun.
Hi Bill, I like it as is! Bonk bonk!!!!! Don’t touch it! Kristie is right, sorry LOL! Seriously, though the contrast between that beautiful lavender sky and the flowers is all I see and the trees are fine as they are, not too distracting but giving it the feeling distance. Love it.
Thanks Jeri! It is so easy to second guess our efforts. Sometimes I’m so intent on getting everything ‘right’ that I overwork and lose the original spontaneity and energy. Thank you for the nudge to leave it alone.
I’m a fan of yours techniques, teaching skills and of course your subject. Every time I see a sunflower I remember the fields in Kansas. You take a simple subject, stir in all kinds of thought processes to improve the experience and I appreciate the thoughts, reasons, and results of a simple but complex painting. Bravo.
Wow, thank you Constance! It’s very encouraging to hear that you are getting something helpful from these posts. I wish I was a faster writer so I could share more often.
Aloha Bill, when you did this painting, did you do a rough sketch or were your ideas for planning and blocking in sections in your head? Do you think and create as you go with this and other paintings you do? It seems that way to me almost like the paint and brushes have a mind of their own a lot of times. I always have a general composition in mind and usually after I’ve chosen the paints, I am in for a usually pleasant surprise.
Enjoyed your post.- Liz from Blue Hawaii
Hi Liz, great question. Many artists love to start with thumbnails or color sketches, but I’m a bit more spontaneous than that. That probably comes in part from my professors in the 80’s who dove right in as well. My preparation is all mental. I analyze what excites me about the scene, look for the dominant light and shadow patterns and colors I find engaging and then I dive right in. Sometimes it gets me into trouble I suppose, but I have more fun this way and I believe there is a stronger energy when I paint that way. We’re all different though, so it’s a good idea to follow our own instincts and what works for us. I do enjoy the happy accidents and ‘pleasant surprises’ that come from that spontaneous approach – and yes, the direction of the painting often does have a mind of it’s own!
Think you made the right decision,for me the trees give a more interesting landscape,think bringing the sky down was also a good choice.A very informative post,Thanks Bill.
Great to hear Steve, thank you! It’s too easy to overthink things – although once in a while a painting does not a slight or major overhaul – the tough part is knowing when to ‘fix’ it and when to leave it alone.
This is the first time I’ve read your whole blog through, and found it very enlightening.
Well thank you Marcia for giving the post a thorough read! Let me know how best we can help and offer engaging information. We are all busy in this world today and I greatly appreciate when others take their time to visit our community and I want to make sure it’s worth the effort.
I love your painting, it has a wonderful feel to it. The colors work well together and it’s just a lovely painting.
Thank you so much Mary, that is very kind and welcomed!
Bill, an absolutely fantastic post! So helpful in so many ways! Thank you for taking the time, for doing the testing, for putting in the clips—all so helpful. I recently started using Rosemary brushes and love them.
Earl Davis
I enjoyed this article so much as I recently was in the position to have to replace some favorite brushes. I have to order supplies via catalog and find it difficult to find my old staples. I have experienced many of the things you have and appreciate the fact I am not the only critic. Loose hair are the worse! I taught a children’s class all year but had to use “sets of brushes” purchased by someone else as the price was right. I ended up having the children using mine. Thanks so much. Maida Piotrowski
No matter how useful a brush may be, when it falls apart while painting it just isn’t worth it. My kids do enjoy my old brushes though – they aren’t quite as picky as me yet. Glad to hear you enjoyed the post Maida!
Thank you Earl – that makes my day! Always grateful to hear that these posts help.
Bill, this post is so informative and awesome! THANK YOU for sharing your knowledge and experience with us! It is so helpful! ????
Wow, thank you Susie for the kind words! I’m relieved the information is resonating with so many – this post took a lot out of us in figuring out how to describe everything so it made sense.
Would you succinctly summarize the brushes you found best for each technique? I thank you in advance..
That’s a great idea Karen. I will make a list of the entire set of brushes and add it to the end of the post in the next couple days.
Bill, thank you for all the information on brushes! I am grateful for all you do to help artists expand their knowledge. Can’t wait to buy Rosemary brushes. I’ve been hearing about them for a year and should break down and buy some. Knowing which ones to buy makes a huge difference. Many thanks!
Sally Booth
Awesome to hear Sally! Right before my first oil painting class in art school I decided to ‘invest’ in some good brushes upfront. I had heard so much about how wonderful and essential sable brushes were for oil painting. So I bought a couple dozen. Sable may have been the gold standard during the renaissance, but they were way too soft for my style of painting. So I now have a bunch of expensive brushes that sit on my shelf and watch me paint with hog bristles.
Thank you for all your hard work in preparing the brush comparisons. You answered so many questions.
You’re welcome Mary. Great to hear you found some useful info from my experiment.
Thanks for this evaluation! I use similar techniques to yours and am rather hard on brushes, so I will try your recommendations.
Can you put up a list of the Rosemary brushes and sizes that you will have them include in your set? The sizes are a little tough to figure out from the article.
Great idea Mike! I told Karen I would make a list of the brushes in the next couple days and add it to the end of the post. I will make sure I add sizes as well. In fact, we emailed Rosemary yesterday to see about getting a kit together to make it simple for everyone. I will post the brushes and sizes for the kit here. A good signature brush will be added as soon as I get to experiment with the brushes I ordered.
I’d love to order the kit!
You bet Sally. Just call Rosemary brushes and tell them you want the brushes Bill Inman recommends. Even if they don’t have the ‘kit’ ready, they have our email with the list that they can reference. Have fun with them! p.s. We put the types and sizes of each in the email – one of each – there are 18 brushes total. There are some brushes like the size 8 & 10 of the Ultimate Long Flat that I like to have 2 or 3 of on hand, but we thought one of each was a good place to start.
Bill,
Thanks for sharing your experiment and findings with us! Really valuable!
You’re welcome Michael! So glad to hear you found it useful.
What an absolutely amazing amount of incredible information!!! Thank you Bill! I am totally awestruck!
Wow Peggy, that certainly puts a smile on my face! Thank you. It was an exhausting endeavor. Discovering why I use each brush and then figuring out how to describe it was something I had not done or thought about in such depth before. There were a lot of things I learned during the process myself. Analyzing why we do things can be quite an enlightening experience on occasion.
Dear Mr. Inman,
I so enjoy your instruction for oil painting artists. However, I am an acrylic user. Might I assume the same Rosemary brushes you have described would be applicable for acrylic ?.
I like to eavesdrop on all your classes but do not purchase as I am a poor old nun who just loves to pray with color. Handicapped and retired at age 85 this form of creativity seems like a participation in Gods own creative gift. Our world is brimming with Gods glory.
Blessings of peace
Sister T
Sounds like you understand the essence of art perfectly Sister Thelma! Definitely, I believe that most of what I teach for oil techniques applies to acrylics as well. Experiment with the techniques and brushes and see what you come up with. I would love to hear about the results of your experiments since I haven’t used acrylics in quite a few years.
Bill: Superb posting!!!!….Thank you.
You are welcome Maria – thank you for the enthusiastic comment!
Absolutely fabulous that you shared all this with us…I am a novice painter and have already got some Rosemary & Co brushes in my collection of brushes..lovely brushes but beware of the turps that you use as it can melt the paint on the brush. Thank you so much
Great to hear Penny! Fortunately my brushes are safe because the walnut oil and Turpenoid Naturals I use are harmless to brushes. You must be using some pretty strong stuff. Hopefully you have great ventilation.
Awesome painting picture. Thanks for Sharing the tip with us for painting.
What an insightful article. Thank you for sharing. Thanks, Bill for bringing these artist into our world.
A fantastic blog post! Thank you so much for so generously sharing this experiment. It really helped me understand why I am not getting the results I want. Cheers
Awesome Joanne! I love to hear things like that. Doing this opened my eyes as well as to why I reached for certain brushes more than others. I did everything subconsciously – I hadn’t actually thought too much about why until I had to explain it for our community.
How exciting to go along this journey with you via your blog! I cannot wait until the next episode.
Thank you Linda for tagging along! It was an amazing trip – Virginia is beautiful.
The North Shore along Lake Superior (from Duluth, Minnesota to Canada) also is a painter’s dream. Superior is the second largest lake in the world, so it rivals oceans in size. Duluth is a large college town and major portal for the shipping industry, and you can paint the massive freighters and various boats on the lake. It has a lot of industry tied to the lake, and buildings with lots of character. The further north you go, the more rugged the terrain and scenery. Waterfalls are everywhere, massive hills, rocky landscapes full of wildlife and wildflowers, and rugged vistas for miles. It has something for every painter. Grand Marais is my personal favorite, high up on the north shore near Canada. It is a very small town with a love for art and artists and is picture perfect. I spent a week there last September and am going again this year in September.
I agree with you Mary Jo! One of my good friends grew up in Duluth and I visited there twice. Saw some incredible waterfalls and woodlands. That would be a fantastic place to paint. Although, not in the winter – I went through high school in Fairbanks, Alaska and they always competed with us for the coldest temps in the country.
Try the Blue Ridge Parkway in North Carolina. Also try the roads less traveled in good old NC. I’m from the western part of the state and even went to college at Appalachian State in Boone, NC (in the mountains). We have absolutely beautiful scenery…barns everywhere….almost around every curve!
Enjoyed your story. Yeah, it rains a lot in the mountains.
I was born in Fayetteville (my dad was a Green Beret) and have wanted to travel out there. Some friends of ours said you could throw seeds out a window and they would grow in that fertile soil. Multiple people have bragged about NC’s beauty – I will definitely make that one of my future painting destinations Rachel!
Easy to check out, easy to read…heck I put to leave
a commment!
Very beateful!
Thank you Marianna!
I once met a very accomplished plein air artist who painted, took a photo of his painting, and then hung the painting as a gift to an unexpecting passer-by! He said he had what he needed to do a studio painting. I appreciate your permission to not think that a plein air painting must be a finished work of art! Helpful. Thank you.
What a great thing to do Kathy! Not sure I’m quite at that point yet, but it is fun to ponder.
Bill, I am noticing that your palette is one of the surfaces of your box of paints.
Am I seeing that right? I don’t want to hear about the deficits of that arrangement
so much as the workability of that arrangement. Thanks
Hi Sara – not sure what you mean by ‘your palette is one of the surfaces of your box of paints’. Could you explain your question with a bit more information or from a different direction for me? Are you asking if my palette is part of my French easel? The palette you see in this post is one that I made out of 1/2 inch oak that unfolds with a shelf on each side – one for my paper towels and walnut oil and one for my brushes. It has a glass surface for painting on. The palette sits on the pull out drawer in the French easel and I keep it secure with eye bolts and a bungee cord that wraps around the back of the easel. Is that what you were looking for?
I also did a plein air painting at the vaaldam yachtclub. My first atempt and I loved it. Was daunting to find the right spot to paint..
Great job Reta in pushing past your fears! That kind of courage pays incredible dividends in the arts. Glad to hear you loved it.
My first attempt at a plein air was in Durango Colorado. I grabbed paints and headed out while my husband was at a work assignment. Remember, this was my FIRST attempt and I had just gotten back into painting after 20 years (thanks to my husband’s encouragement) and needless to say, grabbing ACRYLICS to paint with in the dry, arid, Durango, climate wasn’t the smartest thing to do as they dried almost as soon as I had the paint on my brush. I didn’t know what I was doing, tried to be too detailed, and ended up deciding it was a lesson learned. I think I ended up letting my granddaughter paint over the canvas with a much better version of her 4 year old art. Your plein air blogs are beginning to make me want to try again, but for someone who tends to be on the perfectionist side, that can be a challenge!
That sounds a lot like my first go at outdoor painting Kathy! I drove to a group of pine trees in the woods outside of Fairbanks, Alaska. The watercolors I was using didn’t dry out on me, but I was focusing on the swarms of mosquitoes more than on my painting. Fortunately I had much better experiences later on, especially when I went out with my friend and painting professor, Arlo Coles. One of the strongest benefits to painting outdoors is that it encourages us and helps us learn to ignore much of the fluff, and focus on the essentials, the ‘moment’. I got to see a large painting by Bill Anton yesterday at the Prix de West Art Show – it was a group of cowboys and horses near a campfire – incredible painting! In one of our early Blank Canvas interviews he talked about his first experience painting outdoors after years of professional studio painting and how difficult it was. Now he paints outdoors regularly, loves it and believes it has elevated the quality of his work. Don’t get discouraged – if someone like Bill Anton finds it challenging you know it’s not easy – but if you love the outdoors it’s worth a second (or third, maybe even a fourth) chance.
I just had an idea Kathy – maybe on your next try you could paint a study of a leaf or branch, or a rock. That might help you to not feel overwhelmed at capturing a whole scene in a short time. We often get too rushed when we’re painting plein air and that can distract us from the joy of the experience.
I didn’t even know I was doing plein air early in my hobby. We were sitting on a low wall painting the azaleas below us when a bus load of Japanese arrived and snapped us in front of the vista beyond. My water color ended up in Tokyo I believe!
Hah, that’s fantastic Rosemary. Now you can say your work has been shown around the U.S. and the Far East!
This plein air adventure is captivating, and like all your instruction, Bill, it sinks in slowly over days and weeks to form some complex understanding to exercise later. Having lived in some of the country’s true wonderlands, I relate to the journey you describe with the scenery and elements. Currently I’m on a farm deep into the Ozark Plateau, and must get out into these landscapes around me and try some outdoor works with a open mind and a loose brush. Thank you for the inspiration!
Wow, you made my day Jane! I love to hear that all the effort we put into these posts and videos is helping someone. What an incredible thing that you have gotten to live in so many beautiful places. Someone from another country that follows my YouTube videos told me he loved the one where I painted the river over a period of 2 days because he doesn’t have access to any rivers where he lives. We sure are blessed here in America to be able to travel from one state to another. In the past year I’ve been able to paint waves crashing on the rocks of the California coasts, cliffs in Yosemite, red monoliths in the Garden of the Gods, Blue Ridge mountains and colorful fields in Virginia and a host of other breathtaking scenes. Mostly though, I love to paint the splendid farms, flowers and trees right here in my own neighborhood. Heavenly Father sure has blessed us with a beautiful earth. Hopefully each of us will find the beauty that surrounds us close to home!
I had gone to the top of Mount Timpanogus in November to paint a watercolor. When I arrived at my destination it was raining and snowing. I was five hours from home and I didn’t know when I could return. I decided to paint in my sketch book from the front seat of my car. I was there for about 1 1/2 hours. Soaking up what I was seeing. I caught the moments. I felt the atmosphere. I returned home and painted it in my studio the next day. It is one of the best paintings I have ever done it got me hooked on plein air.
What an awesome story Dawn – you are an inspiration! I love that you didn’t just call it a day and that you gained so much from it. We all need a success like that once in a while to keep us moving up the mountain during our artistic journeys. Your comment about feeling the atmosphere – that’s what it does for me as well – not just seeing, but feeling – that’s a powerful combination.
WOW! I love your work. Impressionism has not been easy for me yet but this video of a field of sunflowers gave me a better understanding of how to accomplish it. I love painting sunflowers and I plan to practice on a painting of this one. I am a new member and this is my first full length video of your work. Although I have seen a few short videos of your art and I have been following you on facebook for some time now. I have always painted more realistic but very interested in impressionism. So I am so glad I finally decided to become a member today. Looking forward to more of your studies.
Fantastic to hear Wilma, thank you! While I was in Colorado this last week painting at the Broadmoor Hotel I decided to paint even looser than usual and had a grand time – reminded me of my earlier days. I go back and forth between lesser and greater detail – the fun thing is having the option depending on how I feel at the moment. I look forward to seeing some of your work and your progression!
Beautiful places..and great photographs!!!. Thank you for sharing.
You’re welcome Maria and thank you for the kind words!
Thanks Bill , for a great interview! I always enjoy these. I really identified with Peters process.
You’re welcome Kathy! Peter’s style and philosophy are after my own heart and I love the enthusiasm and passion he puts into his art and words.
Excellent peterfiore… Almost my work and statements are similar… Kindly visit my GB page ..fauzia Khan art… Many thanks Bill inman
Wow! Best interview to stay motivated and put into words how we must all be feeling while we create. It’s also how i feel when i go to museums and galleries and view pieces that touch me.
I agree Debbie! Makes me want to paint all day every day with gusto. I was at the Prix de West Show at the Western Heritage Art Museum yesterday and felt awe, inspiration and motivation all at the same time.
Thanks, Bill, for the great interview. Peter, I really appreciate your emphasis on the combination of intelligence and emotion in your paintings. Great information!
You’re welcome Kathleen – I am grateful for the generous spirit in the professional artists I know and meet. I am in full accord with Peter when he talks about artists being some of the more informed and intelligent people he knows. Art is tough and requires much more than simple serendipity and relaxed thinking. I believe much of the intelligence of artists stems from our natural curiosity and wonder.
I am mesmerized by your paintings. Your colors are spectacular. I have loved treesall my adult life and have painted many trees. Your trees are alive. I listened carefully at what you had to say. I will try to be more jexpresive in my work. You have touched my soul. Thank you so much. Jeanne Lachance
Wow, so great to hear you were touched and motivated by the interview Jeanne! Peter is a wonderfully articulate and expressive artist in word and paint.
When you can make someone have tears of joy looking at your paintings you know you have dipped your brush into their soul. Thank you so much for sharing.
Thank you Linda for sharing your kind words – I am grateful the interview touched your heart.
So enjoyed this interview, the opportunity to capture a glimpse of Peter’s creative process. Breathtaking body of work. I am inspired!
Awesome to hear Kim! I love to see how other artists work as well. We never know when something we learn will help take our own art to a higher level.
Thank you for this interview! I love to paint both outdoors and in the studio; its nice to hear why other artists prefer studio painting.
I agree Petra! I just got back from painting for several days outside at the Broadmoor in Colorado Springs and loved it. I also look forward to the concentration and focus that come from a quiet studio with stable lighting and weather. I find I paint with a lot more bravura and emotion when I’m out on location because of the changing light and weather and I can then bring that back into the studio to help my paintings have more life to them. That’s why we each need to find what works for us.
Inspirational words. Makes me want to rethink the way I paint. Going to get my camera out and “focus” on a subject that speaks to me. Thanks Peter.
Great idea Ellen. Quang Ho told about going to Virginia for the first time during the fall. He went out to paint and was overwhelmed. So, he put his paints away and just sat there taking it all in and observing the colors and beauty. He also took a lot of photos before he left.
Thank you, loved the interview and your amazing paintings.
Thank you Sher, so glad you enjoyed it!
I was so thrilled to see that one of my favorite painters was featured in your blank canvas interview. Peter Fiore makes beautiful magic in color and subject. Thank you, Bill, for asking spot on questions of Peter. I learned a lot and plan to follow Peter’s advice to paint for myself and paint with experimentation.
So great to hear Margaret! Peter’s use of color is spectacular. I was excited when Peter agreed to share his insights with our community, especially while out observing icebergs.
I am in love! Having always been enamored with trees, I am just stunned by Peter Fiore’s work! I had never heard of h8m, but I want to see more! Thank you, Bill, for introducing us to these magnificent paintings! I will check him out further! You are really expanding my mind.
Wow, that is awesome to hear Judy! That was one of the main reasons we started this series – there are so many incredible artists working today and we want our community to get to know them and learn from their successful career experiences.
Thank you for this interview, Bill.
And thank you, Peter Fiore, for sharing not only your beautiful work but such personal insights with us!
You are welcome Janyce! I’m so glad you enjoyed it.
Very helpful interview, now heading out for a fresh look at the trees in my neighborhood…
Thanks!
No doubt Dave! Makes me want to close up my computer for a few weeks and go exploring – and then come back and paint.
Thanks Peter, at last an artist I can completely agree with, I was beginning to feel I was in my own little isolated bubble. I to don’t want to paint out doors, and accept the usefulness and limitations of photography. The process and trials and tribulations of painting, along with the pure joy of a painting developing into something you connect with. I really appreciated your insite into your work and am truly inspired by your work and cogent thoughts. Many thanks. Big thumbs to Bill for introducing us to your work👍
So glad we found an artist you resonate with Peter! I started painting outdoors in the mid 80’s, but I love being in the studio as well where I can fully focus on the nuances of the work without any distractions. Now you can feel even more confident with your feelings about staying in your studio and not needing to go outside just because someone else says you should. Follow your own instincts.
I really appreciate Peter’s knowledge and his willingness to share his thoughts and methods. I don’t like plein air because I can’t capture what I want in the amount of time I have outside. So, I work with my photos in my studio, and go beyond what is captured in the picture – also throw in some imagination. So, thank you for letting me know I’m not “crazy” to want to paint that way for myself.
Thank you Jody for sharing your thoughts! I believe art is an individual pursuit – we shouldn’t feel pressured to do what someone else says is the ‘right’ way when our heart is guiding us somewhere else. Our community has thousands of artists that are confined to their homes or live in places that limit their options. I paint outdoors because I love it – I also know plenty of professional artists that I admire like Peter who do not paint plein air. Follow your heart and have fun painting.
Peter Fiore is the most amazing painter, teacher and friend, and I feel blessed to have met him and consider him my Mentor, as I have taken his workshops numerous times over the last four years. He is so full of information and inspiration, and I am forever changed after having met him and his wife Barbara, who is also an artist (she makes incredible, whimsical touching sculptures in clay) I am so lucky t have seen his work up close and have just been in awe at times of his masterful personal way of capturing and expressing what he sees and feels. Can’t wait for my next workshop!, and to see this epic new body of work of his take shape!
Thank you Diane – sounds like a great workshop to take! I too am excited to see what magic he makes with the icebergs.
Fantastic words of wisdom Peter, not just on art but also on life! Thank you Bill for the interview. I am so fortunate to have painted with and learned from Peter, and hope to again in the near future!
Another testimonial for Peter’s workshops – thanks Lynn – I will have to see if I can squeeze one into my schedule. Most professional artists I know like to take a workshop with another professional periodically to keep our own art progressing – it’s also fun to talk shop with someone else who wears the painter’s journey battle scars.
Are you using the Bin primer or ECOS air purifying primer?
The Ecos Air Purifying Primer Beth. The Ecos is completely VOC free (no fumes or toxins) and it stays white over time. The panels I covered with the Bin primer two years ago are now yellow and I had to wear a gas mask to apply it. So far I have not found any down sides to the Ecos primer. Every primer has pros and cons, including the lead primer so many professionals use. The main con of the Ecos compared to a lead or oil primer is that it is not as slick for those who want a smooth surface – the ecos is a bit matte so the brush has more drag. Works great for dry brushing though.
Thanks Bill for the help on these. I’ve been looking at purchasing some for a while so I purchased all of the ones you recommended here. After using them for a couple of weeks on a fairly complex oil painting, I find they are better than my Simmons Signet bristle brushes as the tips are not as thick. I like the more chiseled edge. However, the Ultimate no. 10 long flat quickly lost it’s form and has bristles sticking out one side pretty bad. I will not buy that size again. The smaller sizes are great. I particularly like the short flat in the smaller sizes. Haven’t used the 274 or 279’s yet. Will use those on a different type of style next. I do like the softness of those and I think they will work well on edge work. Thanks for all the details on the article. Most helpful.
Wow, you work quickly Jeri – glad the info was helpful. Sorry to hear about the size 10. I use sizes 8, 10 and 12 often and they have all stood up perfectly. I wonder if that’s because I clean only with Turpenoid Naturals which keeps them beautifully conditioned? I haven’t cleaned any of my brushes with soaps in about 15 years. Were you able to figure out what caused the bristles to go wonky like that?
I use Gamsol to clean them first. After that I use Murphy’s oil soap if I’m done with them for more than one day. If I plan on painting the next day, I just clean twice in Gamsol once in the big container and then in a fresh batch in another container so they are cleaned twice before I store them in foil. They last quite well that way. My Signet by Simmons have been really great as far as the durability. But I just think this one could have been a bad brush because the rest are great. I used my Alla Prima book from Schmid to put a piece of cardboard on the number 10 after cleaning it real well and a clothes pin to get the bristles back in shape. That helped it a bunch.
Thank you for taking the time to provide such an informative and helpful post.
You’re very welcome Frank – glad you liked it!
I want to add a resounding ~yes~ to this business of time management
as being essential to having life actually ~wotk for you~. At 77 years,
with most of these tools now incorporated as indispensible habits in
my life, I can still find ways to use my time more carefully and thoughtfully
and productively. Sometime I let the hours roll by, no shape, structure,
or design on them; and I enjoy that so much. But mostly, the days I LOVE,
are those that I have managed with loving care and attention given to
what I value the most.
This post is another piece of great generosity of heart and mind from
Bill Inman. [and I love the suggestion to “buy a few new brushes” on
one of your breaks, or “Watch a training video: yes!”]
