FREE ART INSTRUCTION

    Landscape and wildlife are my main subjects, but I have worked in many areas and am willing to share my knowledge with viewers of this website.
    It has been an enjoyable experience sharing with other artists and I will continue to answer your questions. You may send a jpeg copy of your work with your question if you wish.
    Your intellectual properties will be protected.

Of all things to be considered in landscape paintings, perspective is one of the most important. To develop a presence in your work, give your viewer a feeling that he or she is there by putting your horizon and the vanishing points of all things (houses etc.) associated with it at eye level. That way your building will appear to have the proper size and relationship to its surrounds. No more doll houses.

You ask about Dynamic Symmetry. A short question with a long answer, but basically it is the application of rectangular proportions developed from the diagonal of a square and further developed from the proportion of 1.618:1 or its reciprocal of 0.618:1. Dividing a rectangle into fifths comes close and using the main diagonals to direct and enclose elements of your composition works well. I'm sorry that a better answer cannot be given here, but can be found in texts on the subject and in my own manuscript "the Artist's Toolbox". Copies can be obtained for $40.00 plus shipping and handling.
The table of contents can be viewed here

If you ask what kind of eraser I recommend, I would say Vinyl erasers clean most thouroughly. Draftsmen (those who still use pencils and drafting machines) prefer them to rubber erasers. Still, even the best erasers are more prone to smear when they get older. To end the smear, cut little 1/16 inch deep slits across the face, spaced at about 1/8 inch intervals. That will cause the face to crumble as it is used.

Here is an idea you will not find anywhere else and is included in my manuscript, "The Artist's Toolbox". Click on the link below.

Making changes to a painting, or for discovering the right color for a glaze, with Framer's tape, which leaves no residue and is ph neutral, secure a peice of clear plastic wrap (I use large peices) on the area in question. Warm it with a hair dryer to eliminate the wrinkles and it is ready to accept paint. Turpentine will wrinkle the plastic so use oil to thin.

The flame is an illustration from my manuscript "The Artist's Toolbox" as a demonstration of the illusion of light. By following the transition of color observed in a flame, one can produce a brightness that is brighter than the page. Note, also, the transition in the candle. Likewise the transition from black to white can produce the illusion of light. The logical order from light to dark in a painting allows the mind to make the distinction of light vs. dark areas, even though the values may be the same. I refer you here to study the works of painters of light. In my text there are several demonstrations of those principles where light bright pure colors transition from dark tones and logical value transitions. Note also that the background of the flame is not black, but a tone of the surrounds of the flame.

"The Artist's Toolbox"

I will be conducting Two oil painting workshops at the Centerville UT Robert's Craft Store (near Wal Mart) On March 20 and 27. Both sessions run from 6:30 to 9:30 PM

The cost is $20.00 each. For both: $35.00

The first will invlove a Complimentry Contrast composition using blue and orange to arrive at a very natural, appealing sunrise painting.

The second will be a Split Complioment composition which can produce a very vibrant mountain or desert scene.

Both will be done in a wet on wet, alle-prima technique with instructions on brush work.

I will be in Roberts March 13 to demonstrate one of the paintings.