These are "hand's on" tips from artists !
Got a good tip ? Submit form below to post it here !
These are "hand's on" tips from artists !
Got a good tip ? Submit form below to post it here !
Click A Tip Category From The Index:
Acrylics
Brushes / Cleaning
Canvas / Supports
Digital Imagery
Easels
Framing
Oils
General Studio
Submit Your Tip Using The Form At The Bottom Of This Page !
Acrylic Painting:
Acrylic Paint Drying Retardent (by Judith Forster-Monson):
In response to using hair gel for retarding drying of acrylics: this is not an archival medium, artist be warned. As for using white gesso in place of white acrylic paint: acrylic gesso = calcium carbonate (chalk), acrylic polymer medium, a pigment (titanium oxide usually) and other chemicals. Internet sites mention that gesso is not a reliable (read, again, archival) mix with acrylic paints. Buyers expect stability and longevity. Neither of the above items is recommended for the serious artist.
Acrylic Paint Drying Retardent (by Jan Sebastian):
I use acrylic but do huge paintings. To keep it wet on the canvas longer I use hair gel. Sounds strange but the stuff they sell at the art supply is expensive and with my huge paintings wasn't going to be cost efficient. Just thought I would share. Jan
http://www.jmacgallery.com
Acrylic Paint Drying Retardent Test (by Riley Geddings):
I decided that I would test out the hair-gel as a retardent for prolonging the drying time for acrylic paint as suggested above by artist Jan Sebastian.
It did work very well for me! Thank you, Jan, for the tip !
Blending Trick With Acrylics (by Riley Geddings):
I discovered that if you use heavy gesso instead of white acrylic, you can blend your colors together quite easily ! Also the drying time is slower. I never use white paint anymore and my blending is very similar to oil blending. Try it !
Oil Glazing Over Acrylic (by Chas.):
You can use oil paint over acrylic paint but not acrylic on oil. If you want to try combining different paints I would suggest you work on a hardboard or wooden panel. You can mount your canvas to the panel if you prefer a textured surface. Different paints expand and contract at different rates so you have to work on a non-flexing surface when using differing materials.
The glazing oils over acrylics idea is to use the acrylics for texture and detail and the oil paint for adjusting color and value of the painting as a whole. The oil paint is thinned with medium and used in transparent glazes. When I lay in a sky over a landscape that has been painted in acrylics I can't use any white. It has to be transparent. If I miss my color and need to use a white to bring it down, it means that I will need to repaint those areas in oils that have been affected by the white paint. Griffin makes an alkyd paint called "Mixing White" that has almost no body to it, it is very weak. Alkyds can be mixed with oil paints without any problems and this white is the closest I've found to a white paint that can be used to tint a color and still be used in a transparent glaze. Oil colors can be used very thinly, subtlety is their great strength.
Coat Your Arylic Painting With Varnish (by Riley Geddings):
Acrylic Polymer Varnish with UVLS (UltraViolet Light Stabilizers) is a waterborne acrylic polymer varnish that dries to a protective, flexible, dust-resistant surface. Use it as a final sealant over acrylic paint.
I always give my acrylic paintings 2 or maybe even 3 coats. It not only protects the paint, but it also brings out the nice sheen of the paint if you use the gloss varnish !
Polymer Varnishes must be thinned before use. They have been formulated thicker than traditional varnishes, to maintain an even suspension of matting agents. This ensures more consistency in surface reflectance. Varnishes are available in a highly reflective Gloss, and an exceptionally flat Matte. The matte varnish will lighten dark value colors.
This varnish is removable with ammonia for restoration purposes.
Keeping Acrylic Paint Wet (by Riley Geddings):
Any artist who has painted with acrylic knows that the paint on the pallet will be dry and thrown away at the next session ! Well, maybe not if you are frugal !
There are many methods to preserve those paints. Some are available in art supply stores such as the "Stay Wet Pallet" which is a rectangular white pallet containing membrane to water and depression cups from which one can dip and mix - and then there is mine. I make good use of plastic containers and tops, especially large coffee tubs.
Here is one tip - obtain a couple or so cheap square throw-away food savers about 2 or 3 inches deep and about 7 or 8 inches square. Line the bottom with paper towel, and wet it well. Cut most of the edge of a round coffee top so it will fit inside the food saver. Obtain a few rolls of very cheap paper towels, pay out on top of each other about a dozen towels, mark 2 sets of circles, cut these out so as to have a good supply of "membrane" to fit inside the coffee top - (I use 2 circles at a time), wet and smooth the membrane.
So now you can squeeze out your dabs of paint on the top half, dip and mix on the bottom half. Spray water on it lightly from time to time. At the end of your painting session, place the top inside the saver, snap the lid, and it will keep a day or more. When the paints get too mixed and spread out, start over fresh !
Brushes:
Cleaning & Preserving Oil-painting Brushes (by Tim Peterson):
I've found over the years that the biggest killer of a paint brush is paint drying in the heel and ferrule of the brush. Dry paint causes brushes to lose their shape and flare out.