Loved your comment Sara! I’m very focused when I work, but David has been teaching me how to organize my priorities much better to accomplish the most important things each day. Sounds like you already have it mastered – you’ve motivated me to do better.
Great article. Thank you! Can’t write much since I’ve got to start managing my time, but I’m grateful you took the time to share this information with us.
Thanks Ann! David and Kristie collaborated on this post and I learned that I have a long way to go to get my time better organized. Now I need to find the time to learn how to use these great tips.
This article is a keeper! I really struggle with my time management. I am way too easily distracted. I will implement some of these strategies starting today!
That seems to be the plight of most artists Jaclyn – too much curiosity about everything. I am striving to implement them as well so I can have more time for painting!
Hi Bill,
What a great article. I liked the rocks, pebbles and sand idea and the mayonnaise video the best – a matter of priorities.
Years ago when my husband and I were running our own business I was lamenting to the Lord one morning – that I had so much to do and could never get everything done. (I think from your writings that you are a Christian and I don’t mean to offend anyone; I am just sharing my heart.)
The Lord told me to ask him every morning for three things to do that day. Then concentrate on getting those three things done during the day. Those three things did not include the obvious like cooking, showering, etc. They were work – business or family – church oriented things.
The day would be spent working on these items. The other items on my to-do list would be put aside and out-of-mind for the day because they were not considered important for the day. When the three items were complete and checked off of my list – it was such a relief and sense of accomplishment.
Now-a-days since retirement (whatever that is) I don’t use this method as much. But whenever I get stuck or feeling overwhelmed, I ask for three items. Sometimes the three items are surprising to me – not something I would ordinarily do. But in the end it always turns out for the better.
Working on just three important items per day simplifies things and gives you a sense of accomplishment when they are done. Try it – you will like it.
Many blessings to you all,
Carol
I love that idea Carol! And yes, we are Christians. The Gospel of Jesus Christ means everything to us.
My thought is – I don’t get offended by someone else’s beliefs, why should they be offended by mine! Our family never pressures anyone into believing like us, but talking about our Savior is like breathing – it’s a part of who we are and why we do what we do.
I had someone write to me once and told me I needed to leave my beliefs out of my business – to him the two didn’t belong together and I would lose sales if I kept it up . I told him I appreciated his email, but would never separate one from the other – even if I lost everything.
It is our beliefs in Jesus Christ that inspire us to teach and share and put so much time into helping others. Otherwise I would probably never teach – I would just paint everyday.
It’s our love for the Savior that helps us love others and in turn have such a desire to serve.
Amen
I was a painter in vietnam, I started painting at the age of 20 and now I am 40 years old, I have a paint shop in vietnam I have dedicated all my youth to the paintings the oil paintings sent to everyone. 20 years of experience a lifetime I painted thousands of paintings for customers. And I advise you to start painting the oil, just put down the pen and paint the picture, just draw and draw the course online you can take the course but one thing that the course online does not have. It’s the emotion, the kissing of an artist and to achieve that you have to draw. So just put it down and paint it first and then practice the technique. You can visit my website to see my products http://tranhphuongnguyen.com
First of all than’s for motivational thought. I am running on same platform since long and worked on many Oil and acrylic paintings. I love art and artist. Your thought is relay help us to boost our knowledge…
Relay a great post to bookmark for time management. In today’s cloud network it quite difficult to manage all task on time but I always try to do better. Your post relay help me to manage my 24 hour schedule.
Love this post. I try to set limits on other people, however I must be fluid with my time. I take care of two people with memory issues. They can’t remember that when I’m in the studio I’m WORKING…DO NOT DISTURB signs are ignored. Love them anyway!
Bill, Thank you sooo much for sharing this!!! This gave me hope for the appreciation of art, and more; your comments, and the pictures that you shared are inspiring and comments thoughtful! Thank you for sharing your insightfulness!
My wife and I have been traveling the seven hours it takes to get from our home in Central Texas to OKC for several years to see this fantastic display of talent. Like you, we are there when the doors open and are the last to leave when the doors are closed. There is just too much to absorb in a day. Quest for the West is on my bucket list. I’ve been to the museum several times, but never for the Quest show.
Awe inspiring works to save and digest again and again. Thanks for sharing this amazing art that exhibits so many styles, and to include your thoughts on each one.
Some of us never get to see these wonderful shows and I am amazed at these wonderful paintings. Thank you so much for sharing. I will look at them again and again!!
Awesome, thanks for sharing. Wish I could see them in person….sigh
My wife and I went to see this show last weekend. You did a great job of hitting the highlights, including insightful commentary.
Thanks so much for sharing these beautiful works. They are inspiring. I have been to Oklahoma City several times. This museum will be a go to place next visit. Thanks again!!!!
Some of America’s greatest artists! Thanks for sharing!
I am speechless!!!
I made a brush roll using some colorful fabric, felt, and a bit of rope to tie it. For extra long brushes, I also have a band of elastic to hold the brushes in place. I could send you a couple of photos.
It will be an exceptional little bit of picture, that may
dictate a lot of issues without resorting to a single word.
He provides the inspiration in the gossips with the old women, sitting inside the street corners, men returning home
from the work and he uses the area Tyneside “Gadgies”
as models as part of his artworks. Whether professionals
or laymen, the most common kinds of decorative elements
opted for are: .
Bill, I am deeply honored that you have selected me for your Blank Canvas interview series. It’s pretty special to be included among such a stellar group of artists. Thank You.
John the honor was all mine! I have admired your paintings since the 90’s and am so thrilled you took the time to share so much with our community. You are a beacon in the art world and an inspiration to many, many artists around the world.
Think the pleasure is ours,Beutiful paintings,and hopefully something I can aspire to.
Thanks, Steve.
thank you for sharing your knowledge in such a wonderful way.
Happy to do so, Rosalind. Glad you liked it.
Thank you, John, for sharing insights into your beautiful paintings and offering tips and advice to those of us still
working to hone our skills. Nature is such an inspiration to me, and I find that the older I get, the more I see the hand
of God in everything around me, and there are so many signs that this beautiful world of ours follows and order and a plan.
The changing seasons, the cycle of life that surrounds me in anything from birds to butterflies, and the sheer beauty of color
in sunrises and sunsets are all reassuring. Thank you for the reminder that there can be such joy in quiet and stillness … and
taking time to escape the hustle and bustle of daily life. Your paintings all seem to have a soulfulness, and that is all the more evident
after reading this interview. Best wishes!
So glad you enjoyed John’s words Mike! That’s one of my great joys as well – seeing God’s hand in the vast beauties and joys of this earth.
I appreciate that very much, Mike. Thanks.
I just saw you comment, Mike. Thanks so much for the kind words.
Thank you so much for this wonderful interview.
Bill, you have a great ability to draw out insights and truths from your interviewee (hope that’s a word).
I will treasure the wisdom given by this great master. I am printing out this interview and hanging it on my studio wall for easy reference.
Thank you both.
Thank you Catherine! Artists like John make it easy because they share so freely what they have learned. I’m grateful you found the interview motivational – I did as well.
Catherine, I’m glad you find the interview helpful and inspiring. Thank you.
I truly enjoyed reading your interview. Thank you Sir for sharing so much with those of us that are not known as professional artist yet. It sure makes me think about how wonderful it would be to get to that stage where I can say I am a professional artist. The information about using a limited pallet I found exceptionally interesting. I will definitely give it a try Thank you again for a very interesting and informative interview.
Glad you enjoyed the interview, Ana. Using a limited palette, as least for while, will really help your understanding of color. I think you’ll be surprised what you learn.
What a wonderful and inspirational interview. Bill you always go the extra mile to give us more helpful information.
Thank you so much.
Bill asked some good questions, Ursula. That’s the key. Glad you liked the interview.
I am a photographer, writer, editor, and musician–not a painter–but love entering the art world of masterly painters such as John Pototschnik. He has been my favorite the past few years. Every time I see one of his works, I am stopped in my tracks and think, Oh my, oh my! I am transported to a childhood memory, whether delightful or melancholy, or lifted to a higher perspective, and always sense the depth and honesty in his works. Usually I am inspired and exult in the Lord Jesus, who made it all, and I breathe deeply for a moment. I wonder if my mansion in heaven will be near John’s. If so, I will be quite interested in seeing how he paints the heavenly scenery. Thank you for this wonderful interview.
Hendle, I am humbled and so appreciative of your comments. You have expressed so eloquently what I would think most artists hope for their work. As you would know from the creative work you do, it’s very special when others are smitten by our form of communication. It continually amazes me how God takes all the frustrations and struggles we go through when creating these works, and then allows those very works to bless folks on the other end. You have blessed me today. Thank You.
Such generosity in presenting and sharing your life-long experiences. A tremendous amount of time and thought went into this production. I will refer to it often. Thank you.
Glad you appreciate it, Judith. Thank you.
Could you please list the size of all brushes mentioned. What size is the long Rosemary…or do you use more than 1 size in that brush?
Thx
Thank you, John for a fascinating view into the journey of your artist career as well as practical insights. I like that you lean not to either plein air painting or work from photos but instead that the heart and spirit of the subject be brought out for the power of the art to capture the viewer. Your faith is well noted, and spills out from your work. I will try the limited palette at your suggestion, as well as painting in the shade while outdoors. Such lovely paintings and ideas to ponder for time to come.
Sincerely appreciate your comments, Jane. Glad you found the interview helpful. If you give the limited palette a serious try, you’re going to be surprised. I wish you well with that.
Thank you so much. I have been ordering Rosemary brushes for some time now and really like them.
Love the look of your Masterworks frames! When you frame your paintings yourself, how do you back them? And how attach them to the frame? Do you do plein air competitions with the better frames?
Great questions Joan. I’ve just started framing regularly with Master Works in the past few months, and that conversation with John was last month at a plein air event at the Broadmoor for the gallery artists. Taking my sunflower painting in one of Master Works frames to leave at the gallery is what spurred the conversation about framing. John and the directors all loved the frame – in fact Jamie, one of the directors just made an order from them based on my showing them how beautifully crafted they are. I still have some Omega frames here (more than 20 of them), but I will probably use them for gifts to friends and family – not sure yet. I do know I will be slowly transitioning out the frames on the paintings that are in the galleries right now. As far as attaching them and what I do to the back, since I paint on panels I don’t need to protect the back and I use clips screwed to the frame that hold the painting in. I have not made the back look fancy before, but I may need to think about that as well. And, yes, if I do plein air or other events I will be using quality frames like the ones from Master Works.
This has been so helpful.
I’ve never framed my art I’ve always used cradled boards and painted the sides. The real reason being the cost of frames and thinking that painting the sides is good enough. With a great piece of art a frame can really make it look even better, my next move is to head down to a framer.
Thank you for a great article.
Bill, this was very helpful, do you do anything to the back of the painting frame after you have painting mounted? Also one of the reasons I like your membership so much, is all the extra informant you give us. So so good…….
Luckily, my husband makes solid wood frames for me when I need them ( he has a professional framing tool which takes up a lot of space in our garage, along with his other wood working items.) I’ve sold a few paintings and done many for friends and family so, he does some basic frames, not the fancy ones. It’s nice to know about masterwork if there ever comes a time I want a fancy frame!
I absolutely agree that the frame is an extension of how one feels about their work. I felt it but never put it to words! Thanks for the affirmation!
So glad yiu posted this, I want to do art, but am distracted by household and work responsibilities…. “chores first then play”. For 2 yrs been working on Art Instruction School lessons. Ive learned alot, but time is running out to finish by Dec 2018. Your post is encouraging.
Oh my. So much to take in!! Not sure I could manage all of the white under paint. Have used a small pallet knife for texture and loosen up my ridged style. Spent most of yesterday looking at the sites offered the monthly members. Am enjoying the adventure soooo much. Thank you.
In your workshops, Are you touching students art to show for example to show the brushstrokes? If Yes? Can students sell it or put in the art show?
These tutorials are so much help. Thank you.
You’re welcome Janne – I’m so glad to hear that!
This is wonderful. I never knew how to capture a waterfall. Thanks so much.
Happy Painting,
Doris
You’re welcome Doris! I love waterfalls. They are so powerful and majestic. A truly fun painting subject.
I absolutely need to get up into the mountains here in Colorado and try my hand at a plein air painting. I need to work on being more “loose” and I know this will help me. Fall is just around the corner and I need to get out and take advantage. Time to build up my courage….Thanks for the wonderful tips and explanations of your progress through a painting!
No doubt Kathy! Colorado is an incredibly beautiful place – there is so much variety. I am anxious myself for another plein air fall trip in the mountains and aspen groves of Colorado. Plein air or painting from life is so helpful for gaining a greater sense of atmosphere and the subtle nuances of light and shadow that photography doesn’t quite capture.
gosh you are such a good painter thankyou for sharing
Thank you Margaret, that makes my day!
Thanks for sharing all that info. Just painted two plein air paintings today 👍
Wow, way to go Diane! I have come to treasure the enhanced focus we can get from studio painting and the in-depth sense of reality and life we get from outdoor painting. It’s a powerful combination.
Hi I paint in watercolor but your tips of under painting ,mixing,composition,all your tips work with watercolor.Painting plain air in watercolor is my thing but your tips help a lot thank you Joe
That’s fantastic to hear Joe! I did a lot of watercolor and pastel painting early in my career and art school. It’s been quite a while though since I’ve used anything except oils. I think about pulling out my watercolors often – I’ll have to do that soon. I actually used some old oil painting bristle brushes in my watercolor paintings for textural paint strokes and atmospheric effects. I’m so glad to hear that the principles and tips in these posts are useful across mediums.
Bill, love the colors in this painting. I am trying to get looser with my painting, I find that the hardest thing for me. How important is the orange underpainting? What would it have looked like if you had done just a basic off white with a tint, under painting, and addd the colors as you went?
He is so lucky to have you. I wish all artists could have someone as understanding and supportive as you by their side.
Just a beautiful artist, and it sounds like a wonderfully focused individual! Loved her interview!!!
I enjoyed your interview with Susan. Her answers were sweet and simple. An inspiration for sure. Jan c
I was inspired by her simplistic approach to her marketing and her life. I hadn’t tried social media, wasn’t sure that was the way to go but will set it up. I haven’t kept on my website, my life is too busy and I take heart in her comments on keeping a simpler lifestyle. Thank you.
Thank you so much! As a someone “just getting started” after over 20 years of not doing any kind of art I’m encouraged. I love to see what others do and being online is a great tool. I love the way you capture people, their expressions, their dress. That’s a future goal of mine, but….baby steps.
You might like David Leffel’s work too. He works in low tones. He has had several books out over the years, and you can find his work on-line of course. Some of his work is kind of – what do I mean kind of — is depressed looking, but some of them are really nice portraits. I am like you in just getting going back into trying art again, I hope you don’t mind me suggesting his work. He also does some really mysterious looking still life’s. Have fun.
Truly a masterful painting. Thanks for sharing your journey.
What beautiful frames! I have always found it tricky as well. Taste differs between buyers, even if they agree to like your art! I find there is a big difference in taste between the US and Europe (I am in the UK) and as I’d like to sell to both it is hard to find something that caters for all. But the answer, I suppose, must always lie with the art work. The art work will decide which frame will best suit it. So my own vision for the painting is what leads my choice. But I do keep the ‘taste thing’ in the back of my mind. Just a little bit.
Susan Lyon’s work is just incredibly lovely…. every thing she does! For many years I have admired her beautiful art and will hope to continue admiring and enjoying her amazing gift for many more years to come.
Thank you, Susan, for sharing your generous and gracious time with us.
Sincerely,
Peggy Ramsey
thank you for your keen insight. I like the fact that some of your work looks old masters – beautiful!
I love your idea of a custom-made palette for the French easel. I may make one a bit smaller and lighter…Great article!
Your explanation of using design rules complement my style. I break rules each time I paint, and as long as I, the artist, like my interpretation of my subject matter, then I am OK with the result. If I have to paint or design according to strict rules, then painting is no longer fun. My bet is most artists design to their own desires. Thanks for being a hero in my eyes Bill. Happy Painting!!
Great post Bill. I remember Stape harping and harping on ” design, design, design”. Its hard sometimes to remember we are not copying nature ( or a photo) but rather our task is to make a pleasing painting- which means designing it. Good to be reminded that these things really do matter ….
Oh my gosh- thank you for this article. I had become completely frustrated while reading about composition because, without examples demonstrating the discussion, I wasn’t able to make sense of it all. This is EXACTLY what I needed. I hope you realize what an excellent TEACHER you are in addition to being an excellent artist. Thank you Thank you!!
Lately I’ve been so confused about temperature in my paintings. Outdoors–is that cool light [blueish from the sky]?–or warm light [yellow/ orangish from the sun]? Does that leaf have sunlight on it?–and doesn’t it also have sky light when it’s turned up? I’ll see warm paintings [like a street in Italy] with cool blue/ purple shadows–is that just pushing the atmospheric color? Most plein aire paintings are under cool light [and even in studio 6500K?] which should indicate warm shadows, but I see more done with cool shadows. Any advice? Also, Ultramarine Blue–cool or warm? You seem to indicate that it is warm, but I’ve always thought of it as cool [Alaska]? and blue-green as warm [Florida]. The color wheel doesn’t really seem to answer that either. Any advice? Help please.
Great advice, wonderful thoughts for painting and for life! Congratulations on your Mudder!
I have done one mud hustler and it was so much fun. Glad your kids signed you up, you have a beautiful family!
I just read your article to my husband, thanking him for his input in my art work and for watching a Drawing DVD from Great Courses. By the way, your selection of purchased DVDs should be in every artist’s library. Incidentally, my husband and his late wife filmed Scott Powers and Dan Gerhertz and has fond memories of all the artist they filmed and he had hands on training from filming, editing and marketing. Your choices are in my top ten along with Morgan Weistling and JoAnn Peralta. I too enjoy Pride de West. It is one thing to see pictures of the paintings they are shipping there, but to see them in person, will take your breath away (actually, you just stop breathing momentarily). I am sharing your article with my painting group. I enjoy your paintings very much and can tell, you’ve been down the road in your Tough Madder Painting experience.
Learning to work together as team is so important, building a community is amazing. I’ve only been with this group it seems a short time, yet the impact has been significant. I am broadening my perspective by experiencing so many views and journeys of the artists as they post their work, comments and concerns. It is helpful to have a constructive forum where you feel free to experiment with your art and expand your abilities in ways not considered before. It’s amazing the friendships built with the ongoing discussions . Thank you
So inspiring, thankyou.
Thanks for this zBill! Though I am in a wheelchair now I used to do allot of different things with exercise. Now i am lucky to have a local program for people with MS to do modified exercise. I hope to continue my artistic development and your email postings , especially this one inspire me to get going for the coming winter season. The blessing of a longterm relationship is that one is not alone but never the less one is separate in a wheelchair certainly but such is life. Thanks again for your inspiration!
I’ve noticed that figurative work can take a Landscape and add that life element that brings you further into the painting story. How do I approach figurative work in Landscape showing correct movement?
Simplicity is essential Lee, especially if the figure/s is small relative to the size of the painting.
The reason for simplicity is that trying to fit in too much detail often has the opposite effect of realism because we don’t see all that detail with a glance. We usually see that kind of detail in a photograph only. If we sat and scrutinized what was in front of us we might catch many of those details, but does the average person do that?
Simplifying detail and softening edges will create a feeling of realism. If you look at the best painters of figures in landscapes their work borders on too little detail rather than the other direction. Look at James Reynolds cowboys or Richard Schmid’s figurative landscapes (although Richard said in one of his videos that in his earlier days he would have been tempted to put a figure in it to clarify the center of interest – something he no longer does).
I don’t add figures unless it is a commission or I need something to suggest scale, like Edgar Payne’s Indian on horseback at the base of a massive rock monolith.
Even with the commission piece I did of the young boy and his Golden Retriever the brush strokes are kept to a minimum with one color or value suggesting a plane change. I didn’t get finicky.
I will email you a pic of that commission painting.
I hope that helps Lee
I am interested in all aspects of com,color, value etc.
very Helpful!
Bill, love your work….but, not having your experience or trained eye, I loved the original versions of these equally as much as the changed versions to make them “a success”. Not sure what constitutes a “successful” painting. Does it go back to rules, or isn’t beauty still in the eye of the beholder? Thank you for the e-mails and sharing your insights.
Thanks Bill. Very helpful post.
Lynn
Thanks very much! Enjoyed seeing the paintings and the different design composition solutions.Think your advice can help me as i create my own art.
Sincerely,
Colleen M.
Thank you Bill- I don’t do oils but acrylics and I know your guidance should also work well.
I commented earlier but apparently forgot to actually hit “post”.😲
This is a great lesson. Really, the thing I see most often is folks painting the photo instead of designing a painting. I remember a Stapleton Kearns quote – ” It is not WHAT a painting is about, but rather HOW it is about that matters”. You illustrated that beautifully with your version of the hiking trail scene- by both adding saturation and designing the elements to fit your concept , you added drama and excitement. And still created a sense of place. Very good lesson. Thanks.
Thank you for showing us your thought process as you look at your work over time and make changes. I tend to be too literal when looking at a photo and need to give myself more freedom to deviate and change. Thanks for explaining!
When do you use transparent colors and opaque colors?
Thanks Bill for sharing your favorite with us. I really appreciate seeing the art and knowing a little about why you chose to include it in your blog,I have only been oil painting for 2 years and feel I have so much to learn. My painting coach is Chuck Larivey and I feel so lucky to be able to study under such a talent.
Thank you so much for showing me all this, they are all super.
This is the only way for me to see all these paintings
Again thank you so much
Laura
Thanks for sharing, Bill.
What a lovely show; I am glad you got to attend.
What gorgeous work. It gives us all something to strive for.
Many blessings to you and your family,
Carol
Beautiful Painting. I love your style–reminds me of Richard Schmid’s work. Your colors are always so fresh and clean. Thanks so much for sharing this.
Thank you Gail, that is very kind! I love playing with color. I also love Schmid’s paintings – first saw his work in Southwest Art I think back in ’89 and became a true fan of his use of color.
You made me cry so you know you touched my soul with color. That my friend is ART! Sometimes something
simple is what a person needs. Thank you for sharing your gift.
Wow Linda, that makes my day! This was a fun painting. I love how beautiful and rich Heavenly Father made the earth for us to enjoy.
Hi
Just saw the Cherry Blossom painting, so pretty. I want to ask if you allowed the paint to dry between the red oxide and the sky? I would seem muddy if blended together
Lyn
Hi Lyn,
Great question!
I like to paint alla prima and wet-into-wet as much as possible so the brushstrokes’ edges can blend and flow together when I want them to. Working with thick paint for several years taught me how to paint one layer of paint on top of another without picking up the color underneath. Usually, the only time that happens is when I intentionally work the colors together more vigorously and pull the under-color into the next layer.
So, no, I did not let any layer dry before moving on to the next layer. This painting was completed in one continuous 2-3 hour session.
The full video showing my process will be in the Membership at the end of this month.
This article was very inspirational to me. I appreciate Cyrus sharing his story with us! His work reflects his training as he described it. His work is amazing and I believe reflects his great passion for the subjects he paints!!
Thank you Bill. There is a misconception floating around the community that thinking about what you are going to paint is not necessary. You have cleared this up beautifully.
I so appreciate, as a foundational educator, that thinking and planning, about what you want to say or the feeling you want to give to the viewer, in a painting is very important.
Dear Bill
Thanks for introducing Cyrous, such a talented artist. Indeed I am a bit happy because he is from my country. His works are so beautiful.
Reza
Thank you so much for sharing this interview. I’m amazed at the variety of his subjects; all completed masterfully with just the right amount of detail that allows the viewer to fill in the rest and completes the story. His style of painting fits my eye perfectly. Fabulous work!
Cyrus,
Your paintings are so beautiful and full of life. Your personal expression of color is a wonder. You reveal your passion for your skill with every painting. Thank you for sharing.
Thank you Cyrus and Bill for your experience and incredibly beautiful paintings. You push me to pursue continued improvement in my own painting.
Wow !!! Great Painting
This was a very inspiring article. The way you capture light and shadows is wonderful. Especially liked your 2 of Capistrano.
What type of pallet do you use. Is it a drawing table?
You might find this helpful: https://www.masteroilpainting.com/art-painting-palette-table/
I made a wet Palette. Try finding a shallow square lidded container. Wet some layers of kitchen roll and place in the bottom of the container. Place a layer of greaseproof paper (slightly dampened) on to the top of the kitchen paper and use that as your palette. When you have finished painting simply replace the lid and your paints will remain wet for weeks.
Thanks for introducing Cyrous.
These paintings are so beautiful!
Thank you for this interview. Great questions and such good answers.
I’v always admired Cyrous’s work.
