Thursday, 8 October 2015

11 Painting Terms Explained


Background - The background of a painting is the area that appears to be the furthest away from the viewer. This part of the painting isn't usually the focus of the painting and is there to add more substance to the work.

Binder - This refers to the part of paint that holds the pigment together and helps it stick to the support. The binder helps to add consistency and cohesion to paint.

Drier - A drier is added to slow-drying paints, mainly oils, in order to make them dry more quickly. Many artists use these as oils are particularly slow to dry.

Ground - A ground is a thin layer of paint which can be applied to a support to make it more ready to accept paint. Grounds can be any colour, though whites and creamy colours tend to be the most popular colours used in this way.

Medium - A medium is whatever substance you add to paint to change its properties. You can add substances to change paint's consistency, working properties, ability to mix with other paints, drying time and more. This term can also refer to the substances an artist uses for their painting.

Palette - The word 'palette' can mean two things. Firstly, it can mean the wooden or plastic board that an artist uses to keep paint on and mix it while working on a painting. Secondly, it can refer to the range of colours an artist uses for a painting.

Pigment - The pigment is what produces the colour of paint. Pigments are usually ground into a fine powder and mixed with a fluid, such as water or oil, to become paint.

Subject matter - The subject matter of a painting is simply whatever it depicts. It is the focus of the work and the part of the painting that usually has the most meaning and significance.

Support - The support is simply whatever the paint is applied to. Supports are usually canvases, though many artists choose to apply their paint to different surfaces, such as wood panels and paper.

Underpainting - Different from a ground, an underpainting is the first layer of an oil painting. It's used as a sort of base for the painting and is usually done in a single, dull colour.

Varnish - A varnish is a substance that is applied to a painting as the final layer once it's complete. The role of varnish is to protect it from dirt and dust.

Joanne Perkins is a Berkshire-based artist with a BA (Hons) in Fine Art. She specialises in painting Berkshire landscapes and loves capturing the natural beauty of her local countryside. She is happy to accept all queries and questions. For more information about Joanne, her work and her current projects visit: http://joannesberkshirescenes.com/default.aspx Joanne can be found on Facebook


Article Source: http://EzineArticles.com/9153238


4 Questions About Painting Supports Answered

What is a support?
A support is simply the surface you apply your paint to. Artists apply paint to pretty much any surface. Cave walls and animal skins were used as the very first supports. Wooden panels and plaster frescoes became popular for many centuries, before giving way to canvases made of cotton or linen. The supports that are the most commonly used today include polyester canvases, aluminium, wood panels, cotton canvases, linen canvases and acid-free papers. Other supports include PVC, glass, copper and gypsum.

What are the main types of support?
While there are loads of different supports, they can be grouped into two categories: rigid supports and flexible supports. Rigid supports are the easiest to paint on because they're hard, sturdy surfaces that can be trusted not to make it difficult to paint. Some examples of rigid supports include plywood, fibreboards, wood panels and metals. Flexible supports are easy to paint on, so long as they're stretched and held in place. Some examples of flexible supports include paper and canvases, which can be made from materials such as linen, flax and synthetic materials.

Which one should I choose for my painting?
Choosing a support is a difficult task, simply because there's so much choice available. One thing to consider is that different supports give different effects: for example, using a linen support, you'll be able to make out the weave; using a support like aluminium, for example, will give your painting's transparent colours a more metallic feel to them. Generally speaking, if you want to be able to easily transport your painting, you should consider a flexible support that can be rolled up. If you're doing a painting with many layers, a thicker and sturdier support would be ideal. Bear in mind that paintings that are done on flexible supports can be damaged by the bend and flexibility of the material as it starts to sag and strain over time, whereas paintings that are done on rigid supports won't have this problem.

Which is the best support for me?
The best support you can use is one that will suit your needs, though you may need to do a bit of research to find the right one. It's a good idea for you to decide what you want from a support; once you know what you want, it will be easier to sift through the many different options to make your search a bit easier.

Joanne Perkins is a Berkshire-based artist with a BA (Hons) in Fine Art. She specialises in painting Berkshire landscapes and loves capturing the natural beauty of her local countryside. She is happy to accept all queries and questions. For more information about Joanne, her work and her current projects visit: http://joannesberkshirescenes.com/default.aspx Joanne can be found on Facebook


Article Source: http://EzineArticles.com/9154930



Tuesday, 6 October 2015

3 Things To Consider About Viewpoints

Why is a viewpoint important?
Viewpoints are very important because they determine what's going to be in a painting. When it comes to landscape painting, you have to select a viewpoint that includes everything that you want to feature in your painting. Think of photographers: they're accustomed to taking time to find a great viewpoint because the better the viewpoint, the better the photo will be. A photographer pointing his camera anywhere without looking at the view won't produce a good photo. Painting landscapes is all capturing a snapshot of the landscape; you want to include features that will make your painting good. Having a good viewpoint that includes lots of good features will help you to produce a better painting.

