If Id been born a century earlier, I think I would have loved menageries. They sound quite romantic, dont they? And it probably would have been the only time I ever stood face to face with exotic animals from distant places.A successful horse drawing is often a matter of getting the legproportions of the animal correct.
Accomplished artist Jean Haines of the Watercolor Freedom series has a simple way of demystifying watercolor pigment theory, and she explains it all in this quick watercolor video tip.“I get asked so many times why pigments are different and what the different qualities are. And actually, reading theory can be a bit intimidating, especially if you’ve just started painting,” Haines explains.
Lynn Whipple’s mixed-media floral paintings meld line drawing, pastel and acrylic into joyful works of stunning beauty.By Robert K. CarstenWith a mother and grandfather who painted, and a grandmother who played the piano, art and music surrounded and inspired Lynn Whipple throughout her childhood. We always made art, and it was such a joy.
When it comes to the versatility of the pastel medium, New York artist Bill Creevy is the man who wrote the book. It also brought much needed affirmation to artists who were currently working and experimenting in the medium.In recognition of this important contribution to the field, and in celebration of an impressive body of work in the medium, the Pastel Society of America (PSA) honored Creevy as its 2011 Pastel Hall of Fame recipient with a formal presentation at its annual awards event last September.
The long, coarse hair of the American elk … the distinctive makings of the peregrine falcon … the colorful glint of trout … the burning glow in the eyes of the wolf. These are only a hint of the rich variety of textures that exist in wildlife. By capturing these tactile details in your paintings, you give your wildlife subjects that certain “spark” they need to come to life.
Taking my first look at 140-lb. Arches oil paper, described as needing no preparation or ground for painting oil paintings on paper, I considered all the possible ways I could work with it. At first I thought of tinting the paper both transparently and opaquely with watercolor, gouache, acrylic—and oil.