Cyrus, I know many from your home country as well as the States have been so inspired by your wonderful works of art. I know master artists who claim that their work will never portray the skill and knowledge that you have. You are truly a Master Artist! Thank you so much for sharing your art and thoughts with us!
What a great article. Encouraging and challenging.
Thank you Bill
Thank you Ursula, I’m so glad to hear you found it helpful!
I am a “Jack of All Trades….” and didn’t find painting untiI I retired several years ago. As a hobby I took lessons in drawing, water colour and later tried water based oils. I managed to produce a few acceptable paintings and became fascinated. Struggling with modern technology I found you. Now I have the time and the passion to learn but not the years! I am 95. However Bill I am grateful to you and the Almighty. I look forward to every Blog from Blanc Canvas and continue to enjoy being a Member and paint. I also feel I have found a new friend. Thank you so much.
Wow, I am honored to be a part of your art journey Rosemary! Thank you for the kind words and I am so glad to hear that what we do here has been a joy to you. I’m grateful to be your friend as well.
Thank you for these helpful points at developing as an artist. I will print them up and have the reminders readily available in my studio. I also enjoyed seeing the various artist’s work, including how you have evolved in your art.
At the risk of appearing nit picky I noticed that all the artists you chose were males. I’m guessing this may have been happenstance, but, thought I would ask you about it. I know, traditionally, there have been more well known male artists.
Thank you,
Shirley
No risk at all Shirley – that’s a perfectly legitimate observation!
There are several female artists I admire, these in this blog post were simply artists that came immediately to mind who’s paintings sell readily.
If you look at our Blank Canvas series you will notice that Bonnie Marris was one of the first. I wish she had come to mind because she is a very popular artist with collectors. I have loved her paintings since the late 80’s. Camille Przewodek, Sherrie McGraw, JoeAnna Arnett, Carrie Ballantyne, Carolyn Anderson, Jenness Cortez, Kathleen Dunphy, Laura Robb, Katie O’Hagan, – all highly successful and wonderful artists. We recently did a Blank Canvas interview with Susan Lyon as well. Two of my favorite artists growing up were Mary Cassatt and Berthe Morisot – seeing Little Girl in a Blue Armchair was one of the highlights of my trip to the National Gallery of Art.
Unfortunately most of the coffee table books are still written about male artists. I have a couple books on Mary Cassatt, but most of my art books were written by or about male artists. The world is changing and more and more is being written about female artists, especially contemporary ones, but it is still a slow and biased situation.
Sorry for omitting female artists. I study the work of many, but I’m still not as familiar with most as I am with those male artists I have admired for 20 or 30 years.
It sounds like a blog post devoted to some of the outstanding female artists’ paintings that I study or follow would be a fun topic.
Let me know if you have any you would love to see us interview or write about as well.
thanks
Thank you Bill for all your videos, information and tips.
This idea may be helpful for some artists:
I use a glass palette for my oil paints. When I am finished painting, I have another piece of glass with weather stripping along the sides that I lay on top of my paints, this raises the glass above the paint keeping a small air space. The weather stripping helps to seal the paint and keeps the paints from drying out. Sometimes I add clove oil, the glass cover seals in the clove oil fumes.
I have also used this method with acrylic paints only adding a wet sponge under the glass for added moisture.
I have found it helps to extend the life of the paints.
Thanks for posting this great info. Gamblin also offers a better selection of transparent color, ie Sap Green, in my opinion.
Wonderfully written and insightful blog. My husband Alan has been my best friend, my first line person for art critique, and most of all my greatest support when I need to hear you are doing good and getting better. I am my harshest critic. It’s a joy to see such a supportive faith based couple who model values along with learning. Thank you.
What an amazing offering you have provided us.
Once again, you astonish me with your generosity.
xoxoxo
Thank you, Bill, for an inspiring treatise on composition. I struggle with composition and feel that you have captured a lot of useful information that I will try out in my next paintings and exercises. It was just what I needed to make my paintings more coherent and interesting. BTW, I love your paintings and style.
Positively a most remarkable article. Bill, you have a God given talent to teach art with words. Fantastic and best teacher! Thank you for taking the time to teach us!
THANK YOU! This article was the best explanation of composition concepts that I have ever read! Your explanation was an easy read and your examples backing up your explanation made it so easy to understand.
gosh, what a goldmine of information you have provided here!
Thank you very much from a VERY amateur artist.
Very informative…thank you…..love something on still life shadows painted from imagination…
Bill, thank you for this tutorial. I had to really study it, but I finally grasped the concept. Thank you for that!
You’re very welcome Judy. I’m glad the concept opened up for you. I look back at some of my older paintings and wish I had paid more attention to consistency with my light source and shadows. I was often too caught up in the fun of painting.
So glad you enjoyed it Anne. I will see what I can do about still life shadows. I haven’t painted a still life in about 30 years, but maybe I can teach using some of the old masters’ works.
Thank you, Bill…I recently completed a still life entirely from imagination as opposed to my normal practice, and had to use my best guesses as to angles and length of cast shadows….
Thank you Bill for this precise information, even though I paint without calculating everything precisely your information makes a lot of sense and would appif you gave us more on this subject. Thanks
*I appreciate your website & e-mails, and your fantastic courses.
That’s wonderful to hear Rose Marie! I love knowing that what we do is helpful. I will certainly pursue this topic more in the future.
Really instructive recap. Thank You for the reminder with illustrations.
So glad you liked it Renate – hope you’re having fun with your own paintings!
Would love more information on perspective, shadows, vanishing points etc. I am currently teaching myself this through online classes, videos and any reading material I can get my hands on.
Super Cathy – that’s the kind of feedback I love. Never sure what other artists need since it’s been more than 30 years since I was in school. It’s amazing how much information is online today – not all of it is useful, but there is a lot of great instruction available that wasn’t around when I was getting started.
Thank you! Very educational for a novice like me!
You’re welcome Sharon. We all started out as novices. I still study like I’m a novice because I want to soak up all the understanding I can. Have fun with your journey!
I found this to be most helpful and would love to see you develop a blog about shadows of geometric shapes. Your explanations and examples are always so clear and helpful. Thanks for your great lessons and blogs.
Great to hear Katherine! That’s very heartening to know that what I teach comes across clearly. Some concepts are tough to simplify and share. I have to ponder and study a long time to figure out why I think and do some of what I do as an artist. I greatly depend on prayer!
Thank you so much for sharing this information, Bill. I would love to see more like this.
Good to hear Patricia! I’m glad this resonated with so many artists. I will definitely do more in future posts.
These blogs are very helpful!
Glad to hear it Earl. I hope you are getting to paint a lot these days. It was fun to see your grandkids following in your plein air footsteps!
Thank you. I realize I’ve been keeping my shadows parallel to each other! Ah-dah!
Hah, I love when something sheds light to help out our paintings Kathy! When I looked back at my older paintings I cringed to see how often I ignored this principle.
That was fascinating! Thank you for your clear, concise explanations!
You’re very welcome Chris! So glad you enjoyed it.
I am so happy to see this info on calculating shadow length. It’s always been a
problem for me. RIGHT ON !
Margie Callas
Always happy to know the blogs help out Margie! It was sure nice to refresh my own memory of how it works.
I am new at painting and appreciate different styles and techniques … I have lots to learn!!!
Nice study. Pat Stephens
One of my friends loves to do art, so she probably wants to frame some of her greatest works. It was helpful when you mentioned that frames have trends as well, such as linen. These tips could really help my friend choose the best frames for her art, so thank you for sharing them.
What a perfectly beautiful tribute, Kristie, to the love you and Bill are so fortunate to share.
If I may I’d like to point out to 2 things that drew my attention.
1) In Monet’s Poppy Field with the giant asparagus floating in the middle, you say ” the painting was done partially on location and in the field.” Isn’t location and in the field the same thing ? + Looks to me like the asparagus-tree is sectioned in the middle, which gives me the feeling that this painting wasn’t finished when it left his studio.
2) In Fantin-Latour, the reason the frame seems like it ”is jutting out toward the viewer rather than sitting back against the wall” is probably because in Europe frames were often hung higher up, not at eye level, and with the top away from the wall so that when viewed from below you could take in the whole picture. Still, you’re right, there’s a weird perspective distortion going on, unless the room was not square and walls not at 45-degree angle.
For the flowers, could it be possible that the planter was set parallel to the viewer/painter and not to the table ?
Thanks for pointing out these discrepancies. I remember noticing some that no one spoke about, but you’re right these guys were human after all. It makes a good case against perfectionism. I remember Jim Wilcox made a painting for a lodge in the Canadian Rockies and there’s a ”mouse” in his sky, so people point to the mouse, I think JW felt somewhat embarrassed. But it’s an amazing work nonetheless. LOL
Thank you for pointing out the ‘location’ ‘field’ repetition. It was supposed to say ‘studio’ not field. So much for a ‘perfect’ blog post, eh! Oh the woes of being an artist and having our work visible for all the critics to see. Fortunately, most people focus on the beauty more than the problems.
Wonderful insight Bill. Thanks for your excellent teaching and direction!!
Wonderful post. I was in the Laguna Art Museum 2 weeks ago studying the California impressionist and noticed mistakes in nearly every painting. It didn’t ruin their impact at all and didn’t take away my awe of the artists ability. In fact as you mention in this post, my response to them encouraged rather than discouraged me.
At first I was a little embarrassed; who was I to question these masters? I realized as you point out that mistakes are a part of painting but not not necessarily ruin the impact. Thank you for writing this insightful post.
Loved this iconoclastic blog, Bill! It is reassuring to see how the Masters goofed. And I liked the idea of looking at yourself in the mirror! A winner blog.
Thank you! Sets me a bit more free…
You are just amazing artist.It definitely needs lot of courage to accept the mistakes in a painting,great.Well explained!
Thank You Bill. This is really helpful!
Bill Inman, I am blown away by these paintings and by the
generous heart [yours] that brings them to us for
looking and learning. My heart is singing.
Bill Thank you so very much for sharing these INCREDIBLE paintings with us!
In my opinion this is what painting is all about.
Wow. What a collection! Every year I travel up to OKC to see the Prix de West and so I know a little of what you experienced. Both exciting and humbling.
The Western art was truly wonderful! Thanks for showing it!!
Bill – I want to thank you for sharing your visit to the Booth Western Art Museum.
These are very inspiring paintings ! Scott Christensen & Quang Ho are truly
some of the best representational artists painting today. I enjoyed the other
paintings especially Suitor’s Village and Village of Pilar NM.
Bill, you and Danni must have had a wonderful time. What gorgeous pics. I so enjoyed exploring with you.’Pictures were stunning. Thank you
Bill: Thank you so much for sharing this with us.
I wish you and your family a very blessed Christmas.
Bill, you say that Blue Hollyhocks eventually morphed into Sunday Best. The Sunday Best you show on this page has the middle flower rising up with green buds in front of the rock behind.
But there is another version of Sunday Best with no green buds in front of the rocks. And the other version’s background is more bluish, whereas the one here is more greenish.
Which Sunday Best came first? What prompted the changes?
I made the trip to the Booth Western Art Museum in early November to see their exhibit. I loved that I spent the afternoon studying each painting and only a couple people came into the gallery. I was mesmerized by their masterful techniques. Standing in the middle of the room, totally surrounded and undisturbed, was amazing. It is truly a gem! Thank you for bringing attention to the show. It is certainly worth the trip.
Thank you, Bill, for this tutorial. It was very helpful. I must say Kristie is a big asset to your art career. She has a really good eye! Happy New Year!
I admire what other artists are painting and sometimes wonder why they would choose a particular subject. Thank you so much for sharing from art shows as well as your teaching. I am 80 and I have been painting for over 40 years. I still find it fascinating to be able to learn more and to create.
Woke up early this morning, so much going on in my life. Clicked onto your email, and enjoyed the wonderful step by step comments. It made me think what do I think of when I see something to paint. I will be using these techniques more now.
Happy New Year
I am stunned speechless. What a fabulous world of art.
I need to get to work. xoxoxox. Thank you so much
for including this, right here.
Wonderful interview! I am inspired! I love painting. When I am painting, I forget time, I am in a zone that even a phone call or door bell is not heard. My stomach though will usually remind me to stop!😜
Gurney confirms what other artists keep saying—that sketching and drawing is important as prep. I am not liking the sketch or drawing part, but finding this is important, especially with my buildings. so will be looking for a class to improve. I used to sketch in high school and did a lot of cartoon characters from my imagination. I doodle on meeting notes, so I need to improve on perspective. I know I can do it and maybe will find this as enjoying as moving a brush with paint onto canvas. Thank you, Bill for the inspiring interview sessions; and Thank You, James for your insight and willingness to sharing your view of your wonderful work.
I have been following James Gurney’s blog for over six months and recommend it to all. He shares tips and resources on a wide variety of art topics. I love watching him paint his street scenes. He can create a beautiful painting from the most mundane scene, and he makes it look so easy. He often uses gouache for his small plein air paintings, and I recently purchased some just to give them a try. Thank you, Mr. Gurney, for taking the time to share your thoughts and encouragement in this wonderful interview. And thank you, Bill, for sharing it with all of us!
Thanks for your knowledge and efforts Bill in providing a wonderful platform for all artists to learn and enjoy painting.
Hi Bill I so much enjoyed this selection of studies and your comments on them. I appreciate all what you said and have learned from you. Thank you for sharing your wonderful skills
Well… what can I say except thank you so much Inman family for all the work you’ve done for us! Also want thank to all the other great artists who gave us all those amazing tips!
Oh my goodness! Such a cornucopia of conversations
Thank you, Bill, for your great generosity in pointing
us in these directions. xoxoxox
Thanks for this, Bill! I’ll be tuning in to some of these this week!
Thank you to my best teacher ever. I am the curious soul and have learned by leaps
From you and your site .
Very helpful!
Thanks! I’m going to check these out!
Thanks
Very helpful Bill. Thanks. The framing of Song on the Lonely Mountain is wonderful. It picks up colors in painting
and each (the frame & painting) complement each other. Perhaps a blog or demo on framing.
Some artists use Walnut oil and safflower oil. I wondered what oil would be good to use, that will cost less than linseed oil., Just curious
Excellent article Bill! Your explanation and examples were right on, and very helpful! BTW your painting of Song on the Lonely Mountain is gorgeous!!!
Excellent article Bill!! Your explanation and examples were right on and very helpful! LOVE your painting, Song of the Lonely Mountain – gorgeous!!
I learn a lot thanks for the reminder of squinting
Hi Bill, just signed up for your course and very excited to learn some new techniques. Barns are a passion of mine, we traveled across the country and in to Canada and photographed barns all the way!
Very helpful. Thanks a lot.
Wow! Painting is my dream! Love to see all the possibilities! Thank you for making life so much richer!
Thank you, John, for this inspiring interview and your stunning paintings. Now by working through your new “cook book” I expect exciting discoveries to apply to my work. Thank you for making the world a better place.
Very appreciative of your comments, Nicholette. Thank You.
So touching!
How beautiful it is, Kristie’s prom brought a tear to my eye , as I have lost the Love of My Life jest one year ago Feb 3rd. But life moves on and I started my first painting today, still need some detail but will try to send it to you. Via email
I’m so sorry to hear that Edward. Nothing can replace or compensate for a loved one, but I hope you find some comfort from painting. I look forward to seeing your work.
Thank you Shanda!
Lovely poem. I just lost my Mom last week, she was 92. She was a constant in my 66 years and it’s quite an adjustment without her (she lived with me for the last 36 years). Thank you so much for your beautiful words and I’m sure that your friend found comfort in them as well.
Wow Gail, that’s a long time to have your Mom so close. I’m sorry to hear about your loss. I’ve been calling and talking with my parents every week for decades – hearing their voices is a wonderful anchor for me. They’re approaching 80. It will be a great void when their gone. There’s nothing easy about losing someone close to us. You are in our prayers.
Thank you for that beautiful story and poem. I just recently lost my daughter and haven’t been able to paint anything in months. I know when the time is right I will again. My whole life has been turned upside down once again but I have to trust that God has a plan for this.
So until then I enjoy reading things like this and I appreciate all that you do for this community. I wish you and your family a Happy Valentine’s Day.
Anita Bunt
Thank so much, I love your work and it seems like you are happy painting and sharing. May God bless you.
I’m so sorry Anita. They say that losing a child is one of the most difficult things a parent can face in life. I believe we will see our loved ones again after this life, but that doesn’t make it easy until then. We are praying for you!
SUPERB!!!!!!!!!!!!!!!!!
Beautiful and touching poem. Thank you.
You’re welcome Kim – we’re so grateful to hear you enjoyed it!
How beautiful! What a team you guys make. This touched me in so many ways. Lost my mom, my best friend 3 weeks ago. Losing husband to dementia a little bit each day. This reminds me to make more memories while we can! Thank you!
Wow Theresa, we wish we could give you a hug and let you know we are thinking of you. I agree wholeheartedly – every day is amazing and an opportunity to let those around us know that we love them. We are praying for you!
Thank you for sharing your thoughts and feelings. I lost my husband when I was 33 and 33 years later I still miss him particularly on Valentine’s Day. My hope is in heaven and I know that His plans and thoughts are higher than mine. God is in control! Drawing portraits has become very comforting to me. Memories abound! I am excited about learning to do landscapes! Thank you for teaching!
That’s such a young age to be called home Beverly. I know I would never stop missing Kristie. I feel for you. I too have hope in heaven and know that we will be with those we love again. Those relationships are what this life is really all about. I’m grateful you have found comfort from painting – creating beauty for others is a service this world needs in abundance.
Bill Inman, I’m trying to get some words together to convey to you
how much I appreciate these comments and teachings from you.
I think I’m too “physically compromised’ to do much, if any, Plein air
watercoloring; but this conversation seals my commitment to
bring some stuff inside [limbs, flowers, of course, rocks, whatever]
and look at it and paint it. I can also sit right in my apartment door,
which points out to the woods, and paint all that I see. That would be
a whole world, actually. Thank you, Bill.
Wow, thank you Sara. I love to hear that what I write resonates with others. Bringing the outdoors inside to paint is a fantastic way to learn. Your apartment view sounds wonderful. When you finish some, I would love to see the paintings you create from those experiences!
Bill, Thank you for giving your comments, both positive and critical as you’re painting and your hindsight thoughts of how your paintings could have been made better. I appreciate your being candid as you describe overworking the details, which I feel I am also guilty of. I relate to your confession of reworking the details in the studio and losing that spontaneity. I suppose it’s a balancing act of adding a lot of life to the painting and just adding enough details to transfer to the viewer the emotions you’re trying to convey.
You’re welcome Steve! No doubt – painting is a constant challenge to balance so many things – emotion, intellect, imagination, mood, realism, abstraction. The trick is to enjoy the struggle as well as the triumph. I don’t think this life is long enough to truly master it all, but I’m sure going to give it my best.
Excellent questions and really passionate answers! Great interview ! Peter said so many things that I want to remember but what comes to mind now is that he said even the great painters also fear failure . Also that no growth or development will just happen by sitting on the couch . All together an interview rich in content .Thank you so much Bill
Bill thank you for this great article. You explained everything so clearly and show the difference in some of you before and after work.
I appreciate you taking time to write this. It is all very helpful.
Thank you.
Bill, thank you so much for your article. I plain air paint from March thru May and then October and November. Tallahassee Florida is too hot or too cold other months. I belong to a group of watercolorists, sketchers, oil painters and acrylic painters. We have a lead who sets up our spots for us in North Florida and Southwest Georgia. We paint in the mornings to whenever and then have lunch at a nearby diner. I am not a good plein air painter. But I keep trying because I enjoy being outside. I do much better In The studio. I have found that the hot, bright sun in Florida causes a change in what you see as far as color goes. I did one painting, got home and it was good, but looked as though it had been done in the moonlight. So I did the same painting g from memory in the studio using the colors I knew I had seen and it turned out great. So I learned I needed my umbrella over my palette and my painting so that the paint was the right color. Everyone actually liked the moonlit one, though because it was different I think. Thank you again!
Thank you Bill for such an informative article. I have only sketched outside and have taken many, many scenic photographs from which I have painted and now realize from your useful comments that photos can make me paint too correct. A great article. Thank you, Elizabeth, New Zealand
Hello, it’s midnight in California.
I just read the touching, heartfelt article from your wife ,” being married to an artist.” What a touching tribute to love and understanding.
Congratulations to both of you and your family for working together to find the good in each other and making it work !
Sat here in North England watching your videos, I have often wondered why no matter how loose I try to be – I just tighten up…reworking and reworking my paintings, as I try to paint from photos. I particularly liked your explanation how why and how you changed Stoney Creek farm, both in composition and colours. Too often, I see online how paintings work perfectly for other artists, and wonder if it’s just me that ends up disliking what have painted (another addition to the dust bin). Of course I am no artist (just paint for hobby), and have no formal art training – but you bring with your art and videos such a passion for painting, it certainly brings us all to reach out further in our artistic endeavours to create beauty and balance on our canvases. Spring will be coming soon here in the UK, and you have stirred me to get out there and paint! With heartfelt gratitude, thank you so very, very much.
great job
Kristie’s writing is so touching, I would love to see more of it in the future as she is a great compliment to Bill’s artwork. Bill, I think your blog is a 10 or above out of all the blogs I have ever seen! Thank you for all the time you take for the wonderful inspiration and education you give us.
Thanks for sharing this beautiful, inspiring work. I think some of the memory techniques Lawson is using can be found explained in the book Memory Drawing, Perceptual Training and Recall by Darren Rousar. I see a lot of similarities between Lawson’s described process and the 2 ways of drawing Rousar is explaining in the chapter ‘science’ of his book, direct observation and indirect preconceived notion,
Thank you for sharing this trip to the Booth and the wonderful work of T. Allen Lawson. I felt a similar experience of awe when I went to the LA Museum of Art and saw my first George Bellows painting. Lawson’s work reminds me of Bellows.
I love reading your blogs. They have so much info and foresight! Thanks.
Wow, Mr. Lawson’s paintings are magical!!
So excited to read this article! I will be going through Atlanta the first weel in April – what a perfect opportunity! Thanks!
I thoroughly enjoyed your blog about T. Allen Lawson. My horizon is expanding by being a member of yours and some day I will visit some of the places you talk about and get away from the freezing Arctic weather where I live north of Barrie, Ontario. (in Oro Medonte). It gives me inspiration to finally update my own website with new paintings and start a new career as an ARTIST !! Thank you.
Thank you for the review of Mr. Lawson’s paintings and your insightful remarks about the details.
bouth is great artist
HI I am Matt,
thank you for accepting myself to
Master Oil Painting
Bill my good friend Christine Swayden attended this workshop, I wanted to go with her but could not afford it this year, but will save my pennies so I can go next March. She really loved it. Thanks for sharing all of the wonderful pictures and info.
I’m so glad to hear that Christine loved the workshop – I sure had fun. Christine is such a joyful person and a fantastic painter! She also talked about her good friends that she likes to paint with – sounds like you are one of them. Next year we plan to have my wife Kristie come as well. She will make sure I have a lot more pics for the blog post. I get so focused on teaching I forget everything else. I look forward to seeing you there next year.
Hi Bill
I am glad that you enjoyed my neighborhood/backyard. My gratitude is immense, as I view the mountains to my East (the Santa Ritas) slowly yield their lavenders to the setting suns. I have also captured my beloved Santa Ritas with TWO rainbows and a wisp of a third during monsoons.
I hope that next year, when you return, that I will be able to join you. You have represented OUR home area so well…in photos, words and with your amazing brushstrokes.
Joy
Wonderful to hear Joy! Two rainbows – that would be an amazing thing to see. I sure loved hiking all around the area. You are blessed to live somewhere so beautiful.
Wow what a wonderful view into a visiting artists perspective of Tubac.Thanks so much for taking a chance on this emerging art school, so wonderful to hear that you enjoyed the experience!
You have a fantastic school Leslie – bravo to all that you’ve accomplished there. Thank you for inviting me out – Lisa and Dale were awesome – they made it an even more wonderful experience. Hopefully next year we will see you as well.
This was a very appropriate time to read this for me. I am getting ready to retire and have been looking at a couple of places in Arizona, namely Tubac and Bisbee, as possible places. I am a beginner but am ready I think for some one-on-one or small group instruction. Your blog is encouraging! I know I will find what I need either in Northern New Mexico or Southern Arizona. Thanks!
Congratulations on your retirement – especially since you plan to pursue painting. Everyone I met loved living in Tubac. Northern New Mexico is also amazing for painters, especially around Santa Fe or Taos. I wish you great success in your journey.
Hi, Bill, I loved your commentary about the workshop in Tubac. That part of Arizona is indeed beautiful. I am signed up for a 3-day workshop in Sedona ( plein air) with Bill Cramer in April. I can hardly wait! Maybe I can attend yours if you do it again!