Do a bit of exploring
When you find somewhere really nice that you want to paint, don't just dive straight into painting. Even if you've got a really good viewpoint, you don't want to get started straight away because there might well be other viewpoints that remain undiscovered. Whenever you get to the place you want to paint, it's definitely worth doing a bit of exploring to see if there are any other viewpoints you could use for your painting. Many artists go for the first good viewpoint they find instead of taking the time to scout the area for alternative viewpoints that might be better for them to use. When you go exploring, you never know what you might find, so it's definitely worth spending a bit of extra time wandering around.

Use a viewfinder
When you've got a great scene all around you, it can be hard to find that great viewpoint. On the other hand, it can be very easy and tempting to go ahead and paint the first view you see. This may well be the best view you can get, but you're not going to know that for certain until you've explored the area. To help you find the best viewpoint, it's a good idea to use a viewfinder or binoculars so you can zoom in on different parts of the landscape. As well as taking time to explore the area, take time to look at it in detail, whether up close or from afar using your viewfinder or binoculars. Only once you've got a thorough understanding of what the landscape is like can you make the best decision about what viewpoint you should go for when it comes to creating your painting.

Joanne Perkins is a Berkshire-based artist with a BA (Hons) in Fine Art. She specialises in painting Berkshire landscapes and loves capturing the natural beauty of her local countryside. She is happy to accept all queries and questions. For more information about Joanne, her work and her current projects visit: http://joannesberkshirescenes.com/default.aspx Joanne can be found on Facebook


Article Source: http://EzineArticles.com/9156412

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How Long Should You Spend On A Painting?

Painting size
Generally speaking, the larger the painting, the more time it should take you to complete. It goes without saying that larger paintings require a lot more effort to complete because of the amount of painting that has to be done. Even though you can cut corners by using larger brushes in areas that don't have much detail, you should aim to spend more time on a larger painting than a smaller one.


Details
Intricate paintings with lots of fine details should have more time spent on them than paintings that don't have as much detail in them. When it comes to details, you want to spend time focusing on them so you get the must right. Spending time on the finer aspects of a painting can add a lot of quality and appeal to it. Add your own artistic touches to your work.

Time doesn't really matter
When it comes to judging paintings on their quality, people don't even consider how long it took for the painting to be completed. Painting time simply doesn't matter to most people; what matters is the final product. You may, for example, have two paintings that you think are equally good, one of which took a few weeks to complete, the other a few hours. Does it really matter if you spent a lot longer on one than the other? No - what matters is the finished piece and how satisfied you are with the result of your hard work.

Though it can to some
If you're a professional painter, it helps to be prolific. If you sell paintings for a living, you should aim to produce finished paintings regularly. The more paintings you have to sell, the more money you potentially stand to make. If you're in it for the money, it definitely helps to be prolific and not to spend too long producing paintings that you're going to sell. However, some very successful artists have been able to earn a living by selling paintings very rarely. Instead of being prolific, they're the opposite; they've managed to create a demand for their work by producing so little of their work.

Your satisfaction
What ultimately matters is how satisfied you are with your painting. It doesn't really matter how long you spend on a piece, just as long as you're happy with the end result. Some paintings should have more time spent on them than others, but there's no set rule. Every artist is different and every artist produces paintings in different amounts of time.

Joanne Perkins is a Berkshire-based artist with a BA (Hons) in Fine Art. She specialises in painting Berkshire landscapes and loves capturing the natural beauty of her local countryside. She is happy to accept all queries and questions. For more information about Joanne, her work and her current projects visit: http://joannesberkshirescenes.com/default.aspx Joanne can be found on Facebook


Article Source: http://EzineArticles.com/9160234

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Monday, 5 October 2015

How Do You Tell When A Painting's Finished?

Have you run out of ideas?
One of the simplest ways to tell if your painting's finished is if you've run out of ideas. Paintings are visual displays of your creative talent and ideas. If you can't think of anything else to add to your painting, it's time to move on to another project, to put it simply. If you're stuck for ideas, the best thing to do is to accept that your work is complete. If you don't accept your work is complete, you could end up adding things to your work that aren't really necessary; in other words, you could be coming up with ideas that aren't so good and adding them to your work just for the sake of it. Once you've run out of ideas, don't be tempted to go back and add more to your work, instead just leave it as it is.