Here's my tip for keeping paint from drying in the brush. After I'm finished painting (with oils) for the day here's how I care for my brushes. This is a very old trick used by sign painters who are a nearly extinct breed.
I wash my brushes in mineral spirits and then wick off the spirits remaining in the brush by holding the brush against a cotton rag. I then dip the brush in a non-drying oil. The oil I first learned about was called lard oil. It was available at sign supplies and was a mixture of several ingredients. I don't know the formula. I find motor oil works just fine. DO NOT use vegetable oil. It is a drying oil and will dry in your brush.
I then lay my brushes in a pan or stand them in a jar. When I'm ready again to paint I rinse the oil out of the brush and it's good to go. No paint has dried in the brush because the non-drying oil would not let any residual paint dry.
I have beautiful oil-dipped brushes that are thirty years old. The brushes that I clean in soap and water are usually thrown away after a few months.
Cleaning Oil-painting Brushes (by Linda Steelman):
The total time I spent cleaning my brushes, could have been used to paint another canvas. I paint only in oils so I would clean first in odorless turp. then wash several times with soap and water working the soap into the bristles and ferrules using the palm of my hand until no color or paint could be seen in the rinse water. Never use hot water to clean your brush ! Then after years, I went to art class again and the teacher was using Lard to clean after having rinsed in turp. This worked better and faster than soap and water. Then one of our painters brought in some goop, the hand cleaner that mechanics use. This worked much better than soap and water.
When preparing the brush to paint again simply rinse the brush in turp first. After all this experimenting I ended up using plain old cooking vegetable oil (preferrably a light oil) like canola. Blot the brush well before putting it away. I use good brushes and this seems to work without harming them.
Canvas & Support:
Preparing A Canvas (by Riley Geddings):
I am quite sure that almost all artists have their own opinion about this subject, so this is just mine.
For both oil and acrylic I paint on stretched canvas, canvas-on-board, and board. This is just for canvas. Most of us purchase pre-streched and pre-treated canvas because it is more feasible. We would rather spend our time painting and not making our own supports.
First, preparing the canvas for oil painting:
It is more important to me to add more gesso here because oil paint will soak through the canvas. This means that I will add three coats of thinned gesso and fine sandpaper in between coats. I usually alternate the brush strokes of each coat of gesso - that is, I brush vertically on one coat, the horizontally on the next, and so on. So now I have at least four coats of gesso - three by me and at least one by the manufacturer.
Second, preparing the canvas for acrylic painting:
It is not so important to me to add more than two coats of gesso here because acrylic paint will not soak through the canvas. This means that I will add one or sometimes two coats of thinned gesso, finely sandpapered between the coats. Again, I usually alternate the brush strokes vertically on one coat, and horizontally on the next. If we think about it, our application of acrylic is just another protective layer just like gesso !
For the preparation of canvas-on-board (or canvas-panel) I do the same as for the acrylic (above).
Digital Imagery:
Shooting Painting Images Indoors (by Riley Geddings):
You will need a sturdy tripod which adjusts to tilt, rotation, and height. Next you need plenty of light - two 500-watt photo flood lamps (3200K) mounted in reflectors are recommended. Try to use a flat, black background if possible - such as a black mat. The best mount is either on the wall or on an easel. Last but most important, use a good digital camera with at least 4-megapixels.
The art and the camera lens must be parallel to each other with the center of the lens pointing directly at the center of the art and both must be level !Lamps should be 4-5 feet from from the art, and behind the camera at 45 degree angle on each side. The lamps should also be at the same height as the camera. Avoid shadows or shine reflections on the art. The room should be absolutely dark when you shoot with the photo lamps only ! Set the white balance on your digital for tungsten lighting. The LCD view window should be filled with the IMAGE ONLY, centered and absolutely square to the sides, top and bottom. Focus directly in the center of the art.
Shooting Painting Images Outdoors (by Riley Geddings):
This can be a very complex subject because there are many ways to achive it. One may choose a professional photography studio all the way down to do-it-yourself. I believe the DIY method is the one that most of us artists use - I do.
Some of us may own very expensive digital cameras with loads of extra bell and whistles. Mine is a "middle of the road" quite nice Canon with enough bells and whistles for me ! So it doesn't matter so much about the camera as it does the technique. Some use tripods, others just place the painting on the surface at their feet, point and shoot !
Here is the way I do it, so this is my tip. Outdoor natural light is always the best lighting so find a good spot not in direct sun but just out of it. Now you have good light without the glare. It is still ok here to shoot the painting on the floor but it is difficult to adjust the camera shooting straight down - standard tripods like mine will not allow for this. I have found a suitable place which has the correct lighting and I can use my tripod straight on. Using a longish piece of lumber, I built a slim stand to safely house my paintings in an upright manner. It is clamped to a solid object so that it will not move. The painting is mounted at the correct height corresponding to the height of my tripod - of course the tripod may be adjusted.
After making all the adjustments, we have all we need now to take great digital images of the painting. I usually take 5 or 6 at different adjustments and select the best after downloading. One should also have good image-editing software !