That sounds great Judy. Bill Cramer is a fantastic artist – I’m sure you’re going to love his workshop! I haven’t been to Sedona yet but artists seem to love it there.
Thank you for the interesting description! Would you mind telling us what kind of plein air setup you are using? Thanks.
Hi Kim, I use the French Easel my parents gave me for Christmas when I was 16. The palette was built for me by my good friend Michael Schlee – a master woodworker. I will call him tomorrow to see if he would be willing to build them for others as well. I love the large mixing area. Small pochade boxes don’t cut it for me. Does that answer your question, or would you like more info?
Bill your instruction was excellent. I especially enjoyed your calm yet enthusiastic efforts with us. You provided wonderful encouragement as we moved through our painting. I was hoping to pickup some “little tricks of the trade” which you definitely provided. Of special interest to me was to obtain more confidence in my brush strokes. You obviously are an expert with your brush and I leaned much. When I was stuck as where to go on my oil piece you often gave great suggested that helped me produce works that I am proud of. Thank you for your efforts.
Tim Stewart
I’m so happy to hear you enjoyed it Tim. You’re paintings were excellent – very expressive. I hope what I shared will continue to be a help to you for a long time to come. I sure did enjoy yours and all the other artists’ company and artwork – you all made it a very happy experience for me.
Wonderful article and so glad you enjoyed our little village. There is a new Hidden Gem that is a Vacation Rental and it is called the HISTORIC VALLE VERDE RANCH just 4 blocks from the School of Fine Art. The website will be http://www.historicvalleverderanch.com and will be online soon. Or call 907 388-9388 Oh by the way it is ON the Anza Trail and the Santa Cruz River.
Your painting, writing, and personality are infectious. What a talent you are!
Bill, what a wonderful description of Tubac. It really captured the essence of the town and how magical it is. Your photos were beautiful. Dale and I I had a wonderful time showing you Tubac. The students were enthralled with your workshop and it was a pleasure to watch your teaching style – so engaged and a very generous teacher – not to mention your incredible knowledge of oil painting. See you next year. Lisa
You have great information and helpful hints here. I’ve learned a lot just reading it. My question is there one Walnut Oil that you
recommend that’s superior over another. Some are more expensive than others but I know that doesn’t necessarily mean better quality.
What are your thoughts please?
Hi Lyndy, I am referring you to a blog I wrote about using Walnut Oil. It has the brand I use in it. Let me know if this doesn’t answer your question! https://www.masteroilpainting.com/is-walnut-oil-really-a-substitute-for-mineral-spirits/
I so agree with you about an artists sight. I found it happening to me when I first stated painting and have seen it echoed in my painting students. They suddenly start noticing how the light hits the trees of the form and values of the the clouds and will comment to me how they are suddenly seeing so much more.Its never too late to develop an artists eye.
Driving into Philadelphia with my parents when I was a kid, I used to wonder why I could see beauty in a pile of old rusted automobiles that most people would see (and ignore) as an ugly blight – I was fascinated by the nuance of muted colors. Maybe I do see the world differently, even if I don’t/won’t call myself an artist, just a struggling wannabe.
I enjoyed this post and especially the images of Zurich. Your article may answer the question of why so many artists want to travel: they want to see something with fresh eyes. Being too familiar with a place seems to lead to jaded viewing.
We ,ads our first trip to Portugal in Movember. The vivid hot colours of the cliffs against the ocean kept me mesmerized for hours. I had to immediately grab my camera and sketchbook and head outdoors.
I agree wth this sentiment. A child sees everything new for the first time and I feel that I am excited about seeing something new and fresh for the first time, even if I have lived with it for the past 60+ years. There can be beauty in absolutely everything, what differs is how we choose to ‘see’ it. Colour, light, reflection, how it sits, how it feels, how it smells, the list is endless. The challenge is to capture and share that moment of appreciation and awakening, that something that touched your soul.
I agree that “artist’s sight” exists and can be developed at any age. It is perhaps the most remarkable impression that I recall from 40+ years ago when I first discovered oil painting. I have also noticed this reaction in students who “get it”, those who comment on the beauty of their surroundings that they had not noticed before. I always feel like I have failed those who never seem to reach this “vision” and aren’t able to progress on their own. Maybe I am just not the right instructor for them at that point in time. I don’t find that familiarity diminishes ” artist’s sight” because every season, every day, every hour changes the possibilities.
I was an army air brat and traveled all over the US. In my adult life I traveled to Europe and South America and Canada. Mom and Dad exposed us 4 kids to the beauty of all places. From the breathtaking views of the Rockies and the Grand Canyon, to the calming Appalachian Mountains, to the mysteries of the various caverns in the west, east and Midwest and south. I became an archaeologist because of all the places I visited. The interest in what was hidden and then what I could expose to others to see and learn, which is exactly how I feel about my painting. When I hiked the Andes in Ecuador and lived with the indigenous peoples for a short time, I saw colors of the earth and food pulled into the colors of the clothing. My dad and I loved to watch a storm come in over the Gulf, how the water changed colors and the clouds rolled in. The smell of the ocean even changed with the storm, you could smell the rain as it mixed in with the salty air. And then after the rains how green the trees and grass are. Many people see it so much when they stay in one place that they forget that at one time it was beautiful in their eyes too. I love the live oaks in my city. I work in the capital and all round us are 100 + year old live oaks with Spanish moss. Right now the city is bright with red buds, Japanese magnolias, azaleas, roses, tulips, wild flowers. The crepe myrtles have begun throwing out their green leaves and will begin blooming in May. So many places and so many things to paint. Oops just realized I was writ8g an essay!😁
I took up doing art again a couple of years ago, and definitely find myself looking at the world differently in terms of form and colour and light and shadow, especially during the times when I’m spending as much time as I can painting. I’ve made a rule for myself that I’ll only paint from scenes that are around me. I can take a photograph because plein air painting just isn’t feasible for me at this point in time, but I’ve got to paint from a photograph I’ve taken myself. Beauty is everywhere!
Yes nice letter (:
Somebody said: ” .. it is relatively fast that we can learn painting materials and technics ..
But it take years to develop artistic eye ”
(:
I guess art is a source for artists to express his/ her feelings of surroundings, time & places.
Thanks for bringing me into the world of Joseph Lorusso. His work schedule are magnificent and beautiful. Where can I buy his paintings?
you are a one of a kind, bill!
Thank you Robert! (at least I think thanks are in order :)). I do know that I love to learn and discover how so many things in this world are connected to one another.
Thanks Bill for your insights on an artist sight. Lots of times I’ll pull over on a road and stop to take in the sights of a mountain at sun set or morning sunrise the way God lights up the sky or the way light reflects on a lake or mountain stream. At one time I had 87,000 photos on my computer as an appraiser and half were not related to work. That picture of your daughter on the bench must be a painting hanging on your wall. Thank you again for sharing…
Thanks Bill,
You are not only giving valuable artistic advice, but also letting your many followers get to know you and your family. By the way, the photo of Kristie on the horse would make a fine painting . . .
Great to hear from you Earl! I’m so glad you find the posts valuable. They take a lot of work so we hope they help others. I did start a painting of Kristie while I was in art school using one of her similar pics. I really need to finish it. I got so caught up in keeping up with my professional work that I haven’t gone back to it yet. Thanks for the nudge in that direction. They are fun photos – you can really see her focus.
What a great discussion about the artists eye. I agree with you that most everyone can learn to develop their own powers of observation. Unfortunately, most are not willing to put in the time and effort. Our culture is so used to instant gratification that most will lose interest when it doesn’t come after 1 or 2 attempts. Cudos to you and Kristie for teaching your children the power of observation and giving them “the artists eye”.
Society is pretty distracted nowadays Kathy. Maybe we can gently remind and help our neighbors and friends get out and see the beauty more often by pointing out what we see. One baby step at a time. And as we teach our family and friends they teach theirs and so on until the world is filled with artist’s sight.
I’ve revisited this blog post as it is fascinating to see Bill’s observations, hear about the show and to view these works of art. The Wyoming scenes thrill me as I have lived there for much of my life, and the winter scene of the snow nursery took me right back to 100s of mornings checking mamas and their calves. I plan to return to this blog post some more, and keep digesting the meaning of the blog and the art.
I can’t wait for Part 3! I love the idea that we can be trained to find beauty. Thanks for this great series, Bill!
i feel overwhelmed with the emotion of studying a tree, an area in the forest,…just any place out in nature as a child i would spend all my free days off of school.or chores in the woods behind my home…at a stream or rock formation …i can relate very much with Mr. Fiore….he has inspired me and brought my happiest of times back to the front of my memory i shall now use them to influence my future art work…thank you so much
Such a wonderful post! Thank you!
I thank God every day for giving me the ability to see the beauty that surrounds me. I have the artistic eye and it is enhanced every time I study how to paint a cloud, a tree or a sunset. My husband has now caught the artistic eye as well and we both enjoy pointing out beautiful and amazing sights to each other. Thank you for a very enjoyable and true article.
Thanks Bill for your interest in and thoughts about Artist’s Sight. The years that I have spent seeing the world with the degree of Artist’s Sight that I had developed into has made my life so rich!!!
As time goes by my ability to really APPRECIATE what is there before me has improved. It also greatly effects my attitude toward life moment by moment. If I start to get overwhelmed by people or issues
, going outside and scanning around to see whatever beauty is present at that time shifts my out of my neg. Mind and into a far more positive frame of reference. My general attitude transforms. I tune into
Actually seeing and appreciating the time and the place I’m currently in. It is a great gift/ skill.
I pointed out the low clouds over the Boise foothills this morning to my husband. Very little color, but beautiful.
What a great photo of your boys. I was in the Air Force myself and I cherish that time in the Service. I got to go to Germany for four years. I was able to explore Europe and was amazed at the sights. I hope your boys get the same opportunity. Thank you so much for sharing it brought back so many great memories. I am having a blast painting, even my daughter can see the difference your teachings are making in my painting, I can’t wait for the weather to change so I can get out doors. Thank You Bill for making a difference in my life.
What a beautiful tribute to marriage and faith. Thank you for sharing.
After your discussion I better understand the benefit of plein air painting as compared to using a photo in a studio, and it makes a lot of sense.
If you don’t have the time, or painting materials with you, does it help much to take a photo and paint in a more convenient location or time with similar weather to when the original photo was taken?
I.e. if you take a picture of a mountain at sunrise, paint back at your home where you can see a similar sunrise; or a take a photo of a scene in rain then paint on your covered porch while it’s raining?
This also makes me wonder if you can let different weather influence your painting – take a sunrise photo on a hot day, but paint it on a cold blustery day.
Just wondering,
Kevin
I was born with Strabismus. It is when the eyes are not aligned properly and because I was born almost 58 years ago, there wasn’t a surgery and so my eyes developed Amblyopia, or ‘lazy eye’. Because both eyes were affected, my vision didn’t develop normally during childhood and I just can’t see in 3D even though I’ve had surgery as an adult. But, I am a very good artist and I mainly work from photos.
I have done paintings from still-life, but never a landscape or anything like that. Maybe this year I will get a chance to do just that as I would love to see if it makes a difference in my paintings.
I’m an artist. I need to shoot my original paintings for prints. Most sites say they are fuzzy when blown up. I have a Canon EOS Rebel T3 it came with a Zoom EF-S 18-55mm 1:3.5-5.5-6 III lens. I told to purchased a EF 50mm 1:1.8 STM lens to get better resolutions. Didn’t help. I have an iPhone 6s and was told to go to a 8 plus to photograph my art. I’m willing to spend the money, IF it solves the problem. I have tried ever lighting idea possible…still blurry at 200%. Any ideas???
This was very helpful and helps me to use the thalo green , which i had a problem with
This is the first article I have read on physio green. I can’t wait to use it. Thank you
Wow What a great blog. I will now have to try Phthalo green.I have been painting oils for 2 years and dont use a premixed green. I will give Phthalo a try for that dark dark and that vivid yellow green. Thanks Bill. This opened up my eyes and palette.
Thanks for the mention Bill. You’re doing great things. I’ll see you at the plein air convention. I want to encourage EVERYONE to try plein air painting and don’t give up too early if you get discouraged. It will change your life and the life of your paintings.
Hi Bill
You are truly one of the most generous persons. Thank you so much for sharing portions of this interview with Peter Fiore.
I was unable to attend it “live”. I trust I will be able to make the next one.
Warm Regards
Cathy
Loved this interview! Now to shake of my timidity!
just to let you know how your sharing has affected me as one of your many wanna be artists. I LOVE your lessons and teaching style, I LOVE your depth of gratitude for our Great Designer and the gift of beauty He put there right in front of our eyes. I LOVE your sharing of some of your family adventures. I LOVE the knowledge I’ve gained from your efforts and the confidence that is growing within my painting attempts. A humongous thank you for all your hard work and time and to your son who brings this digital accomplishment to ALL YOUR STUDENT FANS!
Bill this post is such a blessing to me. You captured the whole week and it brings back wonderful memories. Yes this was our 24th year and one of the best. You and Kristi fit right in and we all learned so much. Thanks again. Hugs from Florida.
Hi Beth,
I just watched roger Bansemer painting old oaks lining a driveway on your plantation for a class.
I would love to take a workshop at the beautiful Kiawah plantation. Can you send information on your next one?
Thank you,
JoAnn Reilly
BYW – You show Utrecht ACRYLIC paint in your low price section.
Perfect! After reading this post, I looked over the various recommendations, especially the Leder Easel. I had not seen that one before. I immediately pulled out my credit card and got one on order!
I need a lightweight system due to physical limitations. (AKA getting old!!) This is perfect for me!
I have been working to design my own system and have gone through several prototypes. My next one was going to be based on the same ideas as the Leder, but the Leder is so well executed, I saw no reason to spend the time to make one.
My palette system will be a tad different. I use the Masterson resealable palettes and simply place them on a lightweight plywood shelf. I built a similar shelf support as the Leder but, again, the Leder is so well executed that I will use it. If I have trouble with it cracking, I’ll just make a new beam with some T-Track for the hooks. Easy fix!
Thanks for this post!
Love my Strata large easel it gets me in and out quickly while chasing the light. It’s simple strong and easy to set up. For me plein air is not camping out but more an educational drive up
Bill, I was really surprised to learn that the crosspiece on your LederEasel palette holder has cracked, and I’ll be sending out a new one as a replacement.
I’ve been using the palette holder for a few years with a pastel box weighing more than 4 pounds so it makes me wonder if the expanse of the palette you’re using has more to do with the problem than the actual weight. Most people that have purchased the LederEasel are using a smaller palette so no cracking problems have occurred. I’ve tested for weight so I know it can hold more than 4 pounds which indicates to me that the overall size would need to be less than the French Mistress type that caused the problem for you.
I’m happy that your experience using the kit has been good enough to select it as your “go-to” Plein air easel and I thank you for your support
If anyone is interested in purchasing my LederEasel kit and has any concerns, please contact me directly at sales@ledereasel.com.
Thanks!
Ed
I have the compact case, and it works so great for my watercolor brushes. I was trying to find a brush holder that was not plastic because all the ones I find at the store are very thin plastic. My friend came across https://nuuuk.com/ this website.. and recommended me to purchase their brush holder. I was not sure at first because I was looking for a vertical one, but lying the brushes down works even better!! I think adding this to the list would be great too! for the different variety of options for artists to transport or hold brushes for a more organized working table.
Hi nice paintings. i love paintings very much. some paintings give some reality. painters express their thoughts in painting instead of explaining by talk. its very nice. thank you for posting this. recently i went to aalankritha art gallery Hyderabad. there i bought a Painting. it looks very beautiful.
Visit : https://www.aalankritha.com
I am a professional fine art photographer who sells my work mostly at art festivals throughout the US. I am approaching 60. I want to switch my career to a wet on wet style of painting (like Bob Ross) I want to learn to paint big (up to 4’x8′) because that is the way I display some of my photography.
I have never picked up a paint brush, but I am committed to learning this. Roughly, what is the learning curve to achieve a sell-able piece of artwork in this medium?
A great post and thoughtfully presented. Loved the examples. Definitely makes you review your work more critically. Thanks you for sharing!
Sorry for the misspelled work Thank you for sharing!
Hard edges seems more photographic and soft edge…. so hard to do elegantly.
Wonderful writing, will have to re-read it a few more times, thank you so much Bill
Wow Bill, thanks for sharing!
Very interesting reading your commentary about each painter and their wonderful paintings!
Thank you so much for sharing with us your experience. There is a lot to learn!
What a great and helpful article, I love Phthalo Green because it’s a beautiful color but have never mixed it the way you do. Thank you for your knowledge
I just discovered this versatile color and love what can be done with it! Thanks for your insight!
Very Comprehensive and informative write up in a very tight schedule convention along with picture Of Artists and works. Really appreciate sharing with whole heartedness for the benefit of learners.
Thanks for the thoughtful review of En Plein Air easels. i also started with a french easel that was a gift from my parents, just about 40 years ago. i have used it for 4 years, or should i say 4 times–a yearly workshop–and have struggled with various pieces falling, sometimes at the worst moment, as you described. the straw that broke the camel’s back was the small piece that attaches the middle leg–it broke and i replaced it with a piece of walnut, and that broke too. I broke down and bought a Sienna pochade box, but found that although it is a fine box, I share your dislike of having the palette so close to the painting.
On your advice, i have just ordered a Leder Easel. i may have to rig something to hold my palette which is a John Singer Sargent style from Boston Fine Art (a beautiful palette). not sure how it will sit on the supports, but willing to try. thanks again!
Very inspiring! I can see why you make such a great team!
What a wonderful article, Bill! I suppose you might add painting over less than desirable paintings by scraping if wet or sanding lightly if dry. I did what I thought was a practice painting on a large sheet of cardboard…and it was wonderful and sold! I had to caution about the substrate to the buyer.
That’s the tough thing about practice artwork Kathleen, especially when we use scraps around our studio to paint on – often we’re relaxed, because “hey, it’s just some quick study work”, and wouldn’t you know it, it turns out to be some of our best work. When we’re just playing around and having fun it shows in the work. Old paintings are a great source of materials – with a caution attached – it is possible for the old, dry painting to eventually ghost through the new painting. So, if it turns out to be a keeper, the old painting may come back to haunt us as it did to one of Homer’s paintings. Congrats on selling the practice piece – that’s always fun.
great advice!
Loved the info, especially the painting demo. I will try this out
I have been using old greeting cards, post cards and even junk mail to paint little studies. I put a coat of acrylic gesso on them before I paint. I have a special pen I can use to test to see if the paper is archival. You can get these pens in the scrapbooking section at Michaels. It is amazing how many papers are acid free, even junk mail! Greeting cards and post cards are already cut to size too!
Great article Bill! Thank you for posting. It has rekindled my painting desires again.
What a fantastic idea Rhett! I will have to add that to the post (with credit to you of course). We get so much junk mail, it will be great to put it to good use. One man’s junk is another artist’s treasure. That special pen sounds very handy – I will definitely pick one up.
Great job of letting everyone know that it doesn’t have to be expensive to be a Great piece of ART. I bought most of my brushes at a used discount store called the Mecca here in Eugene, Oregon, the brushes are well used but only cost between $.30 cents to $1.50 there was also about 10 tubes of paint in a carrying box all for $5.00. I even go some used canvas’s for $.50 each. Now I go one morning a week with my neighbor treasure hunting.
On my way to complete 250-300 paintings. 1st painting I did was in March 2019 just finished #42.
No doubt Edward. It’s nice to have brushes I know I can use with precision, but a lot of my painting build up can be done with any number of tools. You got some fantastic deals on art materials – congrats. Also, a bigger congrats on the finish of #42 – you are well on your way to painting mastery. Amazing how quickly you are learning – I had no idea you had just started – wow!
Is anyone married to an artist that works 60+ hours a week (what I would consider a “workaholic”) and does not contribute to the family’s income stream? I have had this situation for about 8 years. One day I guess my wife will be famous, but in the meantime it is a bit difficult.
I LOVE this 7-step conversation. Once again, your generosity
and clear thinking are a boon to my own development.
And I am one who watched the 4-hour video.
I am still trying to have a thought about how to make my big
red poppies translucent. My oil painting sits and looks at me
while I try to figure it out. I best put paint to the canvas.
Thank you so much for the this 7 steps of painting. I have learn to looking at the wide perspective way, not focus on one thing at a time.
i love the roses. I started with roses except my single rose covered the whole 16×20 canvas
Thank you for explaining this with so much detail. I want to paint a rose.
Hi Bill
Really enjoying looking around your site and was wondering if I stayed logged in ? I have to always reload my name & password ? I’m still not understanding your videos some take me to YouTube? I a newbie here trying to navigate though.
Thanks for your helpful information on oil painting
Renee
Very nice post Bill.
Thank you Martin!
Thank you for these comments! Sometimes I want so badly to reach that place where my work truly moves and inspires people that I get discouraged. I’m just getting to that point where people sometimes say “It looks like a photograph.” I’m not even sure I’m to that point. But anyway, I’m going through your 6 week course and looking forward to new challenges! I’m 56 so I’m not too thrilled about how many years it could take!😂
Being an artist is not easy Gina because we put so much of ourselves into our work. Keep going! Yes, it generally takes years to become what the world considers a ‘Master’, but there is so much more training from professional master artists today than 10, 20 or a 100 years ago that new painters are progressing at phenomenal rates. None of us creates something ‘magical’ every time, but as you study and paint regularly, it won’t take long before your artwork will reach out and bring great joy to someone’s heart. Trust your instincts and don’t get so discouraged that you give up – remember, the best artists I know all get discouraged at times.
Bill, what a great, great piece…and great timing for our journeys!
Thank you Kathy! I love hearing that the timing worked out well for you. I wish you great joy and success in your personal artistic journey.
Wonderfully written, thank you!
Love to read comments like yours Amanda – and you’re very welcome!
Attending a workshop seems like a quick way to learn new skills and hobbies. You brought up a valuable point when you said that it will take a lot of hard work and practice in order to paint. My daughter loves art, so I’ll suggest she find a workshop in town that offers different kinds of painting lessons.
Thank you for sharing such wise and welcome thoughts on what constitutes a work well done and a work of poetic justice..I now have identified the longing I feel when striving for that ‘something else’ in my expression.
Wow, I’m so grateful the words resonated with you Shirley! I think that’s a natural part of being an artist – that longing to create something that approaches our ideals. Keep reaching for it – it makes for a fulfilling life’s work.
Bill, I have one of your paintings: Mabry Mill. For me, you achieved your goal of joy and emotion in that painting. Whenever I go by it, I see something else I like, and the whole of the picture–something old but ‘hanging in there’ beautifully speaks to my soul. Of course, I saw your struggles in the demo but maybe that makes the art even more special.
Thank you for this post!
Bruce, I especially admire your landscapes and would appreciate being on your email list of new landscapes. Thank you.
Hey if you’d like to make another go at fixing that beloved Soltek easel, I’d *highly* suggest trying some Sugru self-curing glue/rubber to make that repair to the cracked parts.
It makes a strong bond, and is UV and high temperature resistant once cured (overnight-24 hours). Just look it up on YouTube. I’ve used it to make repair to a lot of gear and gadgets over the years. https://youtu.be/AyyrbXGFdWg
Great to hear Dan, thank you! I will try it out. I’m always on the lookout for glues that work.
I’ve never done plain air painting w oils. Actually, am new to oils. How does the palette work that you show w all the colors lined up at the top edge? I’m trying to imagine the cleanup and how much oil adheres to the wood frame on that top edge.
*plein!
That’s a great question Heather! I’ve had really good luck with the oils travelling well, but once in awhile, especially when it’s really hot, some of the oilier paints will slide across the palette when it’s in my backpack. I’ve never had the paints leak onto anything else in my backpack even when travelling by plane. It’s a good idea to break in a new palette by painting a coat over the area where you plan to have your paints. That way the paint sticks better and doesn’t slide much, if at all. For the most part cleanup is easy (as long as I take the time to do it right away and don’t let it dry up on my palette. I use the same razor scraper for my plein air palette as I do for my studio palette. Then a bit of Turpenoid Natural and a paper towel wipes it all clean.
Bill, I FOUND IT! A TABLE JUST LIKE YOURS!!! It just dropped out of the sky at this Arts and Craft show where I was visiting my sisters. But do I want it for my kitchen or my studio? My husband does not appreciate it’s charm so believe it will be going into my studio which makes me happy….but what should I do with the porcelain top… any special coating to go on it before I put my oils out on it? Did I say they sold it at half price because they didn’t want to lug it home again. Happy Camper!
Hollyhocks are much prettier and vibrant in first painting. Yes, the sky and mountains needed to be toned down but not with green paint ! But who am I to critique a great artist/painter.
In “Gold Rush,” it needed the dark under the trees, but it seemed to be that the entire painting got darker.
