I thought that it would be interesting and informative to write this article about the process of painting a wall mural but first of all I would like to talk about a few factors and experiences. The job of a wall mural painter (not a service, which a lot of websites think) which I specialise in I find to be highly understated, underappreciated and undervalued. It is expected to paint a wall mural in a day by some people I've spoken too, it sometimes leaves me flabbergasted to think that my talent which I've built-up for nearly 30 years of my life could result in a whole wall hand-painted with a beautiful unique scene in the same time it would take to go to a painting & decorating store, buy a tub of magnolia paint and blanket paint the walls with a roller which requires little in the way of skill or talent and further-more be offered a similar price.
Then we have the situation of people wanting the mural painting carried out on a voluntary basis. Now, please don't get me wrong, I believe every artist should pay their dues in some respect and it would be good work experience to carry this out as college or university project but this is your job, your profession, your livelihood no-less. Let me ask this question to those that ask you to work on a voluntary basis, if your car broke down would you ask for it to be repaired free of charge? No, this goes for every situation in life, us muralist's do not do this for "the love of painting", we do it because it is our profession, our bread and butter, our day job to pay our bills. I'm sure that many other professional mural painters out there that read this article will be nodding in agreement with my previous paragraph's above.
Anyway, now I have those negative experiences off my chest let's get back to my advice on painting a wall mural which I am going to keep as a beginners guide. This is what I believe to be the most essential steps to creating a wall mural in the easiest, hassle-free way. Step 1 Develop your ideas on paper or on a computer using graphics software, I tend to devise most of my plans through the computer as I can easily print out a scale overlay grid onto my design. I doesn't matter what software you use to create your plans, I would choose Photoshop or GIMP the majority of the time but it really doesn't matter as the task in-hand to get from a design idea/concept which you are happy to carry on further.
Please pay special attention of the following aspects of the planning your mural painting; 1. This is the most crucial part of mural painting, make sure your plans are exactly as you would like the final design to look. 2. Some people will choose to draw a design freehand but I would strongly advise against this for something like a person, animal or character. These type of things have to be pixel perfect and I would always use a scale grid for 100% accuracy. 3. Liaise fully with your client until they are 100% satisfied with your final design. Remember this is their wall and your final design should represent a near identical rendition of what will be painted. Step 2 Now that you have liaised with your client and they are happy with your design plans it is time to approach the wall or walls. The first thing to do is always make sure the wall or surface is in a good condition for you to carry out your work. If you feel that the wall is not ready for you to work on then you may want to discuss carrying out any repair duties at a small fee. Maybe you will be faced with filling some holes and smoothing the surface where there was once screws/nails. Be upfront and let your client know if you are unhappy with the wall surface which you are about to commence your work on.
Now you want to draw a grid across the area that you're working which is in-scale to your design plan, although this is quite a boring aspect of the overall process this is extremely important to get right and spot-on with measurements. Remember not all walls are perfectly straight so you have to work with these imperfections to a certain degree but what is essential is that your grid lines on a horizontal and vertical axis are perfect. I have a 1200mm spirit measure stick which I use for this type of task which is invaluable to me, the average size I would draw my grid is (6" x 6") but this can vary depending on the space, shape and image complexity, remember a (6"x 6") can easily be modified even finer if needed. Finally use masking tape to cover other walls, skirting boards and then cover the floors just in-case the worst happens. Personally I am very careful with my client's floors and carpets and I would lay newspaper, polythene sheets and decorators dust sheets on top. These are the following steps I would take summarised;
1. Discuss any concerns of the wall which I discussed above.
2. Draw your scale grid making sure to be 100% accurate using a spirit measure.
3. Mask the near-by area and cover the floor and carpets thoroughly with polythene, newspaper and decorators dust sheets.
Step 3 So now your mural design has been finalised and your client is satisfied and your wall is gridded accurately and masked accordingly it is finally time to draw your mural. Sometimes it can feel a relief to finally put your pencil to the wall but from my experience, thorough and precise planning is always the best policy.