Are you bored with your painting?
Artists put a lot of passion and dedication into their works. Paintings can take a long time to complete and it's the artists' motivation that keeps them painting. However, it's perfectly possible to become bored with a painting, even if you started off being completely passionate about it. Sometimes as you get into completing a painting, the enthusiasm goes down. If you find yourself less enthusiastic about your painting - if you find yourself bored with it, let's say - then you should consider it finished, for now at least. Move on to something else - there's no point working on something if you're not passionate about it.

Does it look finished?
Try to see your painting from another person's perspective. Would they consider it finished? If you're unsure whether your work is complete or not, simply ask other people what they think. If they don't think it's complete, ask them what's missing from the painting. If, on the other hand, they do think it's complete, then as long as you're happy with it as it is, you've got a finished painting on your hands. Of course, deciding whether your painting's complete is ultimately up to you and you alone, though it can be helpful to get opinions from other people. When deciding on whether your painting looks finished, ask yourself these questions: does it have a clear subject matter? Are the shades and tones done effectively? Do the colours match the tone of the painting? Does everything tie in with the message I want viewers to pick up on?

Revisiting a painting
Remember there's no hard and fast rule that once you leave a painting, you can't go back to it. Loads of artists regularly put works to one side for a while and revisit them at a later stage. You may well consider a painting finished, only to revisit it a few months or so later to add some extra details you think would enhance its appeal.

Joanne Perkins is a Berkshire-based artist with a BA (Hons) in Fine Art. She specialises in painting Berkshire landscapes and loves capturing the natural beauty of her local countryside. She is happy to accept all queries and questions. For more information about Joanne, her work and her current projects visit: http://joannesberkshirescenes.com/default.aspx Joanne can be found on Facebook


Article Source: http://EzineArticles.com/9160174

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Colour - Why Does It Affect Us?

People vary as to their awareness of colour around them. When my wife and I moved house, she surprised me by stating she couldn't sit in our lounge because of its green furniture and purple coloured walls. I'm probably a bit unusual but, beyond my initial impression, I hadn't really noticed. However, I must admit, after the walls had been repainted cream, I appreciated the improvement. As interior designers know, different colour schemes have their effect on people. The field of colour psychology attempts to identify the effects of colour on human emotion and activity. So why does colour affect us the way it does?

Colour association
Warm colours are made with orange, red, yellow and combinations of them all. Used in interior design or fashion, a warm colour is said to arouse or stimulate the feelings of the viewer. A cool colour such as blue, green and light purple is thought to have the ability to calm and soothe.
Modern surveys in the United States and Europe show red is the colour most commonly associated with strong feeling.

To "see red" is to be angry or aggressive. To "have red ears / a red face" is to be embarrassed. To "paint the town red" is to enjoy the feeling of pleasure, usually with a generous amount of eating, drinking, dancing. To show "a red rag to a bull" is to cause someone to be enraged.

Esotericism and colour
According to science, the pure colours gained from the light spectrum form a continuous range of hue. The number of colours that the human eye is able to distinguish in a spectrum is in the order of 100. The apparent discreteness of a few main colours is due to human perception. This subjective human experience of discrete colours suggests there is a deeper process at work than mere physics.
Some would argue that the significance of colour is part of a higher degree of reality. This esoteric view is expressed by the well known maxim 'As above, so below' which derives from the following ancient text:

"That which is Below corresponds to that which is Above, and that which is Above corresponds to that which is Below, to accomplish the miracle of the One Thing." (Hermes Trismegistus, pagan prophet)

One way of thinking about above and below is to consider the higher and low mind - the higher principles of life and the base emotions. Many people are open to a spiritual dimension to existence and are awake to phenomena that go beyond what the body notices. They perceive and respond to the enlightening experiences of the higher mind. However the worldly-minded materialist will only see life in terms of the physical and natural side of life.

Although many have an intuition that a colour they see relates in some way to something of spirit, they do not consciously understand what it represents. To learn about this it helps to consider more about the higher and lower mind.

Colour and planes of mind
Natural emotions of the lower mind it is argued arise from an independent sense of selfhood - a self-orientated attitude to life in which the person is prone to emotions of embarrassment, fear and anger. In contrast, spiritual feelings may arise from an awareness of a one higher divine reality - emotions for example of joy, guilt, and trust.

In line with this point of view, how a specific colour affects us will depend on what part of our mind is engaged at the time. I have already pointed out that the colour red for example appears to be associated with strong feeling. But the passions of the lower mind are different from those of the higher mind. It is thought that the former come from self-orientated feelings e.g. self-consciousness, conceit, greed etc: the latter are ethical feelings of care and concern for others and the community. The former can be seen as natural whereas the latter as spiritual.