LOVE your instruction and (you won’t believe) your art. Thank you so much.
Amazing!!!!! This brought tears in my eyes👏♥️
This is such helpful and generous teaching, Bill.
Thank you
I began painting ten years ago after retiring from thirty years as a photography instructor. So I understand technique very well, but I’ve always felt something was missing. Thanks to you, I now understand what that “something “ is. I hope to have enough time left to push myself to greater heights. Thanks, Bil!
This was really an inspirational post. You really have to find your own voice. This has given me courage to try.
This has very interesting and educational information in this post! It would be wonderful to actually see you re-do one of your paintings, like you do for our critiques.
I’m so glad you went beyond the Heston analogy. Bill, you gotta know that the first actor was hired, coached, and paid to sound amateurish. So that analogy is just lame. But you went on to demonstrate the same concept with real artists and real paintings. Your points are well taken and definitely strike a chord with me and my current mission to evolve.
Thanks for this instruction, I feel my paintings are lacking the wow factor, I will try to use more transitions explained in this article.
Lots of food for thought in your explanations. I have one painting tha I don’t particularly like because I see lots of technical flaws. Howe er, my daughter says she likes it because of the way it makes her feel. I feel the tension here…what should I be trying to do. I think the key is to paint from the heart, but I realize I also need to work on the technique too
I don’t agree that the quantity of details is connected with the feeling of poetry or defines the level of art. I think the first painting of Aspevig looks artifical not because it’s too detailed, but because of something else. It’s hard to define it, but maybe it’s in the way the details are painted, especially the branches. They look more schematic than observed. The nature is more chaotic. The lack of deep shadows maybe contributes too. The work of Ivan Shishkin is a prime example of very detailed work which looks realistic and has feeling and poetry too. And there is no doubth that Shishkin is a master. Tested by the time. 🙂
Thank you that you deal your progress with us. I do paint in details. That is maybe the reason that I want to see more of the lake behind the trees. Because I do not see the streaming. It is a blue flat. But the Aspen are beautiful.also the path trough the wood. The painting of Hollyhocks is beautiful. I have trouble with the blue mountains. I should have painted them more blue grey Which is in the distance is more faguer than what is in the front. That is whu I love the way you have painted the flowers. In the painting of Gold Rush the latest painting I love the way you have painted this. Here you have used more colour and more the difference in shadow and bright. The painting lives more. I do make many mistakes that is the way I do want learn more and more. But the problem is I have few strength. I become very quick very tired. I wish you much luck and many fine reactions .
I needed this. I’ve been struggling lately ….just not happy with my paintings so I have a ton of unfinished ones. Maybe my style is evolving and I need to embrace it and develop it.
This so resonates with my struggle as an artist of over 50 years of experience as a painter, I’m still not happy with most of my work because I know it can be better…not just better but it needs to sing with eloquence…to be memorable! It’s not enough for me to be a fine draftsman. You have expressed it well… the struggle I believe is lifelong!
This may not be the right place to ask this, but the “painting bot” can’t answer! Is there an update on the health of the baby? Prayers for a good outcome .
Our little Emery is doing very well all things considered! The know the prayers on her behalf have been very powerful! Thank you for asking.
Always a summit to scale, but the poetry is in the emotion of the journey. Thanks for the insight, Bill. And I love your reworked painting of the Gold Rush aspen.
Congratulations, fantastic job, very natural!
Always interesting Bill.Amazing what price some of the paintings go for.Will have to see about going over to the states to one of these shows.
Lovely article. You and Bill are so warm and kind that you are a beacon for like-minded people. Thank you so much!
why is softer and blurred edges better than hard edges and more realistic painting? Isn’t it the eye of the beholder and the artists style and what they want to convey in their painting more than copying someone else’s style?
I use walnut oil from grocery store.
I like what you said about framing completing the painting. My friend has created a lot of her own artwork and I want to hang some of it up in our home, but I don’t want it to look incomplete. I’ll have to have some custom frames made to accentuate her work.
Bill,
Read both posts on good artist to master. Exceptionally well done. Thank you for taking the time to write them and to include the excellent examples of improved art styles. it is clear you care about your craft.
I am a novice oil student (retired disabled vet). I have fallen in love with oil painting and am reading buckets of artists views and pointers in an attempt to accelerate getting my arms around this art form. Some were good. Some were not so good. Much to my chagrin, “I kissed a lot of frogs that turned out to be just frogs.” Fortunately, these articles are two of the very best I have encountered and are greatly helpful. You have set the bar high for bloggers.
Thank you.
Wow nice topic….thanks for sharing..
Beautiful artwork. You explained your work brilliantly. I surely want to try this, thanks for sharing this stuff.
Have you tried panel board? It works great with acrylic. I haven’t tried oils with it, however.
After taking your class in Tubac, I started using ABS plastic. I love usong it! We bought our 4 x 8 sheets from a company in Tuscon, AZ called Calsak Plastics. They only carried 3/16″, but so far I have not had any problems. My largest painting using ABS is 28″ x 22″.
Hi Bill,
just read that ABS is not UV-protected but ASA/ABS is?
Best regards
Gary
Thanks for this great overview. I will definitely be looking to see if this product is available in my area. Since I mainly paint with acrylics, I’m wondering if it would work equally as well? I’m thinking it would, and using the same prep methods you are using. Thanks, again.
I just checked the price of a sheet of 1/4″, ( 4′ x 8′ ) ABS in Austin, TX. $179.00 per sheet.
Is this the same as Gatorboard? Have you tried it?
I have an oil painting done on 1/4” Masonite. It has withstood 50 years on my living room wall and the colors are well preserved. It was great to paint on using a palette knife.
I have an oil painting on 1/4’ Masonite panel that was a breeze to paint on using painting knives. It has preserved its colors in the 50 years hanging in my living room.
I have been working on painting some roses for a very long time. I have never painted flowers at all and why I started with roses, I’ll never know. But I have searched the web over for help on why mine look so unnatural and lifeless. The seven steps helped me more than anything I have come across so far. Thank you so much for your generosity and incredible insight to painting roses.
I am so sorry for your – and our – loss. The tapestry of life has lost a rich thread.
Hello! I signed up for some classes and I’m so grateful that through this post, I learned of your heart for our Savior! That’s such a blessing to me! I love your painting! I wonder if you’ve come across the Facebook group called Thriving Christian Artists? I think you would love it! I’m so grateful for your courses! They are so helpful! I am so looking forward to growing in skill and heart! Thank you so very much for giving of yourself to be a blessing to others!
Condolences to The Master oil Fraternity and especially Family n Friends of Late Susie Burns.
Rest in Peace.
Qaizjan
So sad, she will be missed for sure. The choir…wow, great message, gave me goosebumps! Bless you and your family.
A great loss for everyone.😪☹️
I’m so sorry, Bill. What a beautiful tribute you have written.
To you, to our wonderful Masters art community heartfelt condolences. To Ron and family my thoughts and prayers are with you as you walk through this process of losing a person who is a so integral part of your life.
A great loss to the Artist Community and especially to you and your family, as she was a close friend.
I love the sentiments expressed in all these comments ! It is a blessing to be a member of this community. You are a huge inspiration to me Bill. You and your family are a lovely example of what being a family is all about . I am going to try and paint the paint together image . Thank you for the great blogs and encouragement always. You share your expertise and knowledge and so much more . Greatly appreciated ! My thoughts and prayers are with you for all your endeavors also for a full recovery for little Emery . May you go from strength to strength.
I have watched her doing her tutorials on your website and am sad and sorry for the big loss of a fantastic artist.
Prayers for the loss of your friend. You not only a talented artist, but write well. I am sure her family appreciate your kind words.
The comments and wonderful testament to the beautiful person that Susie was and will always be in their memories is a testament to how communal, healing, strengthening and spiritually uplifting the creative spirit is. Susie will live on in the hearts and minds of all who came in contact through one means or another and her creative spirit is forever expressed through her work. The lovely thoughts and words remembering Susie’s life and contribution will reverberate in the hearts and minds of those left to carry the banner of hope, beauty and community in spirit. Creativity is evident in the lives of those who find holistic health and meaning to our lives…Thank you Bill, and thank you, Susie.
I am so sorry she is gone. I will miss her help in my journey as an artist but so blessed for her suggestions pushing me to be better. She will be remembered.
My deepest Condolences
Thank you for this. I really needed it.
Sorry to have such talent gone. My condolences to family and friends and all the artists that enjoyed her talent.
Примите мои соболезнования. С уважением к Вам.
I found the information on phthalo green that I was looking for
thanks to your excellent organization on the website.
Thank you!
I am a member of Vital Art Sessons with Kelli Folsom. She has great instruction, webinars and reference materials. She is down to earth and kind with her critiques but still tells you what you need to know to learn so much!
I’m so sorry, very sad news . She will be missed…
Just what I needed to read today
Love love love the oranges against the stormy sky…you did an awesome job here.
I need to get outside!
Bill, this was a fabulous lesson. I live here at the coast in Malibu and I paint the coast all the time plein air.
Great stuff.
Sue Flanigan
This was a wonderful exposition of your thinking as you painted this scene. Yes, I think the decision to allow the painting to remain looser or more detailed is always difficult, but that is the artistic moment. How do I want this painting to speak
Thanks for sharing.
This demonstration is so helpful and encouraging. I’ve learned a lot and can’t wait to start a new piece soon. Thanks so much Bill!
Leon Parson was my inspiration when I was a kid. He was doing graphite drawings for hunting magazines. I clipped his work out of my Dad’s magazines for quite a while. I got my first set of oil paint when I was 10. I wish I’d kept it up over the years but I didn’t. It was a combination of ranch work, raising a family and frankly the feeling that art was a useless pursuit. Not enough markets and being in the middle of nowhere in Idaho combined to be quite discouraging. Many of things I’ve done over the years were given as gifts. About 5 years ago I decided to give it another try. It’s slow but I have an occassional sale.
I have enjoyed looking at these paintings so much. Have you ever planned a trip where the artist can paint and take pictures. I think the subject matters in the west are so much more interesting than what we have here in the Midwest. Enjoy your website and paintours very much. Jeanne Bossart
I enjoyed this article! While most people “like” perfection, I feel it is the imagination and energy of a painting that helps give it life and emotion. When I look at art, what I want to take away from it is a feeling. Usually one I want to keep going back to again and again.
This is fun.I enjoyed it. Thank you. I do like the horse in Mc Gurl’s painting though and think the other one beneath it is breathtaking,as usual. Regarding Fechin’s hands…I agree.In fact after you said he had a model,I realized what happened. He never should have painted the model’s hands which you can tell by the nails, are a modern ,delicate gal.Then,he knowing that Indian ladies worked very hard ,tried to give her hands a more .masculine or strong look, tanned by the sun as she labored every day. He would have been better off doing what Rembrant often did,and just give a slight impression of them with tone and a few lines.
Thanks so much for the tour. It was a delight.
Loved visiting part of the exhibit/Show with you. Thank you for sharing!
Thanks for all of these amazing pictures and commentary! The Fechin painting of Pietro is so beautiful! In review of the hand/finger placement, it appears to me that longer finger may be the fourth finger, the pinky finger tucked in away from view. There are only the thumb & three fingers shown, that’s just what impressed me . Thanks again, sincerely Ms Rita
A joy to take a walk through portions of this exhibit with you, and to hear your ideas and feedback on selected pieces. The level of skill displayed takes one’s breath away, yet the simple human touches add flair. Nice to see Rick Manthei’s piece honored at the close, and what a great shot of you two. Thanks for the great post!
Great visual treat. Really enjoyed the beautiful paintings. Thanks for sharing.
Check out Joel Knapp’s pleinair paintings at his studio in Cottontown, TN. He has probably been painting for 50 years and still paints everyday. Some of his very large paintings hung and still hang in the Governor ‘a mansion in Nashville. He really deserves to be recognized.
This was a real treat! Thank you for the beautiful tour. I think critiquing them in is a wonderful learning lesson in itself. I tend to remember more of what I read than hear.
some great tips here thank you so much for this
Thank you for your help. I do have problems with shading. But, I keep practicing. I use acrylics. Very grateful for your helpful hints.
Thank you so much for your wonderful information! As soon as I can I will be signing up for classes!
How is your granddaughter?
She is improving daily! Thank you so much!
Glad your Grandaughter is improving daily. Will keep her in my prayers. Really appreciate your articles, they are very helpful.
Moira G
Thank you, this was helpful. I need to squint more frequently. Also, l note that you develop vibrant strong work from reference photos. Some artists, i.e. Dennis Perrin, only paint from life and strongly advocate for the that approach. What are your thoughts/insights regarding this?
Great question Shirley! There is so much debate over using photos in painting. I don’t get too uptight about which opinion is right or wrong. My approach is to consider the principles behind the debate. Why do some professional artists advocate painting from life exclusively rather than using photos? Since I painted from life almost entirely my first several years I believe it is a huge benefit to any artist because we see nuances of atmosphere, values, and light and shadow much more clearly than we can from photos. If we rely on photos too much early on, we often get a distorted understanding of form and atmosphere because the we become used to seeing a flattened 2-dimensional image without the strengthening, synergistic and clarifying cues our other senses add to our experience. On the other hand, I believe that photos, especially with today’s digital opportunities, can be a wonderful blessing when we are back in our studios. If you watch my videos you will notice that I rarely follow the photos closely, using them more as a memory reminder and idea generator. I rely heavily on my imagination and the experiences I’ve had in the field to guide my paintings in the studio. The important thing to consider is what we are wanting to accomplish individually – what do you personally want to learn and create? What are your goals? Once you know that you can decide what will work best for you according to your circumstances. In the end, it’s about creating the most beautiful work we can and touching others hearts in a way that will also bring us joy – that’s what will keep us enthusiastically stepping in front of our easels each day! A lot of master artists today use photos. Most began with painting from life or plein air painting and then shifted to painting plein air occasionally because they felt the need to be in the studio where they could use their perfect lighting conditions and unlimited time to develop and explore thoughts about textures, light effects or other nuances. I use photos in my training videos especially because it is easier for others to learn many of my techniques and approaches with photos than trying to film on location – the light is more clear and I can cover many more flower and landscape topics than if I tried to do the same thing on location. I don’t think there is a one-way-fits-all solution. Follow your gut and the inspiration that comes to you and have joy in the journey. Don’t let other artists, no matter how accomplished, make you feel bad about how you approach painting or make you think they have all or the ‘best’ answers. Learn from the best you can find and then decide what works best for you. Happy painting!
Thank you so much for posting this!!! I was mesmerized by the paintings and amazed by the talent displayed! I would love to have a fraction of the talent that you and these remarkable artists have!
Very Nice art
Bill, can you give mea list of th colors you used for the seascape?
Love this post! THANK YOU for sharing! I, too, COLLECT art books! I only have two of these! 🙂
Super to hear that I could help you discover some treasures Mike! Or should I apologize for causing you to need more shelf space?
Beautiful art piece
Harley Brown has not passed away…?
You are so right B Kenji. Here’s what I found from him – “Am I eccentric? Well, I’ve said this before but it does bear repeating. I owned 3,000 books that I recently let go. How many of them did I read? Two. And the two that I read did not include any of the four books I authored. Yes, I wrote them, sent in the manuscripts and images, and never read the books after they were published. There we are. Harley” When I bought the book they said it was from the Harley Brown estate – I must have just assumed he passed away – I’ve never seen an estate sale when the estate owner was alive. It was not easy to find info since he doesn’t have a website and the Cowboy Artists of America list him as emeritus.
Bill, I understand why you like this setup, but what concerns me is there is no way to keep the sun from shining on your palette. Painting with the palette in full sun causes most people to paint too dark to compensate for all the light flooding the mixing area. This setup would be fine if you paint on overcast days, if you are able to set up in the shade of a building, or if you carry another piece of equipment such as an umbrella.
This is such a valuable subject…thank you! I have never found the perfect lighting situation although mixed lighting seems to have come closest – a cold and a warm light together. I’m going to investigate some of your suggestions. Thanks again for this article.
Hi
This was very helpful. I also have a track light in my studio and my window is facing north. But I can tell you that gooseneck track light cooks my brain after 45 minutes. They were expensive at the when both them but they are so easy move the heads around in the angle that I need. Unfortunately the are fluorescent. Hence the brain cooking.
Color temperature is not the only important thing to look when choosing a light. Spectrum is even more important. Most of the CFL lights have strong peaks and valleys in their spectrum, which lead to color distortion which the eye cannot compensate (in contrast to the color temperature). Look for lamps with as much higher Color rendering index (CRI) as possible.
Yes, CRI is very important. The max CRI is 100, and so try to find something at least 90. You can get high CRI lights at places that sell photo studio equipment, or on Amazon. 5500k is about right for daylight.
For those looking toward one of the best solutions: Lustra50.com
You will be amazed. These lights are designed for amazing true daylight balance and you can control the amount of light you need!
EEEEK! No dad (Harley Brown) is very alive and still drawing and writing! Lol…. he had an amazing book collection that he released with their move back to Canada! Glad they are appreciated as they are!
Hi there! 👋 Harley Brown (my father) is alive and still drawing and writing…. it was hard for him to let these treasures go, his art books, he will be so happy they are in great hands!
That is a lot of information, and much appreciated. I am using a west window light, sometimes a clamp on light with an LED, and a daylight bulb. Far from perfect. There are concerns about health and LED lights, and other bulbs, and light frequencies plus insomnia from using certain lights. A deep subject that we can all use to “shed more light on” , excuse the pun!
This has been an ongoing issue for me. I have western exposure and a Solartube skylight. Incandescent and LED combo. But get plenty. Of glare with photos, so I take photos outside. Tjanks for the excellent article. Method lights soud great! Will check them out.
I just purchased the 6 week beginners course, I have been a student and a teacher of painting go 30 years. I’m so glad I did!! What a huge value you have added to my thought process and execution of painting. As I was reading this email about values , I was copying and pasting what I thought was valuable and I wanted to make note of for later. Well! I was copying the whole thing . Good stuff, thank you Bill!!!
Thank you do much for getting back to basics with concentrating on values. It is always inspiring to get back to the basics of our craft!
Bravo on emphasizing how we might reduce the complexity of what we see to improve our paintings. These are such important concepts and ones I know I must constantly study to help me grow as an artist. You do a marvelous job in your blogs of trying to simplify complex concepts and an amazing job in your commentary during your demonstrations. Thank you for continuing to do this.
This is wonderful tutorial on values. Thanks!
I use a Masterson sealed palette with a 12″ x 16″ Richeson Gray Matters palette pad inside. I just take off the lid when I want to paint, and when I’m finished, I set a tiny piece of paper towel with a couple drops of clove oil in there and seal it up. No wasted paint, no wasted time 🙂
There is beauty everywhere we look, we just have to see it through the artist’s eyes. Thanks for sharing !!
I am a member, but there is no information as to access the photo website or page in the library
Hey Robert, go to here: https://www.masteroilpainting.com/monthly-membership-home/ It’s towards the bottom of the page. Let me know if you still don’t see it!
Wow! thanks for introducing me to the Anthem Lights band. How inspiring…
Great blog and you are really doing well good luck!
Very usefull article, a lot of things to be learned in it, I also use a tool for resource planning, time tracking and project management called Elapseit, more about it here: https://elapseit.com/
The world is so beautiful and we can see it more clearly through oil paintings
Thanks again for your very informative article – lots of great information that is sure to help.
You didn’t make any mention of WN’s Liquin. I would appreciate your thoughts on this medium as I use it for glazing.
Thanks – Cathy
I’m glad you liked it Cathy! I used Liquin for a short while in the mid-’90s. I found it made the colors less glossy and didn’t find I needed it for anything. Since then I have found out that it has some mechanical downsides over the long haul – it is not as long-lasting as using paint by itself.
In the 6-week course, I used the example of looking through a crystal clear window compared with one that is dusty. Through one you see all the colors bright and saturated – through the other, you see them a little duller. That’s what liquin does – it dulls the colors and gloss of the oil paint a bit.
As far as glazing, if you are wanting the full glory of oil paints you might experiment with using paint straight from the tube or with some walnut oil added to it. Once the painting is fully dry you can scumble or glaze over it with just paint and walnut oil and get some beautiful effects that will be much more ‘archival’ than Liquin is.
Thank you Bill for the information and insight into using Liquin. I used walnut oil for a short period of time; however, since my paintings are constructed with many transparent glazes, it took far too long to complete a painting. I also tried Gamblin Alkyd medium, but found it to be too tacky.
If you have had experience with any other medium that would lessen the drying time, I would appreciate your thoughts on it.
Thanks again – Regards – Cathy
Wow! Bill, that was a lot of work putting that together. Thank you!
Now if only the list would work for me as well as they do for you!:)
I’m grateful for your kind words Sharonlee and that you liked the post! We are all hoping to get better and better. There’s nothing easy about painting – it’s a constant and joyful challenge.
Very thorough article. I enjoyed reading and got some very helpful tips!
Super to hear Kathy, thank you!
Wow, thank you so much for all of this great info I can’t wait to get started. One thing I haven’t come across yet in my class is how to dispose of used paper towels and rags and also liquids?
That’s a good question Sally. I’m afraid I simply throw out my paper towels in a blue recycling trash bag. As far as liquids, the Turpenoid Natural that I use ends up in the paper towels as I clean my brushes – I never have leftover liquids.
When I used mineral spirits I would simply have two containers – one for the clean spirits and one for the dirty used spirits. I would leave the dirty spirits for a few weeks to let the pigment settle and then use those spirits again. I never had any spirits I needed to dispose of. The thing to watch for is the chance that rags with mineral spirits left in a trash can for a period of time can suddenly combust. It doesn’t happen often, but I have had friends that have that experience.
If there’s a better option for the environment with paper towel disposal I would be happy for ideas myself.
Thank you Bill, I printed 4 copies so I could have them available when shopping for art supplies. I am constantly looking at art supplies shops and thrift stores for art supplies and brushes. I love the way you detailed the different brands and how they work best. I really need a Plein Air easel and palette badly. Thank you again for all your work to make our paintings better.
Wow Edward, that made my day! It’s heartening to hear that these posts are useful. As far as the easel and palette, that Leder easel is very convenient and a great price. Let me know if you find something and have more questions I might help with.
Thank you Bill! What a wealth of information in this article! Reading this can actually save a new painter significant amounts of money by not buying wrong or unnecessary supplies.
Thank you Mr. Bill! lots of great information..that is sure to help.
Great article!!
Super to hear Wayne!
Great article and very helpful.
Glad you found it useful Cyndee!
Thank you so much for sharing this. Exceptional article.
You’re very welcome Vicki! I’m so happy to hear you enjoyed it.
Very informative article. It really helped me understand the ” mechanics ” of dynamic cloud formations.
Thank you. My clouds seen to be too heavy or not fluffy enough. Thanks for telling us about the color contrasts. Sharing gives us motivation to continue on.
Thank you for sharing and inspiring us. Thanks for giving us techniques.
Thank you so much for sharing your knowledge. I find that keeping my light source the same in the clouds and foreground the most difficult. But you have shed some light on this area and made me see how important it is to keep direction of light constant though out my painting and experiment with colors and bring them to life in my paintings. Great article and photo’s.
Thank you for this fabulous article Bill. I appreciate your clear explanation of the hows, and the great examples of cloud paintings and photos you included. I am looking forward to practicing with the beautiful photos.
I have not picked up my brushes for a long time but your article ignited in me the passion I have always had to put oil to canvas. I’m 80 years old and had lost my enthusiasm to paint, but I’m going to get out my paints and start out again on a new journey. Thank you so much
Thank you Bill, I’m saving this for future reference and sharing with my friends, of course giving you credit. Ted
Fantastic to hear Ted! Thank you for sharing it with friends, that means a lot to me.
Merry Christmas to you and your family, Bill.
I hope you have a wonderful and blessed day and hope the new year brings you happiness and peace.
Thank you for all that you do for the art community. I love being a part of this group.
Merry Christmas to you and your family. I just want you to know y I really appreciate all the info you give. Have a wonderful Christmas and a Happy New Year.
Merry Christmas, blessings and a prosperous New Year, full of His amazing love.
Merry Christmas to all of you and best wishes for the new year ahead!
Merry Christmas to you and your family
Merry Christmas to you and your family!
Merry Christmas to you all and to all your helpers behind the scene Many thanks to all for your helpful suggestions to all us painters Wishes for awesome holiday
Sher
Merry Merry Christmas!
Your Nativity painting is beautiful Bill. Blessings to you and your family.
Thank you so much for your good wishes Bill, Kristy and family ! Hope you are enjoying a lovely day together with your family . Be blessed and thank you for the HUGE effort you put in to keep all of us painting and improving our skills. I am so grateful that I found you and now belong to this kind group of people where we learn so much .
Merry Christmas to you and your family.