Never take shortcuts because in the end something will/could go wrong. Draw your design lightly on the wall, keeping to your guide. One tip that I would say is to draw a section or object and then stand back and observe what you have drawn. When you are satisfied draw your lines bolder, you should also be aware of smudging your pencil and guide lines with your hand so work from one side to the other depending on which hand your draw with. Now that you have your design drawn out nicely and it's very clear and accurate it is time to erase all your pencil and guide lines. I would strongly advise this step as painting over pencil lines can prove very tricky, they are very resilient those pencil lines! Now it's time to start painting your mural.
As this is my first guide to mural painting I am going to describe something relatively easy to paint, something which you would typically see in a school, hospital or children's bedroom - please don't miss-interpret what I mean here by saying easy, something bright and colourful like a cartoon or character with block colours rather than a realistic scene with highly detailed depth and shading. Note - This example is for a relatively simple mural painting, I will create guides to more complicated wall mural paintings in the future. I use acrylic odourless paints which I mix beforehand to create the correct colour variant which I will keep them in containers, I use small plastic decorators paint kettles with lids which you can buy in many sizes, use water to thin the paint if it feels "stodgy", get the consistency right as you don't want to be thinning the paint much at all.
Most importantly of all is to mix more than enough of the colour you require, too much is never a bad thing. Paint the areas now which have the most of a certain colour, if your mural has more blue than any other colour then paint the blue first, wait for your paint to dry then apply another coat of paint. When you are satisfied with the coverage do the same with your next colour. Now this part can be tricky, you need to outline all the colours with a black (or outline colour of choice). Make sure to have a steady hand, a small brush with good resistance and your paint is not too thick, which is why I spoke of adding a little bit of water to your paint above. To finish your work use an acrylic matte varnish which will act as an invisible layer of protection. This is the short step-by-step guide of the paragraphs I spoke about it more detail above;
1. Draw your design, when satisfied draw your outlines bolder.
2. Erase all pencil and guidelines thoroughly.
3. Mix your paints to the correct colours and keep in containers with lids, making sure to mix enough paint.
4. Paint the areas with the most colour first and apply 2 coats or more to fully cover.
5. Outline your work with a strong/bold colour, be accurate and use a quality firm brush.
6. Coat the wall with acrylic matt varnish to give that hidden layer of protection.
Final Thoughts Now your mural should be complete and your client is over-the-moon with joy, you are happy and now it's time to move on to your next exciting job which could be a totally different experience all together with a whole new set of challenges to test your artistic capabilities.
Being a Muralist, Artist, Interior Painter... whatever they like to call us (don't ask me who "they" are), is an extremely rewarding and often challenging career option and I'm not going to lie when I say this but, you're going to have to be extremely persistent and outgoing if you want to build a long lasting career. In the future I would like to talk more extensively about the trials and tribulations of gaining a career as a full-time muralist, more specifically speaking about my personal experiences, education gained and the advertising and networking processors involved. I would also like to talk in greater detail with regards to the actual tools that I use, the storage containers, paints, brushes and much more, there is a surprising amount of content to write here which I think would prove fascinating to share.
This article which is now knee-deep on to the fourth page of my writing software (no free plugs or advertising here) is only just scratching the surface on what I wanted to share as a muralist and only covers the very basics of my daily process. If you made it this far then thanks for sticking with me and all I can say to you if you are just starting a career as a Muralist is keep pushing and working hard and eventually your opportunity's will arise... nobody said it was going to be easy, but persevere!
Saturday, 30 June 2018
Don't Just Wear Jewelry, Wear Art!
Since humans first started wearing clothing and using tools, we've taken interest in adorning ourselves with jewelry. Back in its beginnings, jewels were created with just about any material that one could find. From bone to stone and skins to semi-precious materials, our culture has always been interested in the beauty of jewelry regardless of the simplicity in its composition or manufacturing. As our culture evolved and our species became more competitive, jewelry has become more important to enhancing how we view ourselves as well as how we'd like others to see us. Fast-forward through the years where industrialization and modernization have helped shaped the tools and materials available to us to create and craft truly artful pieces of jewelry. Throughout the years, wearing jewelry became more than simply something one did as haphazardly as how we'd brush our hair or iron our clothing. Indeed, the addition of jewelry to our wardrobe is intended to enhance our everyday styles and improve our self-confidence.