Colour and correspondence
Emanuel Swedenborg, 18th century spiritual philosopher, writes that there is a correspondence between things on different levels of reality. When he noticed something like a colour, he was alive to what deeper qualities this might universally mirror and reflect. He would say there is a consistent way in which each colour has an inner significance. For him the effect of different colours derive from their correspondence with aspects of the one divine source of Love and Wisdom.

He emphasises the two colours of red and white as the pure representation of the good of love and the truth of wisdom. So if there is some love and light shown in our actions i.e. when we are not just self-orientated, some variation of the colours red and white can be relevant.

Because of this Swedenborg says that colour can be of significance in the world around us and in sacred writing.

The colour white
colourThere is more than a hint of this when one looks at the way culture deals with white. According to surveys in Europe and the United States, white is the colour most often associated with innocence, perfection, purity, honesty, and cleanliness i.e. qualities to do with what is true, e.g. to whitewash something is to conceal an unpleasant reality and a white lie is an innocent lie told out of politeness.

Black is the opposite of white. If white corresponds to what is perfect and true so black would signify what is imperfect and false. In western popular culture, black has long been associated with evil and darkness. A blacklist is a list of undesirable people or entities; the black sheep of the family is the ne'er-do-well and black propaganda is the use of known falsehoods, or partial truths to confuse an opponent.

Colour in the spiritual world
Swedenborg also says that the colours seen by people who are conscious in the after life of spirit depend on their inner state of mind and character. The sphere of an individual is due to what good of love and truth of wisdom are reflected in that person's character - their degree of virtue. He reports that in the spiritual world this determines the colours seen as an aura around a person where inner states of heart and mind are represented visually. Colour is something simple and yet profound.
As a clinical psychologist, Stephen Russell-Lacy has specialised in cognitive-behavioural psychotherapy, working for many years with adults suffering distress and disturbance.

He edits Spiritual Questions a free eZine that explores links between spiritual philosophy and the comments and questions of spiritual seekers. You can share your views and find out more about making sense of life.

His eBook Heart, Head and Hands draws links between the psycho-spiritual teachings of the eighteenth century spiritual philosopher Emanuel Swedenborg and current ideas in therapy and psychology.


Article Source: http://EzineArticles.com/9187904

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Friday, 2 October 2015

10 Different Types Of Landscapes

Aerial landscapes
These landscapes depict the land from above. Some aerial landscapes have the viewpoint looking straight down from above, so the painting's all land and no sky. Others have the viewpoint looking across, so the artist can see both the land and the sky, but from a much higher viewpoint. Artists travel in airplanes, hot air balloons, helicopters and other modes of aerial transport to get their aerial viewpoints for their paintings.

Inscapes
Inscapes are an artist's depiction of their mind as a three-dimensional space. These paintings are usually somewhat abstract or surrealist and can be quite psychoanalytical in nature.

Riverscapes
The focus of these paintings is rivers and the various features that run alongside them. These paintings can also focus on smaller bodies of water, such as streams and creeks.

Seascapes
Seascapes depict the sea or the ocean and its different features. They can include features found along the coastline, such as cliffs and beaches.

Moonscapes
These paintings depict the surface of the moon. They can focus entirely on the lunar landscape, or they can include distant views of the Earth, Sun and stars.

Cityscapes
The focus of cityscapes is cities or any sort of sprawling urban development. Though cityscapes can include some features similar to landscapes - you might include a natural setting such as a park, for example - the focus is on the buildings that make up the city.

Townscapes
Townscapes are pretty much the same as cityscapes, except they depict towns instead of cities. Like cityscapes, the focus is on the town's buildings.

Skyscapes
These focus on the sky and its different features and formations. The colours of the sky are a key feature of this type of painting. Unlike cloudscapes, skyscapes do not necessarily have to include clouds or the land, though some do.

Cloudscapes
Unlike skyscapes, cloudscapes are all about the make-up and features of clouds. They usually include the land and the artist's viewpoint is from the ground looking up at the clouds. Though the land is often included in cloudscapes, the focus is on the clouds.

Hardscapes
Hardscapes focus on manmade structures that cover the ground. In other words, hardscapes don't feature any exposed natural features of the ground, such as soil or grass. In these paintings, everything on the floor is manmade. These can be very similar to cityscapes and townscapes, though they don't feature parks and other natural features that cityscapes and townscapes may well feature.

Joanne Perkins is a Berkshire-based artist with a BA (Hons) in Fine Art. She specialises in painting Berkshire landscapes and loves capturing the natural beauty of her local countryside. She is happy to accept all queries and questions. For more information about Joanne, her work and her current projects visit: http://joannesberkshirescenes.com/default.aspx Joanne can be found on Facebook.

Article Source: http://ezinearticles.com/expert/Joanne_Perkins/1778201

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