Thanks for your kind words, I always look forward to seeing you and your family during your visits to Colorado. Your art belongs in many galleries across this nation, but I must say that the ones in Brodmoor Galleries are some of your best! Thank you for providing a platform for all artists, all across this globe, in fact. Knowledge gained from you and other artists in your groups will change peoples’ lives for the best. Thanks for being my friend and mentor!! And if someone reads this, please continue to pray for Emery and her family. God bless and Happy Painting!!
This has been really helpful as I am converting my garage into my studio and finding the right light was difficult. So I followed Bills recommendations and have installed cool and warm fluorescent lights and some hanging soft lights. I’ll let you know how it turns out when my studio is complete and running.
The ABS sheets are on Amazon, pre-cut. Are these the same thing?
https://smile.amazon.com/ABS-Plastic-Sheet-Thick-Thickness/dp/B004UBUZIM/ref=sr_1_7?keywords=ABS+plastic+panels+white&qid=1578232483&sr=8-7#feature-bullets-btf
Here is another one of the ABS…………looks better
https://smile.amazon.com/gp/product/B07JLZ6TND/ref=ox_sc_saved_title_1?smid=AQODV8VBSAK4A&psc=1
Hi
How do you hang the AbS sheet on the wall?
Or do you frame ?
Or both?
Thanks
Annie
I use enamel butcher trays………no room for a table. They last forever, just like a table.
https://www.amazon.com/Tablecraft-80012-Enamelware-Serving-White/dp/B07NWDSTHK/ref=sr_1_6?keywords=butcher+trays&qid=1578231354&s=industrial&sr=1-6
Great idea Victoria! I used some butcher trays in the early nineties as plein air palettes for a while. I haven’t bought any for a long time – are they made well nowadays – do they bend or warp at all?
Thank you so much for this article. You have covered a lot of confusion for me as to what paints I should be using. I am currently building an art studio in my basement and in order to pass along information to others who want to begin painting, I certainly rely on your information.
I will look up those websites and do some studying. Again, I thank you for you and your family and for building this fantastic website.
Sincerely, Nancy
You’re very welcome Nancy! So glad to hear the posts are useful. I will keep you apprised as I hear more about paint tests. Good luck with your new studio – sounds exciting to have a dedicated space like that.
I am intrigued by your use of “Synthetic Organic” in referring to certain pigments. How can something that is “Synthetic” be also “Organic”? I think that the two adjectives are, by definition, different. Am I missing something?
Great question Wally! Most pigments today are synthetic because they go through a manufacturing process – like French Ultramarine compared to the original Lapis Lazuli mineral that was used. They differentiate the organic compounds that contain carbon or carbon rings from the inorganic compounds which are generally metallic salts (not based on carbon) – the inorganic tend to be more stable in the long run. Some pigments, organic and inorganic both, are still derived straight from the source so they are not synthetic. Most pigments today though go through some sort of transformation to become the color they are – that’s why they call them synthetic. Some of the synthetic organic pigments also contain or are made with inorganic materials to stabilize them though. I hope that helps!
Exceptional article. Have you researched water-mixable oils? Many of us have switched.
Thank you KC! Yes, I have researched water-mixable. I don’t plan to use them first because I’ve tried them and they didn’t work for me nearly as well as traditional oils. Second, because I use non-toxic paint cleaner (Turpenoid Natural) and never wash my brushes with soap and water anyway. And lastly, because I don’t trust what they add to the paint to make it work with water. Robert Gamblin, during an interview, said that he will never offer water-mixable oils even though they are becoming popular because he doesn’t trust their longevity. If they are working for you and you are painting for your own pleasure, I would say to go for it. If you are painting to sell to collectors, I would be cautious and skeptical of the long-term nature of the product.
I’m disappointed to read this article. What do you know about Old Holland paints? I have used them for years. I’m always complimented on how vibrant my colors are, because of the pigments. I have bragged about how they don’t put a lot of fillers. Agree with your advice. Will have to slowly make adjustments.
I was disappointed as well Louise! As far as Old Holland I’ve always heard excellent things about the quality of their paints. I haven’t tried them out yet, but I will do that sometime in the future since you have such good things to say about them. When it comes to the possible downsides of certain organic pigments, all of the paint manufacturers are in the same boat. If a pigment is tested and found to not last for a hundred years without fading or changing, then it doesn’t matter what Old Holland is doing with that pigment – it will have problems just like it will for everyone else. Robert Gamblin is the one the Smithsonian Museum worked with to create some of the historic paints they needed for restorative purposes. I think that’s how we ended up with Gamvar – the best varnish on the market. He seems to really believe in what he does as a paint manufacturer and I trust his motives. I also talked with the owner of Natural Pigments during the Plein Air Convention and got the same feeling about him. They both want to keep improving the oil painting industry’s products to make them better for artists.
Can you please explain what you meant by fugitive colors. Loved the article .
Thanks
You bet Beth. Fugitive simply means that a color changes from its original look – usually in a shorter rather than a longer period of time. Some colors fade, some turn black or into another color like blue to yellow, others crack or delaminate (chip and fall off the canvas like a Jackson Pollock painting made with house paint).
I use Mussini Oils from Schmincke. They have good testing routines and heavy Dokumentation to their colors and their lightfastnes. Would you mean this is false information?
Great question Karn! No, at least not intentionally false. Schmincke is a great company as far as I’ve heard. The problem is with the type of testing they’ve been doing. I believe the duration has been too short overall because they were trying to artificially speed up the process using specific lights they thought would be much harsher (stronger than normal UV rays) than normal gallery conditions. Whatever process they were using – there are a few I’ve read about – the testing process was flawed. That’s why this new testing will take so long – 2-3 years. There are so many factors that can influence a color – some react poorly with another specific color, but not alone, some change when added to white, but not in a dark mixture, some are affected by certain pollutants in the air. There are a lot of conditions involved and I’m not sure if this new attempt will be doing a comprehensive type of testing like that or not – probably not since there are just too many possibilities. But whatever they are doing it sounds like it will at least tell us which ones will be truly lightfast for a hundred years or more under typical conditions.
Thanks again Bill this is fantastic information and insight to what should be on our pallets. I need to restock some of my paints and this will give me the knowledge and confidence to purchase the right paints that will last and give my paintings the perfect value.
Super Ed! I hope the art supply hunt is going well for your new setup.
Great blog Bill. Have you heard anything about Holbein paints? I heard a while ago that Sap Green was fugative but I found Permanent Sap Green through Steven Harding, so I trust it’s permanent. Thanks for posting….great info!
Thanks Lind, I’m glad you liked it! Holbein paints I’ve heard are excellent. The original Sap Green was indeed fugitive. The bummer is that the new Sap Greens are usually made with a Phthalo Green mixture, and phthalo is one of the possible-problem organic pigments. I still haven’t decided whether to stop using Phthalo Green or not – it’s just so darn useful and Viridian is so much lighter in value.
I wonder if these suspect colors are more stable in acrylic than oils? Will this be tested as well?
Thank you for the enlightening article. I will reassess my palette accordingly.
Thanks again Bill for your insights on painting . This helps me so much with understanding how to start painting by putting in the shapes and underlaying colors and having fluid brush strokes. It also shows me how to eliminate objects that can distract the flow of a painting. Thank you again for your timely help as I begin another painting.
This step-by-step tutorial is the best description of how to paint leaves, or any details in a scene, that I have ever read. The reference photos and close-ups of the in-process and finished paintings made it very easy to follow, understand, and use for practice. Great tutorial!
Thanks for a great tutorial to help us navigate the whys and how to of creating a stunning, yet relatively simple painting that captures what we all love in nature. Bill’s painting are brilliantly accomplished, and perfect examples to return to and ponder.
Fantastic as usual, really clarifying! Thank you! Can’t wait to utilise this.
Helpful to review information.
In this tutorial I kept thinking you would put more reflection in the water. Maybe it’s because I do more representational work.
Your instruction is wonderful. Thank you for sharing this excellent film with us. And I even laughed at times when you messed up!!
Looking forward to more.
That is very helpful Nora! Thank you:)
Clouds are hard for me to paint.. too many variations, light sources, styles..
I enjoy all of your informative articles.
I only used this type of oil paint a few times and it seem to work as well as traditional. But I did notice that here in Colorado during very hot weather painting outdoors the body of the paint got soft and approached runny.
That’s interesting to hear David. Since I haven’t used them I’m not sure what would cause that. Is it a different kind of softening than traditional oils when they get hot? With regular oil paint the oil seems to be a bit more prone to separate and the paint becomes more slick or oily when it’s a hot sunny day.
I started out with oils and have gone to acrylics years ago. This article makes me appreciate the oils of the masters. When my last huge batch from you is done it will be back to oils. Than you. No in between for me.
You know Christine, both acrylics and traditional oil paints have their pros and cons. Traditional oil paints seem to be giving conservators trouble today because so many artists stopped varnishing. In the old days everyone varnished and that prevented a lot of problems. I’m afraid I am one of the offenders – I got so tired of the toxic nature of damar and turpentine that I stopped varnishing for many years. I have only recently began using Gamvar. I wish I had known about the problems that occur when we don’t varnish. I also just learned about some of the fillers in certain oil paints that are causing problems. I purchased some reports from the conservation conference they held last year and will put together the best recommendations I can from that in a future blog post. For now, enjoy using the acrylics you have and don’t get too caught up in the weaknesses I mentioned – all media have their downsides. I do love oil paints, but some amazing work is also being done with acrylics. The one thing I would recommend is to not mix them. Oil paint will stick to acrylic so some artists will start with an acrylic under-painting and paint with oils on top, but I would use either all acrylics or all oils. I will do a blog post soon about why I recommend not mixing the two.
Again, you have given us a generous and happy review of this situation.
I feel prepared to move forward. With oils. It’s great to know that there
are not any serious health issues. Turpenoid Naturals all the way.
Many of us are terribly allergic to Turpenoid Natural. Most instructors do not allow them to be used in the classroom. So surprised to read your recommendation. Gamsol is the best, but use walnut oil and Gamsol just for brush cleaning.
I haven’t heard of anyone being allergic to Turpenoid Natural – are you sure it isn’t the regular Turpenoid mineral spirits that artists are allergic to? I’m sure it’s possible, I’m just surprised to hear that it’s ‘many’. If you are allergic to Turpenoid Natural you could use Safflower oil to clean your brushes. It is a semi-drying oil that works really well for cleaning and it won’t cause problems with the brushes or paints. I wouldn’t use it as a medium because they are finding that it can cause paint to become more water and solvent sensitive years down the line. But using it to clean brushes should not cause problems.
Enjoyed the blog on oils vs WMO vs acrylics. I have tried wmoils but didn’t care for them.I have used acrylics for sometime and like that they dry fast unlike oils. Acrylics are versatile, as well. I am trying to use
Regular oils but am a beginner, as with wmo. I will continue to try oils and continue to use my acrylics.
Both acrylics and oils are excellent for painting with – I would just recommend not combining them (even though oils can be painted on top of acrylics). I am even reconsidering my use of acrylic gesso for oil painting. The fast drying of acrylics can have some great advantages for certain painting techniques and styles.
An actual display would be helpful. Other than that there was some good opinions given. Maybe a little less length of time.
Thanks for the feedback Steve. What do you mean by a ‘display’? I didn’t discuss much about the scientific research because I didn’t want it to sound stuffy, but I subscribe to some research organizations where I found testing done specifically on WMO’s compared with Traditional Oils that show that the emulsifiers used in WMO’s restrict the cross linking necessary for the hard permanent shell of traditional oils. I just added the title to one of the studies up in the post if you would like to know more.
WOW, that is a lot of info to digest. I am now trying watercolours for the first time but find they are too much fuss and futility when you make a mistake. I am going to get back to oils in the near future because I really liked how they worked for me when I painted a few years back. Thank you for all that information it was pleasantly surprising.
You’re very welcome George, I’m so glad you found it helpful. I’m with you – watercolors can be a lot of fun, but oil paints are amazing when it comes to all the possibilities.
Hi Bill,
This was a very interesting post. I would like to bring up some discoveries that I made regarding the subject you discussed.
I have been painting with acrylics for 40 + years. I have found over the years that acrylics are reliable & fun to paint with. I choose to work primarily with them because paint thinner was making me sick with headaches. I also liked the fact that with acrylics I did not have to be concerned with technical considerations such as lean over fat, varnishing etc. I could jump start my creativity by working over old acrylic paintings. Unlike oils I did not have to worry whether the underlying layers were dry. Since I began working exclusively with acrylics Golden & Liquitex, have advanced the quality and permanence of acrylic paint. It is now obvious that an acrylic painting should be varnished. Unlike an oil painting an isolation coat has to be applied first. Golden has
recently introduced a prepared isolation coat I was advised sometime ago, to practice varnishing an acrylic on a painting that was not going to be displayed , sold or was a keeper. By introducing the prepared isolation coat Golden has made varnishing acrylics much easier which gives the artist a greater chance of a successful outcome. I have not varnished my acrylics or oils but I will do so in the future since I am going to paint more with impasto acrylics . Oils do look richer with varnish. Gamvar is an easy quality varnish that doesn’t yellow over time. When painting with acrylics I find that as you continue it becomes second nature mixing colors [which is much different than it is with oils} to achieve a rich looking painting. It never bothered me that they dry a bit darker but I have some difficulty in matching what was previously mixed. This was in part due to the fact That I did not write down the colors used!
There is perhaps nothing better than the smell of a freshly painted oil . I have read up on ” water mixable” oils According to the companies involved they are as durable as the more “traditional ” oil paint. Truth is that due to the efforts of Robert Gamblin oil painting is safer than ever. You are absolutely correct about turpentine. It is a dangerous substance and because of such products as Gamsol there is no need for obnoxious thinners . I read that Ellsworth Kelly used a portable oxygen tank due to his use of turpentine over the years. Given the efforts by Gamblin and with the mediums , varnishes & thinner that they developed I have discovered that I do not have to paint with water ” mixable” oils. I have used Artisan and I found that while old tubes over the the years become somewhat thick , { due to the emulsifier used?} the color is quite good & the paint applies easily. If I had read the Gamblin website beforehand I would have not purchased as many Artisan tubes as I did. I also have Cobra but I have yet to use them. I returned to using oils when I began to paint with oil pastels and at times oil paint sticks. This lead me to go back & explore oil paints. I used Artisan several years earlier plein air because no turps were needed but I did not like them. Several years after that first attempt I decided that since I was starting to become curious about oil painting{ due to my painting plein air with oil pastels} I would give them another go. I found them in my studio & the second time was the charm. This time I liked the results especially the depth of color & how they blended. I will still paint with acrylics but I am going to continue with oils & also pastels, oil & soft .There are so many beautiful colors & though Gamblin is my preferred oil {along with W& N } but those Vassari oils- such incredible colors ! I love the application of oil paint especially with a palette knife. I have found that for myself palette knife painting is best with oil paint. I wonder if anyone else finds this to be so.
I appreciate the effort that you put into your oil painting classes, videos and posts. I am going to give Natural Turpenoid a try. I agree with Gamblin that a hard surface is best for oil painting . Lately I am preferring them for acrylics as well. I know that in my reply I mention Golden & Gamblin. I have found that in researching what I paint with these companies, { also Liquitex for acrylics, } have done much to advance acrylic & oil painting making them safer & more durable as well as expanding what I can do with them. In closing there are two very important points to remember one for each. If an acrylic painting is kept below freezing the film will loose its flexibility . Be careful when handling in such an environment. The rags used in oil painting should be disposed of properly . Gamblin has an very good information on studio safety. Talens has some great You Tube videos on Cobra. Gamblin, Golden, Liquitex & Windsor & Newton have very informative websites.
Wow NJ, thank you for all the fantastic information. I agree, acrylics have a lot of positive attributes. I am not averse to anyone using acrylics instead of oils – I only recommend not combining the two since they are so different in the conservation of them. I realize the WMO manufacturers think they are as durable as traditional oils, but they are wrong. Recent research confirms that the emulsifiers cause problems with the critical cross linking necessary to form a durable dry shell. There are other fillers and extenders that are equally destructive like magnesium carbonate – so stay away from paints that contain unnecessary fillers. Sounds like you have some incredible experience with several painting media – I really appreciate your wonderful comment – thank you!
Hello Bill.
Thanks for sharing so much information about oil painting. I really appreciate it.
I tried using wmo years ago. I forget exactly when, but I wanted to try it out because of the easy cleanup and the fact that you could avoid the solvents.
Unfortunately I did not find that it behaved like traditional oils as far as the feeling of the paint.
It’s hard to explain, but it seemed to lack the smoothness of true oils in the way that it feels when it’s mixed and applied to the support, and the workability of it.
The product was called Max, its by Grumbacher.
Maybe they’ve been able to improve it since then but I haven’t tried it since…
I’m with you on that Art. Then again I haven’t tried them in about 10 years (and based on the new research I have no intention of trying them in the future). I love the way traditional oils behave and all the fun things we can do with them.
I have been using water mixable oils for years now. In fact I never used the traditional oils. I find them user friendly and as a medium a little linseed oil is sufficient. Cobra paints are my favourites, as they have very smooth and buttery consistency. The brushes are easy to clean with soapy water, hence no unpleasant smell from turps.
I’m glad to hear you have had such a positive experience Irene. I can see the appeal they have for artists – water is a lot easier to work with than oil.
i am 92 ,been painting a few years,,started with dry water,then to the old oil that stuck to high heaven, then along came acrylic which i liked, fast drying,maybe a little to fast..then my daughter .(who is a great artist) introduced me to the new oil, now believe me I am stuck with oil..went back to the others but could not do what i wanted…So yes it is oil for me…takes forever to dry but worth it….
That’s fantastic Eugene – I am hoping to still be painting when I am 92! I wholeheartedly agree – they take time to dry but are worth the wait.
A correction regarding my comment I meant to write regarding oil paints …fat over lean
I love using WMO…Cobra brand is my preferred brand, although I do use some Holbein colors occasionally…Not really worried about my paintings lasting a hundred years or so…Besides if they are good enough for Charlie Hunter they are good enough for me…
Glad to hear they work well for you Steve. For most of us we probably don’t need to be concerned with museum quality materials – we just need to have fun painting. Charlie Hunter is a fantastic artist and one of the funniest people to listen to – great sense of humor. He certainly encourages us not to take ourselves too seriously!
Really interesting and informative. I travel a lot in an RV so drying time with oils is a consideration. That is why I chose to keep painting with acrylics. I like this format for your blog and also like the other format, so I am good with whatever format you choose. Thanks for keeping them coming.
Acrylics sound like the perfect paint for RV travel Barbara – especially when space is limited. The most important thing is to get out and paint!
Thanks Bill for this great information. I paint with watercolor but have a friend who gave me water mixable oils…still lots of full tubes
I am still confused about some things. If I want to stay away from water and mix them with walnut oil and use them as traditional oils can I do that or are they not formulated to use that way? Thanks you for your great posts
My question is can you start a water mixable oil painting and then continue with traditional oils or vice versa ?
Beautiful. Thanks a lot!
Very good explanation – thanks for that info. Now you’ve gotten me interested in looking into that ABS option. But one thing I’m not clear on. If you use ABS, do you gesso it or do anything else to the surface, other than sanding with 600 grit sandpaper, before you paint with oil paints on the plastic?
Hi Susan – nope, no gesso necessary for the ABS – you can paint straight onto the sanded surface. I use a 60 grit sandpaper, but if you want less texture than you might want to use a 150 or 120 grit. I use the 60 so I can get through the glossy surface quickly.
Very interesting, and helpful information!! Thank you:)
You’re welcome, Belinda!
great info especially about letting the acrylic under painting dry for a couple of days. I’m anxious to try with watercolors.
How do you feel about fast dry oil paint/ alkyd based mediums for underpainting
Where would I look for the plastic panels? And I never would of thought to use watercolor under an oil..and I’m a watercolor artist learning how to paint in oil..
Where would you purchase abs plastic Tks.
I combined both your information from this blog and under painting with watercolors although my painting may stay in water color to work the composition. I used for the non tech savvy masking tape and blocked my key trees for the Paint Together painting. This allowed me to move the trees until I was satisfied with my composition. I will post photo. If you do not like it lift and move.
Thanks for the blog Bill…..really was helpful and makes a lot of sense. I have forgotten many times the
“why” of a painting and really just end up spinning my wheels and tossing out the painting or painting over
it. This is one of my favorite paintings of your’s; thanks for using it as an example.
Thank you, I never thought of looking at things the way you just did. You have opened up a whole new ave. to me!
Thank you. Your instructions on the intent of why I am painting something has changed my art for the better. I love the way you express your ideas. I look forward to learning more from you. I believe the higher power put you into my life. Thank you again Moe Fountain
.
Thank you!!! Have this process in my mind in such a similar way and you expressed it at such length. Very helpful. Excited to read it all.
Thank you SO much for this video and written blog. I learned so much from watching and listening to your thoughts and process. As a beginner I have many questions about tools and techniques . You have answered a lot of them and I look forward to trying them out.
Thank you for sharing all your talent and information.
Beautiful!
I love your work.
Your brushstrokes remind me of the wonderful painter Richard Schmid.
I really enjoyed your thoughts, explanations and showing the how to in the video. Your enthusiasm and joyful presentation makes want to get outside and start painting away. Thank you for your time.
Thank you for the informative videos; your work is beautiful and inspiring!Id like to learn more about color harmonies as you presented some of those concepts.
Stephanie
Santa Cruz, Ca
The Art Treehouse makes a non-toxic medium called Walnut Painting Gel, which is walnut oil and silica. It handles a lot like Weber’s Res-n-Gel. I like it a lot and use very sparingly when needed. It can be used for glazing, but I haven’t tried it that way.
I guess everyone can make Oleogel, and it is not difficult, just mix Linseed/walnut/poppy/safflower oil with silica powder…but the dust of silica is dangerous for lung…..Natural Pigment produces walnut-oil-based Oleo as well, which is as same as Art Treehouse Walnut Gel….If you are rich, you could buy Michael Harding Brand Oleo, or mix extreme expensive Chelsea Pale Linseed oil with silica by yourself
Great detailed information. Exactly what I was looking for.
Bill, I appreciate your explanation of why you do things the way you do them ….To create the intent and the focus of the painting. I look forward to learning more from you. Thank you very much, Joan
I had the same problem and an expert at Lowes tol me that they had the very same thing sold in the art stores in the paint dept. I found it and compared it with the art store stuff. The lable information was identical and the price one third of the Art store stuff. Ive been using it for years with no negative effects.
Hi James, am wondering what the name of the product is that you bought at Lowes? Was trying to buy a few gallons of Turpenoid Natural and am just finding out that it is not sold anywhere anymore…..
I’m with Tracy, I’d love to hear about that as well James! I saw that they are now stocking Turpenoid Natural again, but if there is something identical for a third the price that sounds fantastic.
“Turpenoid Natural definitely softens the paint film. Since we don’t know the long-term effects of using that as a medium, it’s best to avoid it”. Does this mean, I first use Turpenoid Natural – then wash out any rests from this with pure water before I can use the brushes again?
Bill, I’m finding Gamsol to be very good as a solvent. Have you evaluated Gamsol?
Hi Earl, yes, I used Gamsol for about 20 years. I’ve strayed away from it because it is an evaporative solvent. They have removed 99% of the harmful aromatics that make turpentine so harmful to our health, but mineral spirits (Gamsol) is still toxic and emits fumes. Now, Gamsol is worlds better than turpentine and I don’t know if it is any worse than a lot of the air outside that we breathe. But I am looking for ways to be as toxin-free as possible. Some artists develop severe reactions to Gamsol and other mineral spirits – I never did that I know of, but I would rather not take the chance if I can help it.
You could get 2 qt on Amazon Prime for the same price with free shipping. 🙂
Never mind. I guess that still leaves 2 qt short.
Never mind. I guess that still leaves 2 qt short.
Thanks, Bill, for the information on Turpenoid Natural. I also use this product for cleaning brushes and recently discovered (like you) no supplier carries the gallon size. I am still looking for a source, so let me know if you find one. Walnut Oil works well for cleaning brushes, but not as well as Turpenoid Natural.
For awhile there the quart size was also gone. It looks like they are about to stock shelves with Turpenoid Natural in the quart size again. Hopefully, that means the new company owners are planning to continue the product. Amazon says it will be in on May 11th. I haven’t found anyone stocking gallon size yet.