It's meant as an accessory to our personalities and as an embellishment to our standard outfits. Some pieces of jewelry can even tell a story in and of themselves without the wearer ever having to say a word! But one thing has stayed steadfast since the advent of jewelry. As a culture and species, we've always worn jewelry as an artistic expression of oneself. The difference now is that we have more options available to us in terms of the artistry of our jewelry. Master craftsmen spend lifetimes creating art that is meant to be worn in the form of adornment. No longer are we just simply wearing jewelry - we're wearing art! Two types of artistic jewelry are beaded jewelry and fused glass jewelry. Both require more than a simple molded printout copy of a blueprint.
In fact, the artistry involved with beaded and fused glass jewelry ensures that no two pieces can ever be exactly replicated. In this manner, every piece of jeweled art that leaves a master artist will be unique and never to be precisely recreated again! Your jewelry is meant to tell a story, and investing in handcrafted pieces like beads and fused glass ensures that your story is one of beauty, intrigue, and timelessness. Choose to do more than wear jewelry; wear art and in doing so you will find that you also will not only feel special, but also look special! Jay Hatfield founded Hatfield Copper Decor in April of 2013 and started selling scenic, draped, and votive oil candles along with soy candles, fused glass jewelry, plates, dishes, and clocks. The company's unique home decor is unlike any other. At Hatfield Copper Decor and More, we pride ourselves on quality. Our goal is to bring you decor that lights up your home and has your guests in awe.
It's meant as an accessory to our personalities and as an embellishment to our standard outfits. Some pieces of jewelry can even tell a story in and of themselves without the wearer ever having to say a word! But one thing has stayed steadfast since the advent of jewelry. As a culture and species, we've always worn jewelry as an artistic expression of oneself. The difference now is that we have more options available to us in terms of the artistry of our jewelry. Master craftsmen spend lifetimes creating art that is meant to be worn in the form of adornment. No longer are we just simply wearing jewelry - we're wearing art! Two types of artistic jewelry are beaded jewelry and fused glass jewelry. Both require more than a simple molded printout copy of a blueprint.
In fact, the artistry involved with beaded and fused glass jewelry ensures that no two pieces can ever be exactly replicated. In this manner, every piece of jeweled art that leaves a master artist will be unique and never to be precisely recreated again! Your jewelry is meant to tell a story, and investing in handcrafted pieces like beads and fused glass ensures that your story is one of beauty, intrigue, and timelessness. Choose to do more than wear jewelry; wear art and in doing so you will find that you also will not only feel special, but also look special! Jay Hatfield founded Hatfield Copper Decor in April of 2013 and started selling scenic, draped, and votive oil candles along with soy candles, fused glass jewelry, plates, dishes, and clocks. The company's unique home decor is unlike any other. At Hatfield Copper Decor and More, we pride ourselves on quality. Our goal is to bring you decor that lights up your home and has your guests in awe.
Still Life Paintings Still Enrapture
There is no real requirement for subject matter when it comes to still life painting. The only two things you really need are stillness and life... and really, you (the artist) are the one who creates the life within the painting. The real challenge arises in creating something beautiful and interesting to look at from commonplace objects. The Dutch and Flemish painters really took off with the genre during the 17th century, creating meaning out of seemingly simple, everyday objects. With the spread of new religions, symbolism and still lifes took on more meaning. The genre was not given as much respect as other creative passions, but through history it has grown on the art community. Still lifes have never required some larger symbolic meaning.
The form is respected as a difficult endeavor taken on by contemporary still life artists. Creating beautiful composition out of a commonplace item takes high level of artistic passion and skill. The genre has evolved over time, but several parts of still life remain the same. The biggest similarity from century to century -- and the biggest difference -- is subject. The subject is the life. Over the hundreds of years, flowers, fruits, architecture, and more common elements have appeared over and over. Times change and objects change, but stillness and beauty don't. Fruit and flowers are always a good place to start, and a good way to learn how to create or observe great still life.