Easels:
Mahl stick - my substitute. (by Riley Geddings):
The traditional Mahl Stick is not only expensive, but awkward to use - you almost need a third hand ! I like my substitute better because it is almost free, it's always right there available to you, and it is self-supporting.
Here it is - near the end of either the right or left side of your bottom easel canvas rest (the tray where you place your canvas to paint) - drill a hole all the way thru it. Obtain a piece of wood 3/4" x 3/4" x the length of the tray and also drill a hole matching the other drilled hole. Find a machine bolt which will fit thru drilled holes with a wing-nut on the back side to tighten and loosen the Mahl.
Now you have your permanent Mahl Stick - just swing it upward to the desired location and paint without messing up your wet paint ! You can also use it for making angles by sliding your canvas to the left or right to match the angle of your new Mahl !
Average price at art supply stores is $40.00 - my price is almost nothing !
Frames & Framing:
Make them - or purchase them ? (by Riley Geddings):
I have learned from my own experience that it is better for me both timewise and moneywise to purchase my frames. One can locate fairly reasonable ones on Ebay. I have a nearby framer who makes them for me as I need them, about a dozen at a time and he is very reasonable.
However if you have the time, the space, and the know-how to make frames yourself, that is great. I have made a few using ready-cut and mitered mouldings. I am an artist - not a framer !
Oil Painting:
Water-soluble vs traditional oil paint ? (by Riley Geddings):
There are two good reasons why I prefer water-soluble oil paints. 1 - Easy cleanup with soapy water and rinse. 2 - No smelly thinner !
You can also mix up to 25% of traditional oil paint with water-soluble oil paints and still use them the same as 100% water-soluble. As far as the pure paint is concerned, there is no difference in painting technique.
As far as thinning is concerned, I have found that it is better to thin with a good oil medium instead of water - it has a better appearance.
Best oil medium - Linseed Oil or What ? (by Riley Geddings):
For some unknown reason artists and art suppliers have been determined to use Linseed Oil as a standard oil medium for decades. Perhaps it was because Linseed came from the Flax plant from which Linen is made and lots of artists painted on linen and still do. Linseed oil is a very good medium but I prefer to use Walnut oil because it dries clearer with little or no yellowing and also because it dries faster thus allowing over-painting quicker. Walnut oil costs less making it more economical to use.
General Studio:
Time Management (by Peter Muzyka):
Something that I do that may help other artists: I have a dry erase board posted with any important deadlines and meetings, etc. posted and updated at all times. It usually helps keep me on track.
Peter Muzyka, Madison, Georgia.
Please visit our art website at http://www.petermuzyka.com
"HOW I STAY ORGANIZED in a Small Studio Space
(by Deborah Rubin):
(From an article in ART CALENDAR -
excerpts reprinted here with permission from Deborah)
My studio space is 10' x 20', and I?ve worked professionally in it for 28 years now. For me, the ease of having my studio in my house makes up for the lack of space. I?ve learned how to organize it so no space goes unused.
Space Planning
I am primarily a watercolor painter, using flat tables. My paintings range from 11" x 14" to 50" x 80", so some of the tables are adjustable; others are portable stands and I can leave supplies and lamps on them without adjusting and re-adjusting the table.
My studio is long and narrow, I?ve made an ?L? shape with three tables. One is wide; the others are long, giving me plenty of work space or to leave work materials on one table.
Underneath the tables, I have long wooden boards across the bars containing plastic egg crates to hold my paper pads and other supplies.
I keep one long wall empty so I can hang my paintings, finished or unfinished. It?s where I can step back a few feet to look and critique my work.
Storage
For storage, metal shelving is durable and inexpensive. It comes in many sizes with adjustable shelves and is easy to assemble. I use two small units, secured one on top of the other which gives me 24" x 95" of shelving.
Taborets, or the carts that hold the palette and brushes, are also good storage solutions. They need not to be fancy, utility carts work well.
My studio has a high vaulted ceiling with a narrow loft or storage area 10' from the floor. Agreat place to store canvases and frames but need a ladder to reach it.
Art supplies can get unorganized quickly and become overwhelming if we collect items to be used later ! I have small buckets and jars for smaller items and a tall barrel for yardsticks, a mahlstick and rulers. My art objects are either in plastic storage bins or manila envelopes. I don?t want to spend time searching for items.
Maximizing the Space
I keep my studio floor space empty of furniture so I can use it for special projects when needed. A folding table can be set up for temporary work, or an easel can be rolled out to accommodate a large painting. Folding chairs can also be stored out of the way.
The key to an efficient studio is not the amount of square feet but how the studio is organized. Every inch of space needs to be used well. Supplies and art work should be within close reach and the creativity will go uninterrupted. The masterpieces will be born.
Sound Studio Frugality (by Michelle Horstman):
One of our best selling local artists advises using cheap materials he buys at Home Depot and Wal Mart for his acrylic work. Some of his favorite tools are inexpensive sponges and dowels. He paints his backgrounds in about five minutes with sponges. He made his own flat "easel" out of two inexpensive saw horses from Home Depot so he can stretch out a large canvas across them and paint away.
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