This was a great article to read as an unattached artist. Having never had my work represented by a gallery before I never knew quite how much they expected from us, and it’s quite interesting to hear that most of the artists would be so involved in the success of their careers. I’m comforted to know that if I were to join a gallery I would be right at home in the amount of marketing required as I do all of that daily myself anyhow!.Thank you for sharing this blog
Wish the camera were close enough to observe. Looks like a great painting to see during the process.
so what do YOU use to clean brushes? Understand you use walnut oil if absolutely necessary to thin oils
Hi, Bill
I am a newbie to your course. My one singular attempt at Plein Air painting was at Landstuhl, Germany and of a Castle. I was not ready for such a project and many people came to see what I was doing. I heard scoffs of my effort. Ultimately I wiped it all off, packed up and never have done it since. I will have to plug my ears and grit my teeth here @ Daybreak, Utah. We have a marvelous manmade lake with wildlife and of which I shall do the Plein Air stuff… Anyhoo, I think I’m going to enjoy the course
Hi Thomas,
You drew the short straw with that group of onlookers. They had obviously never tried painting outdoors – if they had they would not have opened their mouths except in admiration for your courage to try something so challenging! Like Tim Allen in Galaxy Quest said “Never give up – Never surrender!” I’m so glad to hear you plan to give it another try. Don’t be afraid to put up a sign behind you stating ‘New artist out learning and enjoying the beauty around me’. I also see a lot of artists who put on headphones and tune out the crowds. I love to hear the sounds outside so I haven’t tried that. The important thing is to remember that every master artist I know continues to have plein air paintings on a regular basis that fail miserably – it’s part of the process. I know it’s easier said than done, especially for us fragile-ego-artists, but keep your goal in mind and realize that nay-sayers never really contribute anything worthwhile to the world – that’s why they scoff – misery loves company. Just smile and think about what a magical thing it is that we live in a world where we can go out and paint and do something so wonderful! I look forward to hearing about your outdoor adventures.
Hi I spent a lot of my life giving up on things because of negativity…now if I hear something negative I dig my heels in and draw from the creativity that I know I have inside me…I become stronger, bolder, more resolved…I show no fear and I do not back away. I could’ve been painting when I was 16 instead I am 67. Hold fast to your craft and do not worry about what anyone else has to say or someday you will look back with regret. I picked up my brush about a year ago… I can’t paint or learn fast enough and I don’t care what anyone has to say, because for me painting is freedom. It’s what I see, what I love, what I feel when I am in that zone-no negativity can rob me of that moment, it is my treasured moment.
Great thoughts Patti! I wholeheartedly agree. Painting is meant to be joy-filled. Focus on painting – ignore negative naysayers!
Bill that was a very complete review of painting surfaces. Thank you for posting this it is very informative. I would like to share what painting surfaces i am working on. I have been painting primarily with acrylics . I have not used masonite for many years because I can see that what is available is not of good quality as it was years ago. Once I did an acrylic on Lunan plywood which I glued to stretcher bars. Never again! The acrylic even with an acrylic gesso primer sucked into that board at warp speed plus it was a very heavy {24 x 36 } painting! Lately since I now prefer a hard surface I am painting on canvas boards! Yes the much derided canvas board. Funny thing about canvas boards. My grandfather painted with oils on canvas boards. A few years ago I took two painted in the mid 1950s to be cleaned and re varnished. When I picked them up the fellow that did the work said that the boards were in fine shape. So go figure . I have a variety of canvas boards in my studio from different art material companies. The Wilson Bickford & Centurion Linen panels are mounted on an MFD board so I expect them to be long lasting. Blick states that their canvas panel is acid free . The grey Can Tone boards by Fredrix have a nice heft to them and I am looking forward to painting on them. What matters most is to keep painting so the canvas board is a good solution for my needs at this time. I also have some other hard surfaces such as acrylic primed MDF boards from Blick & Ampersand which I have yet to use. Usually I work up to 16 x 20 with 11 x 14 being my preferred size. Of course I will sometimes paint on canvas occasionally an older one that has been in the racks for a long time. It is a great way to jump start the creative process.
I agree though with Gamblin that a hard surface is best for oil painting. I will use my water “mixable” oils on the canvas boards. Apparently these oils are best painted on an acrylic primed surface I may use an acrylic underpainting or apply a coat of Sludge which is made by Tri Art . Sludge is 100 % recycled pigments harvested from their washing process. The Sludge that I have is a dark greenish color. I think that Blick still has it available.
I used to stretch my own canvas . The prepared canvas that I used was Fredrix Type 70 which I found to be a good medium weight canvas for acrylics. I have two big canvases on Type 70 and they are in very good shape. Thankfully the standard stretcher bars have not warped. I am now working on a painting that was done on 140 pound Arches watercolor paper. It started as an abstract that I did in a class years ago. I mounted it using gloss medium on a 10 x 20 Wilson Bickford panel. The painting is now completely different . I enjoy painting with acrylics on Arches. Of course sometimes there is a build up of paint due to corrections. which once dry cannot be removed .I had to figure out how to incorporate that into the painting. Eventually I would like to try Arches oil painting paper.
It is funny that I once thought that all my canvases had to stretched by hand. When i started painting ages ago it probably was a good practice since the prepared canvases were stretched to the edge of the stretcher strip and trimmed. The excess canvas was not stapled to the back as it is today. I have seen pre stretched canvases from the 1960s and those can not be re-stretched. The canvas has “retreated” from the stretcher strip. Unfortunately much of the prepared canvases are now made overseas. I would not trust them for oil painting but I think that they are fine for acrylics. In my opinion if painting with oils I think that a tighter weave & a heavier weight canvas is best. The typical art store canvas is too light weight for oil painting. even though the label says otherwise. Fredrix though still makes a good quality pre stretched canvas and Masterpiece has some beautiful canvases. I have not tried them but from what I have read and seen they appear to be a well made product. The Italian Art Store has very good pre stretched canvases. I do not think that they offer the cotton anymore but the linen ones are still listed. I have used their cotton canvases and they took a beating. One has had several paintings on it and it held up. Of course as with any canvas the more you paint acrylics on it after a while you are painting acrylic on top of acrylic and the painting takes on a “plastic” look.
Thanks Dennis for writing such a fantastic comment about your history with painting surfaces. It was wonderful to hear about the experiences you’ve had with different materials. I love that your Grandfather’s canvas boards are still going strong (another testament to the idea that we shouldn’t get overly concerned about some of these things). I’ve read horror stories about this panel or that canvas, but my paintings on different materials seem to be holding up beautifully and it sounds like you’ve had similar results. Although, I too am leery of canvases made overseas. Like you said, the main thing is to get painting!
Bill, thank you so much for all of this information. Right now I paint on cotton canvases but, I will be exploring options in the future and truly appreciate how you share your experiences.
You’re very welcome Patricia! And thank you for lifting my spirits with your thoughtful comment.
Thanks so much!
You’re welcome P!
I am intrigued by your use of an enamel table. How do you clean it after painting?
Hi Lorrie, for 30 years I’ve been using a razor scraper to get the thick paint off, and then some Turpenoid Natural with a paper towel to fully clean it. Generally, as I clean my brushes the Turpenoid Natural in the brushes is cleaning the palette at the same time. Once I’m done with the brushes I simply use a paper towel to wipe everything off.
Thanks, I’m not painting but I’m learning.
Thanks for this article. I am a watercolorist and struggling with oils at the moment! 😀
I can understand that struggle Radhika. In high school and art college I used pastels and watercolors for several years before I started painting with oils. Give it time. What I love about oils is that you can achieve a lot of the transparency of watercolors and also play with thick impasto strokes of paint and brush textures.
You’re welcome Greg. Learning is a step closer to pulling out some brushes and giving it a go!
Bill, It is like you were behind me in the studio the last few days. I switched from oil paints to acrylics some years back for a number of reasons, and have not been as happy with the results. I went back to oil paints last week and have struggled to recall all I learned when oil painting regularly. Thank you for the refresher and the updated information.
That is so awesome to hear Barbara! Oil paints are so much fun. You’ll get back in the swing of it quickly. Experiment a lot and be joyful and let me know if you have questions I can help with.
I am thrilled with your teachings, Bill. Every time I read one of your blogs, I learn something new or refresh what I forgot !! I am a member and am so happy with your program. Thank you and your family for all your work in preparing classes and blogs.
Wow, that is very heartening to hear Nancy! Writing blog posts is a real challenge for me. I’m much more experienced with painting than writing, and finding ways to communicate something that is useful in a written format is a struggle. Thank you for the kind words. Please let me know if there is anything in the membership you would like me to focus on that will be helpful for you.
Thank you greatly for sharing your site. I have learned a lot from you. I appreciate it greatly all you have shared.
Hi Bill what an inspiring video. Thank you very much for sharing your wonderful experience. I had bought a magnetic bar from eBay and used it for my palette knives. Nothing like shat you made but it worked. Do keep these videos coming. I have learned so much from you. Thank you.
From Glasgow Scotland
Maysoon
Good suggestion! But if I have a plastic-and-glass (not metal) palette, any suggestions as to where I can mount something like this?
Also – a friend suggested to me that a little clove oil will help keep your paints fresh for days. I cut a little 1″ square off a kitchen sponge and glued it in the corner of my palette. I place several drops of clove oil on it. When I’m done painting, I put the cover on my palette and the clove oil keeps the paint pretty fresh for several days. The clove oil also attracts these cute little metallic green bees – they don’t seem to sting but they sure do love that clove oil, so I have little mascots to accompany me every time I paint outdoors.
Thank you so much for this comprehensive guide! I will be experimenting with some of these.
I’m glad to hear you enjoyed the info Kari!
Thank you for this information Bill.
I can’t wait for us to move out of lockdown, because then hopefully, the store will open that sells abs plastic sheets here. I’ve been browsing our area and found a local supplier very close to home.
This is really an eye opener that you have shared, much appreciated.
Regards
William
How convenient William! The closest plastics company from me is almost 1 1/2 hours drive. Fortunately, I’m usually not in a rush so we combine the trip with other activities in Indy. It’s good to hear that putting this together was useful.
Thank You, I’ll be going with the Mahagony Plywood.
Yeah, it sounds almost too good to be true Horst. Stable, light, relatively inexpensive, and we don’t need to prime it. I’m looking forward to painting on some in the next few weeks. The only downside is needing to cut it with a table saw but knowing they will cut it for me sounds very convenient, especially if I save up and get a year’s worth of panels cut all at once.
Love this post – extremely helpful!
Great to hear Charamine! I was hoping it would be a convenient post.
Thank You so much for the information aboit the types of painting materials best value and cost efficant. It can be so confusing when you go to the stores and ask these questions . Plus it gives me an alternitive product to start my granddaughter out with especially the use of water colors for her and what materials are best fr them. Thank You Again Bill….
You’re always welcome Ed! I sure love all your fun experiments and beautiful paintings.
Thank you so much for really usefully informaion…I keep you follow from Turkey…Best wishes…
You’re welcome Cemal! I love seeing how painting connects us artists in places all around the world.
Thank you, Bill. I am excited about getting started once again. You have answered many questions I’ve had for years. Your way of teaching is very good and understandable. Many thanks!!
It’s really amazing article and I want to say a lot of thanks for such an excellent explanation!
Thanks for this post today. I have been struggling with some decisions around being an artist, what to create and making a living. Your words have provided clarity to my dilemma.
I just celebrated my 72 birthday. On my goodness – I cannot believe I am this old. LOL.
I am truly blessed. I don’t remember how I found Mater Oil Painting but it was my lucky day. At the time I was painting in acrylics for fun – furniture, walls, floors. Two years ago I decided to try canvases. I am in the process (this may take years LOL) of moving to oils. But even if I never pick up a paint brush again I will continue to read/watch/participate in Master Oil Painting because of you Bill Inman and Kristie. It is such a pleasure to tune in and watch/listen to the your interaction. A safe place to visit and know you will not be dragged into negativity. Oh and I get to learn from all your expert knowledge. LOL. Yes your sharing so much information is very important but not the main reason I come to Mater Oil Painting. Thank you for making this available to us.
Best Regards
Linda Kendall
Hi Everyone, I so enjoyed reading the joy for family and the gift God has given you to teach! I want to learn to paint. I can see what the Holy Spirit has put on my heart to paint, He leads me, teaches, comforts, protects, and provides, , I know I can’t earn my way to heaven, it it is by the blood of Jesus that we are set free He paid the debt for my sin I don’t have to do anything except receive Him and repent. I want to give Him the glory for me life and praise him for the opportunity to learn to paint. I’m a beginner, I have so much to learn, but I’m in good hands trusting in Him as He leads and guides.
I haven’t read such insightful piece for quite a while. Thank you very much.
After reading this piece today it made me reflect on my own life, here is my story…
Looking thru the internet late one night I happen to be led to your site. There was something special about the way you were teaching that I felt compelled to take notes and then the next day I was so exited about what I heard I wanted to learn more and for a single dollar I could get 30 days of teaching. As soon as I got done with the first hour I signed u[ for the 6 week course, then about 3 days later I signed up for the year and it has u[ lifted me so much and I only had a old used paint brush and some brown paper and some old cans of paint that iI use to paint bird houses. So I found a used Discount store and bought some brushes and some dryed up paint supplies and an easel and away I went putting paint on a canvas. I knew from that point on I was ment to be an Artist (well a begining Artist) I Love the way you teach and the way you share your knowledge of painting. Now a year and a few months later I truely enjoy painting it has brought so much joy to my heart that when someone likes my paintings I just want to give them away. I can’t Thank You and Kristen for all the help that you have given me. I feel that God led me to your classroom.
That was truly inspiring. Thank you for sharing this.
Thank you for reminding me how blessed I am by living with my daughter, husband and three beautiful granddaughters , who can be a handful at times and make me wish having a place of my own to be able to create more art. I believe the Lord sent me a message thru your writing I will never think of deserting them again….! Thank you! Thank you!
Thank you so much for your site and for how much you’ve taught me. And today, in reading this post, I realize that there is a deeper calling than just painting pretty pictures. I, too, am a believer, and know that the Holy Spirit sent me to your site to get me out of myself and paint for others. And to feel Jesus smile. What a gift you are Mr. Inman. Thank you.
Thanks for the wonderful information and deep-detailed comparison. I’m not even a painter but I have been drawing quite for sometime. As much as I love drawing, I found myself wanting to explore the world of color, which -to me- was painting. So I picked watercolor just for the easier start. I love how easy and user friendly watercolor is(preparing, cleaning, and etc) but it wasn’t just the right type of medium for my art style.
I’m not skilled for hyper realism, nor -real-realism but I can express my feelings somewhat realistic enough, convincing the viewers in a way that they know what I’m trying to focus, or what I’m trying to tell. However, the behavior of watercolor makes it almost impossible to achieve what I seek for. So I stepped into the world of the line art. Adding ink line would provide detailed textures and edges(even though harsh edges are avoided in realism, they are incredible enhancer in watercolor) that watercolor lacks.
Although, the more and more time I spent doing watercolor, my interest in thicker types of pain grew bigger and bigger. I’m on a search for the right kind of paint, and stumbled upon your article. I absolutely love, I really love how oil painting looks. It’s fabulous, vivid, and convincing. One problem that holds me back from trying oil paint is, that I have a small space to live, a little to no space to paint. I have to stack my paintings right away when I’m done painting for the day. And oil painting takes some time to dry, which isn’t ideal for my situation. And I have a husband who’s vulnerable to all kind of fumes in the house with no proper ventilation(it’s really bad). So trying oil paint is just a dream to me. I indeed, do all my art in my room. Next to my bed. So I cannot afford a tiny splash of paint thinner or the paint itself. Even they are non toxin.
Oil painting seems like, it takes long to prepare and long to clean up. I would not enjoy my hobby if it becomes to much of a hassle. That’s why I was looking for information about water mixable oil paint. Doing oil paint isn’t just practically possible at the moment, and acrylic won’t give the look of my liking. If I’m to choose one, acrylic has to be my choice just because of my situation. And then, there’s water mixable oil paint… I’m really curious about it. Not about technical stuff, but my surrounding wise. Since tradition oil painting isn’t something I can do right now, should I start with acrylic or water mixable oil paint?
Hi
How do you hang the AbS sheet on the wall?
Or do you frame ?
Or both?
Thanks
Annie
I put them into a frame.
What a wonderful interview. Thanks so much to both of you for sharing your conversation. I loved seeing the photos of Stapleton’s work, full of rich color and each one telling its own story.
The two things that hit home for me were 1. his complete and utter focus on his work and 2. describing himself as a poet, seducing his viewers.
Each of us has to get past the “real estate” phase of painting, but, speaking as an “organic” artist, with no formal art education, it makes sense to start there and take a disciplined approach to painting until you have the skill and confidence to create your own “poetry”.
Ahh Very inspiring indeed. Seeing his paintings was truly breathtaking and his guiding comments to the past and porspective students were cutting edge unique and helpful.
Thank you both for the very inspiring interview. I really can’t add anything else that others haven’t already mentioned.
Would like to comment on your paintings though, as I only wish I could get the feeling in my paintings as you do – amazing. I’m going to be trying out some of your suggestions and will see how it works out for me.
Thanks again.
Sir, thank you for arrangement of the interview with gratitude for the artist.
Hi, Thanks very helpful. What are your thoughts about Archers oil paper? Also, why not Aluminum?
Thanks, Bill, for being transparent with your thoughts and discussing many things we tend to skirt over as artists of any level. I feel blessed to have found your site and offerings which lend impetus to pushing through with artistic projects. You and Kristie are a joy to be around and it’s exciting to know other artists and the reach of these joys of learning, camradery, and growing in art and life with your encouragement and the positivity of others. Happy painting and may your family and efforts be richly blessed.
Nice tips. Thanks for that
I have been placing a small piece of sponge (I just snip off a corner of a regular kitchen-type sponge) on the sheet of Plexiglas that I have in my En Plein Air Pro palette. I glue the sponge on with a dot of Crazy Glue. I put several drops of clove oil on the sponge, and when I cover my palette with the Plein Air Pro cover, the clove oil seems to keep the paint workable for several days. It has the added benefit of drawing little sweat bees wherever I am painting – they are smaller than regular bees, brilliant metallic green, and have never stung me – they get a free meal.
I change out the sheet of plexi every few months as it gets scratched up. I get that at the hardware store and they are nice enough to cut it to the size I need, so I get 2 or 3 usable pieces out of every sheet I buy.
In a pinch, I have gotten those pill-a-day holders at the Dollar store and used that to put some paint in that I can easily carry to/from a plein air venue. (That has the added benefit of forcing me to paint with a limited palette because there are only 7 compartments.) It beats carrying full tubes of paint with me.
Great tips Susan, thanks! Plexiglass is a lot harder to get a hold of right now though, due to Covid. I plan to use a couple cotton balls or a sponge as well – easier than the Q-tips.
Hi, I enjoyed the read. I have something similar to seal my paint pallet that’s 14×17 and an inch deep. I was freezing my palette, but like you, I found it was tacky and harder to move without additives.
My question is the clove oil. Are there any other options? What makes clove oil more appealing than linseed oil, or lavender stand oil? Would they be as effective? Does clove oil evaporate more into the air inside?
Thank you.
Great question Suzanne. Clove oil is an antioxidant. Drying oils like stand, linseed, and walnut oil harden by oxidation. That’s why an ‘anti’ oxidant like clove oil slows down the drying process. It essentially pulls oxygen out of the air (as well as doing other more complicated chemical reaction stuff). I don’t add the clove oil to my paints because many conservators have found that it makes the paint film softer, even decades later. It is regarded as nontoxic and safe to breathe and eat in small amounts in the food industry, so I don’t have concerns about using it in my studio. Linseed, or stand oil are not antioxidants – they are drying oils only. Now, stand oil used as a medium will slow the drying process, but not in the same way that clove oil does. Stand oil is simply a different form of linseed oil and will dry as hard as linseed oil in paints. It dries more slowly because it is thicker, not because it has any antioxidant effects. You mentioned Lavender (also called Spike oil). Spike oil is toxic to breathe in the amounts we would use for thinning paints. Spike oil speeds up the drying process because it is a solvent like mineral spirits or turpentine. It evaporates more slowly than mineral spirits, but it is still a quick-drying solvent. I would not recommend it for the studio if you value your health.
My tutor made a container out of PVC pipe and the caps on each end. It held a tempered glass strip to hold the paint. It fir in the freezer door.
This design was too cumbersome for me, so my husband got creative with a container used for welders to keep their rods in…under $20 at Lowe’s. I have a plexiglass strip inside. It just takes a minute or two to thaw, and feels fresh unless it has not been used for several weeks.
Excellent idea Vicki – I will look into the welder’s box. Also, a strip of plexiglass in plein air palette that I could slide into a holder when done painting could work out very conveniently. Thanks for the tips!
Most of us have smaller palettes. I think one of those clear, one-piece acrylic picture frames might serve, with something placed on top to hold it down.
That sounds like a fantastic experiment Richard. Please let me know what you come up with!
Years ago I made a cover for my paints by gluing and screwing a thin sheet of wood to stretcher bars that would fit over my glass palette. Helps keep my paints fresh as long as I remember to put it on !
Awesome idea Toni. Do you have a pic you could share?
Thank you so much for this information. I’m headed out to the shop to make me one right now!!
You’re very welcome Carol! Let me know how it goes.
Thankyou for being so generous and informative with your detailed notes re technique,materials etc. In achieving the end result in your painting…..rocks and a waterfall that are alive! Truly helping me to have confidence with my painting.
what if clove oil causes a severe headache. Are there other anti oxidant oils that could be used?
What an amazing, thorough article. Thank you for taking the the time to grab up by the hand, and take us step by step through the process. I really appreciate it.
Great video Bill!
i like 000 brush for my painting
How can we order these items. This sounds like something I babe been trying to get for me…
Thank You
Thank You Bill, That was good to see. What I take from it is that I should be experimenting and be playful about it….Less stressing and more exploring . What does it matter where the process takes it ? Chances are good that it could turn out just fine
An enjoyable read, interesting to see the progression in style using different mediums. Please note gauche=left; I assume gouache was the medium.
Hah, thank you Diane! I think I’ve been misspelling that for a while now. Thanks for setting me straight.
Amazing transformation in your work. I saved some of my early pieces and I’m glad. You are an Inspiration to me. I m starting to realize that every painting is a learning experience. Also you’ve taught me not to give up. Thank you. I thank God for showing me to your website. Nancy
Wow, thank you Nancy for those generous comments. That really lifted my spirits!
This is an outstanding pictorial history of your painting journey, Bill. Very inspirational for those of us who are back at the beginning. Telling us to keep moving forward, keep experimenting and don’t stop painting. Thank you.
Great to hear Wayne, thank you! One of the miracles of being an artist is the ability to look back and see tangible results from our efforts over the years.
I love colour and your “Misty Mountain” did it for me.
Thank you Laurel – Misty Mountain is one of my favorites. It was very fun to paint!
Gracias una EXPERIENCIA ALUCINANTE, que se disfruta con emociòn que produce el colorido brillante lleno de luz y los contrastes que dan fuerza expresiva y vitalidad, emociona e inspira. saludos
¡Gracias Guido!
Great article Bill. Thanks for sharing your journey, very inspiring.
Enjoyed the journey. Color has always grabbed my attention. There is nothing there, that would not hang on my wall.
Wow! Great article. Im focusing on watercolor landscapes and Plein air. I’m going to use this as my study course to move forward. Thank you !
Hello. Great introduction. I am a new painter. Can I just buy the canvases in the local craft store to use? If so, can I just paint directly on them or should I put the Gesso on it as well? Thank you.
Hi Dorothy,
Great question Dorothy. The answer depends on your budget. Painting is never easy, but the challenge is what makes it fun. Working with better materials can often make the journey much more enjoyable. Some canvases from stores like Hobby Lobby tend to be overly rough in texture. The roughness wears out brushes and makes learning to paint more difficult because you have to fight the canvas so much to get it covered with paint. If that is the most you can afford, then definitely go with those. If they are overly rough I would suggest you cover it with a few coats of a good quality acrylic gesso like Utrecht’s Professional, Golden’s, or Jerry’s World’s Greatest – White Acrylic Artist Gesso Primer (https://www.jerrysartarama.com/worlds-greatest-gesso-acrylic-white). You could also sand them first, but be careful with sanding because canvases made in China might have ingredients in them that are toxic. Besides, the dust from anything you sand can be bad for your lungs. If your budget allows, you might experiment with a better quality canvas occasionally so you can see if that makes a difference in how you paint and how fast you can learn. I hope you have a wonderful time exploring oil painting!
Hi Bill, when you mention primer on some of the papers, are you talking about gesso? or did you mean something else?
Hi Mark, yes, gesso is what I’m referring to. There are other materials that can be used for priming paper, but generally, I use an acrylic gesso because it’s easy to use and I have it here in my studio. The main purpose is to protect the paper from the deteriorating action of the oil paints on natural fibers like cotton and linen. Oil paints don’t harm unprimed wood products, but when the oil dries it becomes acidic and over time it damages the cellulose in the paper fibers.
Thank you, Bill. I love his work and Impressionistic feel but I do agree about the green on the right and—what is the half-round behind the orange building? At first I thought it was a mountain but it is so colorful. I love trying to figure it out!