Something about the vivacity and freshness of fruit and flowers keeps bringing artists back. As the subject is the most important part of a still life, picking the right subject for you is the best way to put the life into a still life. There's no such thing as a boring subject -- there are always a few ways to add some interest to the imagery. As with any other painting, thematically beautiful colors, dramatic lighting, and an eye for composition will make any everyday object fascinating. Another artistic trick is to create a border around the still life. Focus the eyes into the object and allow the viewer to spend more time looking closer. The magic of a still life is that they give people the chance to look at objects that anyone would normally look past. An artist has the opportunity to make any regular object into a beautiful point of interest. There is something powerful in that, and something that demands respect. If you feel that certain paintings are lacking life, maybe look into adding some still life!
The form is respected as a difficult endeavor taken on by contemporary still life artists. Creating beautiful composition out of a commonplace item takes high level of artistic passion and skill. The genre has evolved over time, but several parts of still life remain the same. The biggest similarity from century to century -- and the biggest difference -- is subject. The subject is the life. Over the hundreds of years, flowers, fruits, architecture, and more common elements have appeared over and over. Times change and objects change, but stillness and beauty don't. Fruit and flowers are always a good place to start, and a good way to learn how to create or observe great still life.
Something about the vivacity and freshness of fruit and flowers keeps bringing artists back. As the subject is the most important part of a still life, picking the right subject for you is the best way to put the life into a still life. There's no such thing as a boring subject -- there are always a few ways to add some interest to the imagery. As with any other painting, thematically beautiful colors, dramatic lighting, and an eye for composition will make any everyday object fascinating. Another artistic trick is to create a border around the still life. Focus the eyes into the object and allow the viewer to spend more time looking closer. The magic of a still life is that they give people the chance to look at objects that anyone would normally look past. An artist has the opportunity to make any regular object into a beautiful point of interest. There is something powerful in that, and something that demands respect. If you feel that certain paintings are lacking life, maybe look into adding some still life!
Creativity Through Home Art and Camaraderie
About a year ago three friends and I attended a Paint and Sip session. When you attend such an affair you pay a small fee and then receive a blank canvas, a tray of paints, a glass of wine (or two) or other beverage of your choice, and the opportunity to participate in 2-3 hours of "copy art". In copy art, the instructor tells you what to do, then s/he demonstrates and you copy. It is interesting and fun, especially for a novice painter such as myself, but it can become tedious if the instructor works at the pace of the slowest painter (not I!) and everyone waits and waits until each attendee is at the same point before the lesson continues. For a speed demon such as myself, this sluggish pace did not lead to creativity but rather the fatigue of non-participation and so I simply abandoned my leader and moved along at my own pace. With a finished product to replicate and occasion listening, I ended up with a fairly decent wine bottle representation with added touches, dashes, and flourishes of my own. The instructor, unfortunately, was not a teacher. She knew some techniques and she had obviously led this lesson several times in the past, but she was not attuned to her students. We plodded, she yapped; we waited and she yapped some more.
It was clear that the slowest painter was never going to finish but we patiently killed time just the same. During this "free" time the instructor filled any empty spots of air with criticism to her fledgling artists: "Too much color", "Stop trying to fix that mess", and "Please quit" were just a few of her remarks. Really makes you want to paint, doesn't it? But the class was still fun because I was with friends and dibbling around with colors is entertaining and critiquing non-teacher types is even more so. As a result I decided to host my own paint and sip with no pressure applied. Ten friends gathered at my home one evening excited to test this activity. Each easel was loaded with a clean canvas, water and brushes were at the ready, and an array of paint drops filled each pallet. I had a finished example to share so that I could explain what I had done, when and how, and also clarified some important steps like having a damp canvas, how to cover errors with white, tools available for special touches, and so forth. For those who were too nervous to self-launch, I led them step-by-step through the process.
For those who just wanted to plunge, I let them go with maximum freedom. As my friends painted, I wandered, offered advice, looked up other bottle shapes and backdrops on the Internet, and commended their efforts. While some replications were a bit on the mysterious side, like the command "draw a bottleneck approximately 1-inch wide" produced tiny traces and thin lines instead, but the idea was creativity and that was just how some translated my work to their canvas.
Others, with amazing vision, added dogwood blossoms, fancy wine bottle labels, and intricate designs with delicate shades. The inner personality was exposed along with imagination and magical conceptualizations in each painting. The finished products were fantastic. I recommend that you organize your own painting party soon. While first-time expenses are high because you will need to buy easels, paints, and brushes, the second go-round will only require more canvases. Practice the design first so that you have a good idea of what to paint and when, and then let the creative juices of others flow.
It was clear that the slowest painter was never going to finish but we patiently killed time just the same. During this "free" time the instructor filled any empty spots of air with criticism to her fledgling artists: "Too much color", "Stop trying to fix that mess", and "Please quit" were just a few of her remarks. Really makes you want to paint, doesn't it? But the class was still fun because I was with friends and dibbling around with colors is entertaining and critiquing non-teacher types is even more so. As a result I decided to host my own paint and sip with no pressure applied. Ten friends gathered at my home one evening excited to test this activity. Each easel was loaded with a clean canvas, water and brushes were at the ready, and an array of paint drops filled each pallet. I had a finished example to share so that I could explain what I had done, when and how, and also clarified some important steps like having a damp canvas, how to cover errors with white, tools available for special touches, and so forth. For those who were too nervous to self-launch, I led them step-by-step through the process.
For those who just wanted to plunge, I let them go with maximum freedom. As my friends painted, I wandered, offered advice, looked up other bottle shapes and backdrops on the Internet, and commended their efforts. While some replications were a bit on the mysterious side, like the command "draw a bottleneck approximately 1-inch wide" produced tiny traces and thin lines instead, but the idea was creativity and that was just how some translated my work to their canvas.
Others, with amazing vision, added dogwood blossoms, fancy wine bottle labels, and intricate designs with delicate shades. The inner personality was exposed along with imagination and magical conceptualizations in each painting. The finished products were fantastic. I recommend that you organize your own painting party soon. While first-time expenses are high because you will need to buy easels, paints, and brushes, the second go-round will only require more canvases. Practice the design first so that you have a good idea of what to paint and when, and then let the creative juices of others flow.
The Pedestal: A Misunderstood Art Form
As Hercules says in the Disney animation version "Rule number 15: a hero is only as good as his weapon!" A hero is strong and great on his or her own but without a weapon they are weak. Weapons give a hero a potent edge over enemies. Like a hero, a piece of art is strong and beautiful on its own but with a pedestal it can be accentuated to a further degree that audiences will not be able to resist looking at. A pedestal originates deep into the catacombs of history. Beginning as early as the Grecian time period, pedestals supported chiseled statues of gods, rulers, and other distinguished people. Pedestals continue to hold objects of great worth, value, creativity, design, and artistic prowess. Many artists agree that a work of art is only as good as its frame or pedestal. Paintings that lack beauty and a sense of design can be ten times better than usual if mounted to the right frame or balanced on a flattering pedestal. Choosing the right pedestal to go with artwork is an extension of the art itself.
A pedestal offers viewers the privilege of enjoying your art while, simultaneously, a pedestal functions as the final touch to your artwork; it makes your artwork complete. For example, quality watercolor paper is frayed and uneven on the edges. Artists usually cover the edges with masking tape about a half inch to an inch to avoid painting in those areas and to remind them of where the frame will be placed. It will give an artist an idea of the best spot to put their focal point on their painting adjacent to the frame. An artist even begins planning what frame colors go best with the painting he or she is working on. This same example can be applied to sculptures and pedestals as well. A sculpture is designed to sit on something. The bottom surface on a sculpture is flat in order to be placed on a flat surface.