Michele
I agree Michele, the round wall in the upper right is odd. I believe it’s a top-of-wall facade for decorative purposes, but it is painted in a way that is a bit off-putting. What a wonderful realization though that we can gain tremendous joy from a painting even when it might not be ‘perfect’. With paintings like Bischoff’s I doubt most admirers will notice things like that as much as an artist will who is trying to dissect and learn from his process.
Loved this interview. I’m still finding so much to learn. I think broadening your scope as far as instructors is important. Each instructor imparts something from their style and approach. Thanks again.
Great information.
One question, what do yiu for retouch and final varnishes.
Thanks
I use Gamvar for the final varnish, Harold. I no longer use retouch varnish because conservators say it creates an unstable film between paint layers. If the painting dries and I am not finished, I will bring back the sunken areas with a little walnut oil brushed on very thinly.
Bill-
What is the instrument in the background? Is it a projector, camera, or magnifier?
Thanks. Enjoyed your presentation on painting surfaces.
That is the camcorder I use to film my painting process, Steve. It’s a Canon G50. I used metal piping to create a swing arm that attaches to the ceiling so the camera will stay steady while I tromp back and forth between brushstrokes.
I am so new at painting. I do draw portraits in graphite and charcoal so I do have a concept of a lot that you have explained. I struggle with precision in painting vs drawing and adding the color, of course. Being able to draw is a major plus, but I have so much to learn about painting. Thank you for explaining everything in such detail!! I’m excited to learn painting so that I can paint my portraits!!
It sounds like you have the hardest part, drawing, under control Teri. There are so many different approaches and possible techniques for adding color (painting) that you are going to have a lot of fun experimenting with it all.
I’m glad you stopped using rabbit skin glue on stretched canvas. It is agroscopic and is a terrible thing to use on stretched canvas. Moisture can get in back of canvas and weaken glue with disastrous results. The best support is a rigid panel. Canvas can be adhered to it with easily reversible Beva 372. I would not use any other adhesive.
Great information Icarus, thank you! I’ve not used Beva 372 but I’ve heard only good reports from those who use it.
Thanks for this information..my next sale i will buy the 129.bulb to go in my shop light..now i sit facing a south exposure. L.
Thanks Bill, What a wonderful post and thanks Kristie for the advice!
I have been rather slow is using all of the resources you have provided, I am a new painter and sometimes feel inadequate, however I am working on it!
Love your paintings…
Don’t let your feelings get the best of you Sharonlee, we all feel inadequate at times. Painting is never easy – the challenge is what makes it such a worthwhile lifetime pursuit! As long as you keep moving forward you’ll accomplish amazing things as a painter and hopefully have a great time along the way.
Do you at anytime use hogs hair brushes?
Yes, I do Kathleen, they are some of my favorite and most used brushes. The Rosemary Classic and Ultimate Long Flats, and the Egberts are hog bristle brushes (the Classics are a hog/synthetic mix).
Fantastic Bill , I love the Rosemary brushes and use about 5 different ones. But I love the close up of your brush holder, I’ll be making one asap , I think that will help in keeping the mostly usefull brushes at finger tip and can easily be grabed. i have them in bottles now and knocked over a bottle the other day and I am still picking up pieces of glass. Great Idea…. Now all I need to make is a paper towel holder that is easily exccessable and close to my palette.
Painting up a storm
Bummer to hear about the jar Ed. The brush holder has been very convenient, no doubt. I have purchased some materials to make a newer one soon using a clear plastic produce tub. It will still hold my brushes the way it does now, but the ends of the brushes will sit in walnut or safflower oil so they keep from drying out between painting sessions. I will do a post showing how to make it when it’s done (if it turns out well that is).
Thanks Bill, the brush list is helpful!
You’re welcome, Earl! How are all the grandkids and painting doing?
HOW DO YOU GET IN TOUCH WITH THE ROSEMARY COMPANY TO PURCHASE BRUSHES? I HAVE HAD DIFFICULTY IN FINDING THIS CONTACT INFORMATION.. THANK YOU FOR ALL THE INFORMATION YOU SHARE AND THAT INCLUDES THE FINISHED PAINTINGS IN YOUR YOUTUBE DEMOS. YOU ARE THE BEST ARTIST AND A GREAT ENCOURAGER AND EXAMPLE FOR A BEGINNER LIKE ME!
Thank you Linda for your kind remarks. Sorry, this reply is late in coming. If you live in the U.S. you might start with Wind River Arts – the shipping is less expensive – https://www.windriverarts.com/Brushes.htm
If you want a complete list of links you can find most of my art supplies and links here: https://www.masteroilpainting.com/art-supply-list/
Hi Bill – I was wondering if you ever had a chance to try out the “Purebond Mahagony Plywood – Home Depot” panels. If so, I was wondering what you thought, and if you painted on them “as is”, or did you prime them. If you primed them, would appreciate info as to what you did to prepare the surfaces. In any event, thanks for sharing your info in this blog post. It was very helpful. Thanks.
Not yet Rich, but I will give it a try before the year ends. I have quite a few panels sitting near my easel rearing to go. I don’t plan to prime them, just paint straight on the panels. If they end up being more absorbent than I like, I may put a thin layer of Rublev Lead Oil Paste Ground on them.
is retouch varnish safe to use? some people endorse it, others not.
Im not an expert on any of the chemicals that clutter my studio but I have used retouch varnish for many years. It really smells awful so Im always outside when I use it. I let it dry before bringing it back into the studio.
That’s a great question, Linda! In the past, I used Retouch varnish and would have said yes, but based on newer research I stopped using it. First, as James mentioned, the fumes are usually toxic. Second, conservators say the retouch varnish creates an unstable film between paint layers, especially if you ever try to remove a final varnish to clean a painting. The retouch varnish does not form a strong, flexible film like the oil in the paints and is easily damaged by solvents that do not affect the actual paint film.
So, what have you used for the last ten years?
Great question John! I’ve replaced Gamsol mostly with a little walnut oil or Rublev Walnut Oil Gel. Recently I began experimenting with watercolor when I want to play with underpainting washes. With watercolor, I can paint almost immediately over the top with oil paints. Then, once it’s all dry, I varnish over the whole painting with Gamvar which protects both the oil and watercolor paints.
Thanks so much for sharing this valuable info.
You are welcome, Patsy! Glad you enjoyed it.
Your informative articles are so helpful! Through trial and error between incandescent or fluorescent next to LED there in no comparison. LED lighting (daylight) for me is the closest thing to ‘Full Spectrum’ lighting. In Indiana there are a lot of cloudy days and SAD (Seasonal Affective Disorder). But the LED placed effectively is my answer to perfect lighting.
Great to hear Robert! LED has come a long way since I created that lighting video in 2012. LED has opened up all kinds of options. Eventually, I will probably replace all of my fluorescents with LEDs.
Yes this is Carol, my first time I’ve had time to get acquainted. I have a Lavender farm. And as a result, my time is scattered.
Running any kind of farm takes a lot of time Carol. Thank you for taking some of that limited time to comment and share your thoughts with us.
N0, I’ be getting ready to learn.
Thank you for sharing your knowledge on painting surfaces. Could you tell me what plastic company in Indianapolis that you use?
Hi Bev, I use Regal Plastics Company. Their number is 317-610-8800. I usually make my orders through Teresa. I haven’t ordered any panels since Covid hit – I hope it hasn’t affected their supply.
Thanks for the article! Is it appropriate to mix walnut oil with mineral spirit to create a medium? For my first layer, I would use mineral spirit plus paint? Second layer, I would use 1 part oil 3 part spirit plus paint? Third layer, 2 part oil 2 part spirit plus paint? For final layer, 3 part oil and 1 part spirit plus paint? I’m asking because I want to avoid cracks since I paint in layers. Thanks!
When you reworked the painting did you put a medium on first before adding more paint or painted right over the old paint?
Great question Sharon. In this case, I painted straight away without any prep. For other paintings, if they have any matte or sunken looking areas, I will brush a thin layer of walnut oil on top to help all the values look fresh and vibrant. Sometimes, especially when darker colors dry, they look lighter in value and that can make it difficult to know what value to paint over it because once it all dries again and is varnished all those sunken values will look like they did while wet. When I do add a layer of oil to the dried paint, I use a paper towel to wipe off the excess, leaving just enough to bring back the original values. It is possible for a thick layer of paint to dry so glass-like that new layers have a tough time attaching, but I haven’t found that to be a problem.
I have a painting I started several years ago. I had no idea how to really finish it. It’s totally different from anything I had done before. But I brought it out and started working with it and then decided to add some floral elements to it. It’s not finished yet, but I’m already liking it so much more and may be the start of a series if I like my finished work.
I really like how you did the road. It added warmth and made the painting ‘inviting’. -Liz
What a change! I took an old acrylic painting of a horse that was too close to the edges, turned it into a digital painting where I made the back ground bigger around the horse (actually made it into a couple of repeating continuous patterns for fabric/wallpaper). I changed it from bright to more moody teal and purple with a darker horse. I also digitally fixed some minor problems with the horse.
I got a lot of help with this info on reworking an old painting. It is funny how you don’t see things that are wrong until much later. I have reworked some of my paintings in the same way. It was helpful to pick out the problems of your painting.
Thanks
Lyn
I would like very much for you to show the 2 pieces side by side. M y mind wondered as I tried to read then go back to “before” so if they posted side by side I would be able to actually see the difference. Please consider this suggestion.
Thank you very much. I love the advice and the graphic examples are great!
I love your work!
Bill your tree landscapes are beautiful conveying a sense of place. As an artist that loves to paint landscapes with trees I say ‘bravo”!
I have quite a few paintings with boring pathways or roads. This blog is very helpful. I’ll work on my paintings using your insight. thank you.
Beautiful paintings! In our part of the world too, there are beautiful and majestic trees. This article has inspired me too to paint trees. Thanks for this. Great post!
You have perfectly captured the beauty of trees in the Fall season. Your paintings mirror those we observed yesterday during an outing at Brown County State Park in Indiana. The beauty of nature was simply everywhere – just as you’ve painted on your canvases. With our late season trip, the colors we observed were more like “Sun Showers” than “Lazy Hazy Day’, but nonetheless gorgeous.
From majestic old cream and tan sycamores…to conifers bent under the snow, trees are an inspiration. Maybe it is because, even though they are anchored to the earth, they spend their life reaching for the heavens and doing good where they are planted. I enjoyed walking through the light and shadows of Bill Inman’s forest.
Thanks for this article. I learned quite awhile ago while getting my art education degree in college not to take critiques personally but to listen to my professors and try to learn from what was said. Along with that I also learned a four step critique lesson that I did with students in the public school system. The steps included1.) Describe what you see. Facts only. (This one was sometimes hard because the students would make a a child a boy or girl due to dress or hair style. I would explain that to start with we saw a child, later we would talk about if it was a boy or girl.)
2 .) Talk about color, line, shape etc.
3.) what the artist is trying to tell us.
4.) Do I like the work? Why or why not?
The art work describe was St Joseph the Carpenter by de La Tour
I’ve loved the critiques and learn so much each time from everyone’s art. Some of Bill’s suggestions are still above my skill level but the insight always affects my next painting. They also have changed my planning as well as my appreciation of the work of others. Sometimes I’ve taken screen shots of the before and after so that I can refer to the lessons later. The archives are a wonderful resource to go back to.
I find it is helpful when I critique around design issues. What is good or bad about the composition, what is good or bad about the color choices. What about it as a whole that I like and how it could be even better.
What is the best product for cleaning brushes used for oil painting?
Check out this blog: https://www.masteroilpainting.com/clean-oil-paint-brushes-with-turpenoid-natural/
I did some checking about using watercolor for underpainting as I was interested in using it. It was not recommended as it contains gum Arabic or other preservers.
This is my first day being a member and I am very interested to read members’ comments on starting to repaint old paintings.
I have a closet full of paintings I just hate, not sure if it is worth the effort to do any salvaging.
What is the difference between walnut oil medium and walnut oil alkyd and when would you use each?
The alkyd version dries faster than regular walnut oil. I haven’t used the alkyd so can’t comment on when to use it instead of walnut oil but presumably if you want faster drying time.
Typing error should read “dries faster”
Does anyone know where I can find a list of m. Graham oil paint colour drying times? I know the colours dry at different rates, but I cannot find a comprehensive list anywhere.
Nice article! I always enjoy the quest show. Several of the artists have become long distance friends, and I’m hoping to get my paintings into the show.
I wonder if Fechin might have changed the pose of the hands over a couple of sittings. It looks like the index finger tucked in to the other hand was done later. Maybe the ‘pinkie’ was actually the third finger and the pinkie was initially in the shadow area.
Really thorough! Bill (Whitaker) mentioned these to me along with those gorgeous Barkley (sic) easels which I wish still were made.
I’ve never tried it personally but may now. I like dibond but have had issues getting an optimal surface onto which to work. I think painting directly onto a surface is best…less layers between oil and substrate.
We’re so grateful that you shared this special nativity artwork with us. It’s beautiful! Blessings to you and your family.
What a beautiful article! I can tell you are a special couple. It is very apparent that you both love each other and respect each other very much! May God continue to bless you both! Merry Christmas!
Hi Bill, Thanks for this…really trying so many surfaces. I really enjoy oil painting on Arches oil paper. I like the feel and that I can tape it to a hard surface. I noticed you didn’t talk about oil paper; do you think that it is better than the watercolor paper for oils?
This hit me between the eyes! Wow! so inspirational. simply greatness…
Wow, thank you, Mark! I’m so grateful you found it worthwhile.
Awesome story about an awesome person. You have touched many people and I thank God that I have had a chance to meet you and your family. Your art will continue to impact others for many years to come.
Spike, I feel the same way about you! Thank you for being a true friend to me and my family.
Thank you for sharing a bit of your life with us. Bless you and your precious family!
Thanks for sharing. I started teaching myself to oil paint about 20 years old and I love the beauty of God’s creation and Jesus is my Lord and Savior. After years of having to work a regular job now at a young 70 year old I saw Bill’s work on Facebook. I have painted nature from my own photos. It inspired me that I might be able to paint again and maybe make money. What has stopped me was limited funds and as a senior. My husband bought me a small oil package. I have pictures of the few paintings I did. I don’t see how I could pay for lessons at this time.
Bless you and your family.
Thank you very much, your paintings are most inspiration, take good care, love to seeing your paintings!
Thank you for sharing this information about yourself as an artist and more. It is great to know how much you have worked to be where you are at this time. Your sharing your gift and training with us is much appreciated. It is a very encouraging story. I feel that with a lot of practice and sticking with your teaching it could be possible to be a more secure and happy artist. I am already a happy artist since that passion is in me to paint but I have always needed a guiding hand. So once again Thank You.
Thankyou so much for sharing your story! I knew God led me to you for a reason. I was making great progress as a painter & let myself get sideways for awhile. Thankyou for renewing the inspiration!
Beautiful testimony, Bill. You artwork continues to inspire. I also thank the Lord for my love of painting, and ask the guidance of the Holy Spirit every time I paint or draw. Best wishes for continued success!
Cant be here on the 30th for the advanced painters meet up. Can someone else facilitate?
Hi Bill,
As a photographer, I’m enjoying the read of your THE 31 TOP COMPOSITION CONCEPTS FOR GREAT PAINTING. Helping a lot. Thank you for the write up.
God bless,
Kelvin
oil paintings panels canvas primmers . this blog is very eye catching . keep it up
plein air paint a river this article is interesting .
I have gone through the very same struggle! I teach several art classes per week and have always promoted Turpenoid Natural. I used to buy it in the gallon size and sold it to my students at the same price per ounce, so they could get the benefits without a huge investment. To answer one person’s question above, I just rinse my brushes in odorless mineral spirits (Turpenoid’s brand, Mona Lisa, Gamsol…all good) and continue to paint the next session with no issues.
Since no one has commented on the question above about a similar brand sold at Lowe’s, I’ll go there and inquire myself! I’ll come back and pass on any info I find. In my research I’ve recently come across several positive comments about using Murphy’s Oil Soap. In my experience, it helps, but is simply not as effective.
I forgot to mention that just yesterday I ordered four quarts of Turpenoid Natural for $22.70 each from Dick Blick. That brought the Gallon price to $90.80, which is about a 30% increase over what I used to buy the Gallon size for, but doable.
Looking forward to doing some of these events
Jeanne
Crazy thorough and definitively gathered. Thank you
Your story and motivation touched my heart and soul. Thanks for your vulnerability.
What a marvelous blog post, Mr. Inman! I’ve found it just at a time when I’m venturing to learn more about what drives me as an artist. I found this inspiring and encouraging . And, I agree that experiencing helps you see. And, taking the time to observe what you’re really seeing as well as what you’re feeling and how a place, the light, who you may be with, what you’ve been doing, thinking and remembering lately all play into how alive a piece of art feels. Thanks for making me think!
You’re mini biography is fascinating. I love how you get on your knees every morning and that you follow Christ’s gospels. How wonderful to have and enjoy a big family.
I use Vaseline to clean my oil painting brushes on the advice of a well known oil painter.
Hi Marion,
Vaseline is not a drying oil like Linseed or Walnut oil. If you use it because it is convenient and works well for you, I would recommend you clean your brushes thoroughly with soap and water. Vaseline is a petroleum product and not compatible with oil paints as far as the actual painting process is concerned. An excellent product I’ve been using for 30 years is Turpenoid Natural. I describe how I use it to clean my brushes in a blog post here: https://www.masteroilpainting.com/clean-oil-paint-brushes-with-turpenoid-natural/ – when the paint is extra dried on the brushes I soak the brush in the Turpenoid Natural for a couple of hours. To clean my brushes I dip the brush in the solvent and then work the paint out on my palette. Once it’s clean I use a paper towel to squeeze out as much Turpenoid Natural as possible and then the brush is ready to use. The tiny amount left in the brush will not damage or cause problems with the paint drying.
Can you repaint a 1 year old painting which is lacking blending of edges?
Great article! I have been trying to learn to oil paint solvent free and this is incredibly helpful. One of the puzzles I’ve been trying to solve is the thin washes at the beginning of the sketch/block in. I noticed that you use walnut oil for this. I have been hesitant to take this approach because it seems like lean over fat to me. Subsequent layers for me would have a lot more paint and a lot less walnut oil. I can understand using walnut oil for glazes, because they would come towards the end of the painting where it would be appropriate to have that much fat in your layer. Can you help me understand this better?
this was really insightful even for someone who digitally paints, I’m really struggling to get my clouds to look right without completely copying from a reference but this article really helped, thanks!
Why Bill!!! You had hair back in the day! You handsome dog you! ;o))
My Gamvar varnish has thickened, is it safe to add a bit of mineral spirits to thin it down to a spreadable consistency?
Do
You use a light frame for darker paintings? I just framed a lovely but darkish oil In a dark wood suggested by the framer. The whole thing retreats into darkness. Any suggestions ? I want to change it to a lighter frame but would like the suggestion of a painter!
love your painting I been trying to get your classes since 2018 and I misplaced the password and can get in
Bill the material you covered was very informative. As most of us who have felt the irresistible urge to create since we were children and didn’t come to the realization that wow I’m an artist. The youth of today have a distinct advantage of being tested and placed in the gifted and talented programs.. Where as they would have other wised been shuffled to the side as average students or below .What prompted my commentary and rung a bell was the comment you made about anything dealing with numbers and your eyes glaze over. For years I would not disclose that numbers and I don’t jell,.Today as an adult i tell people (I’m not wired that way). But when it comes to creativity we can rock with the best of um. I hear notes and sing as well. Joplin was a painter Eric Clapton was a stained glass artist and many more follow the same pattern. I am happy with who I am and my achievements in art. Thanks 🙏 Bill
Hello my friend- excellent advice you share! Would you show us more detailed pictures of the cover on and off and at work? And do you use anything to create a gasket/seal? Such as a string of rubber? Is the table made of metal (for magnets)?
I’m so glad I found your site. I’m stunned by how beautiful your works is, and I so appreciate all the helpful tips and insights. I’ve heard and seen lots of instruction on composition, in particular, but you’ve broken it down in such an understandable way! Lastly, thank you for the link to Wind River and Rosemary & Co. I’m always put off of buying directly because the shipping can cost more than the item I want to buy!
Than you!
From BIll: First, if it’s varnished I remove that with mineral spirits if it’s Gamvar or similar – old school damar required turpentine. Then I sometimes do as Dyanna suggested and cover the painting with a thin layer of walnut or linseed oil (oiling out). If so, keep in mind that conservators suggest removing as much oil as possible since excess oil contributes to yellowing and might cause sagging or wrinkling of the paint. Oiling out isn’t necessary, but it can help create a uniform sheen so values appear accurately – darks tend to dry matte, especially when mineral spirits are involved. The one thing to watch for would be spots that are overly shiny or glass-like. If the surface is too slick the new paint might not form a sufficient bond with the old paint. As far as cleaning the old paint beforehand, that would depend on how dirty it is and how important that is to the overall look. Since I paint outdoors a lot, I often get dust or bugs stuck in my paint and I leave those if they don’t detract from the painting. If you’re removing a varnish layer then anything that accumulates after that will come off with the varnish. If the painting wasn’t varnished then just use your best judgment and decide if any dust, fly leftovers, or other sediment is distracting and only remove those spots. Too much cleaning might cause more damage than good to the painting. The primary thing is to make sure the new paint bonds with the old paint. If the paint is less than a year old you probably won’t have any problems. The older oil paint gets the more it oxidizes and the greater risk of new paint not bonding, but in my experience oil paint on top of oil paint still has a strong likelihood of bonding. I’ve reworked paintings that were more than 10 years old and didn’t have any problems with the new paint adhering well without any special preparations.
I want to make sure I’m on the right track after reading about walnut oil added to paint. My process is to apply a very thin layer of walnut oil onto the blank canvas with a paper towel, wipe nearly all of it off to leave only a slightly slick surface, then use paint directly from the tubes. So far I haven’t experienced any problems. Brushes have been only in oil, so they’re easy to clean by leaving the bristles soaking in undiluted dish soap for a while, washing that out after a few hours and drying brushes overnight.
Thank you for opening up your art journey to us. It’s inspiring and a good reminder to not to let oneself get stuck in one approach. I began my journey in 2006 (although always loved art, art history, and drew for my kids a lot). I’ve kept some pieces that I recently took a look at. Fun to see the progress made, and now retired, am focusing more attention on carrying forward ideas and learning as much as I can with every painting!
Thanks, Bill–I hope you like this from a photo I took last summer driving home one night!!
Michele
I absolutely love the beauty, intimacy, wonder, and relationships as captured by your Mary, Joseph and baby Jesus oil. I’ve showed this to many because we’d LOVE to use this as the picture on our Christmas card that we’re giving every household in Severn Beach, UK. Please can you email me a large picture of this, and thank you not just for sharing your gift, but explicitly explaining that you share it as a gift precisely because you also recognise the gift of life, rebirth, and eternal future that you’ve received. Terrific.
Tôi không biết nói gì. Cảm ơn ông rất nhiều. Tôi đang học vẽ và bài viết này đã giúp ích rất nhiều cho tôi về lý thuyết. Trân trọng cảm ởn ông.
Tôi không biết nói gì. Cảm ơn ông rất nhiều. Tôi đang học vẽ và bài viết này đã giúp ích rất nhiều cho tôi về lý thuyết. Trân trọng cảm ởn ông.
THANK YOU. This was so helpful and insightful. Wow!
So I am assuming you now give it a new “competed by” date? thanks
I enjoyed your article and the new painting is excellent. I have a question about an older painting I did many years ago. I want to change the background as it was a portrait done at life drawing and never touched it again. It was varnished and after a great deal of work I got the varnish removed. I have repainted the back ground many times, but the paint will not dry even weeks and weeks later. I clean if off and start another try at it, but no luck. The paint is not thick either the old surface or the new paint going on. The surface of the old paint is a little slick. Should I sand it down with very fine paper? The old paint is very stable and there was no medium used in the painting except to thin the paint with the gamblin when needed. I am not repainting the head in the portrait just the background.
Wonderful interview as well as Peter’s insights, philosophy, and thoughts. Love the way he approaches his work, interests. Just great.
very helpful!
I left more confused after reading this. Charts?
Hi,
My question since you mention thT the best option is to always use pure paint but how do you get the thin layers when painting like the old masters without adding something to thin the paint. I see so many answers to this that I am confused. I would like to establish a tried process that is correct while being less toxic and give me the results I need. Price is not a problem.
I paint with Neon, blacklight colors and accent with glitters. I am going to sell thru art storefronts and want first, to purchase the best camera to show my works.
Please suggest what you would purchase
industrial revolution [url=http://www.washingtondchotelsonline.com/#greatest-inventors]leonardo da vinci[/url].