An artist intends for his or her work of art be placed on a pedestal and not hung from the ceiling (unless they are specifically designed to be hung from a ceiling). As an artist sculpts, a general abstract idea is shaped into a physical and magnificent piece of artwork. An artist has to decide whether a pedestal is needed or if the art will be tall or large enough to stand on its own and not need a pedestal. Before an artist begins sculpting he or she will consider the color and design of their sculpture and pedestal and decide how they would best compliment each other. An artist relays a message through artwork and a pedestal completes that message. A pedestal flatters the theme of a sculpture. If a sculpture has smooth edges and is delicate an artist might consider placing it on a cylinder pedestal. If a sculpture is rough and has hard edges, an artist might lean toward a square pedestal. Although, this is not a strict rule every artist should follow.
Deciding what pedestal goes with what sculpture is dependent on what message the artist is trying to reveal. Neutral colored sculptures can be contrasted with a rich shade of brown or black pedestal, and in reverse a dark colored piece of art can be placed on top of a neutral colored pedestal. Again, it is dependent on what message the artist, or the buyer of the artwork, wants to relay to an audience or how they want that sculpture to fit a theme of a room. A piece of an artist's memory is captured in their art. An artist molds an idea into a canvas with strokes of paint or constructs a sculpture with creamy clay. It is as if an artist's imagination and creativity will live longer than he or she will and other individuals will enjoy their artwork for generations. A pedestal puts art on display to show full appreciation of the piece's value.
A pedestal offers viewers the privilege of enjoying your art while, simultaneously, a pedestal functions as the final touch to your artwork; it makes your artwork complete. For example, quality watercolor paper is frayed and uneven on the edges. Artists usually cover the edges with masking tape about a half inch to an inch to avoid painting in those areas and to remind them of where the frame will be placed. It will give an artist an idea of the best spot to put their focal point on their painting adjacent to the frame. An artist even begins planning what frame colors go best with the painting he or she is working on. This same example can be applied to sculptures and pedestals as well. A sculpture is designed to sit on something. The bottom surface on a sculpture is flat in order to be placed on a flat surface.
An artist intends for his or her work of art be placed on a pedestal and not hung from the ceiling (unless they are specifically designed to be hung from a ceiling). As an artist sculpts, a general abstract idea is shaped into a physical and magnificent piece of artwork. An artist has to decide whether a pedestal is needed or if the art will be tall or large enough to stand on its own and not need a pedestal. Before an artist begins sculpting he or she will consider the color and design of their sculpture and pedestal and decide how they would best compliment each other. An artist relays a message through artwork and a pedestal completes that message. A pedestal flatters the theme of a sculpture. If a sculpture has smooth edges and is delicate an artist might consider placing it on a cylinder pedestal. If a sculpture is rough and has hard edges, an artist might lean toward a square pedestal. Although, this is not a strict rule every artist should follow.
Deciding what pedestal goes with what sculpture is dependent on what message the artist is trying to reveal. Neutral colored sculptures can be contrasted with a rich shade of brown or black pedestal, and in reverse a dark colored piece of art can be placed on top of a neutral colored pedestal. Again, it is dependent on what message the artist, or the buyer of the artwork, wants to relay to an audience or how they want that sculpture to fit a theme of a room. A piece of an artist's memory is captured in their art. An artist molds an idea into a canvas with strokes of paint or constructs a sculpture with creamy clay. It is as if an artist's imagination and creativity will live longer than he or she will and other individuals will enjoy their artwork for generations. A pedestal puts art on display to show full appreciation of the piece's value.
Cotton Canvas VS Linen Canvas
What are canvases? Canvases are supports that are traditionally used by painters. The term 'canvas' is generally used to refer to the fabric that paint is applied to. Canvases have been used for many centuries by top painters and remain just as popular today. They're light, easy to transport and last a long while. One of the best things about canvases is that they can be used to create very large paintings. To make canvases, fibres are woven together and then either glued to a panel or stretched over a frame. There are lots of different types of canvas and each type has different properties. Cotton canvases Cotton is usually the cheaper of the two. It's able to be stretched very easily, though it's seen as too flexible to cope with larger paintings.
Many students and beginner painters choose to go for cotton as it's easier to get used to and it's less costly. Cotton can actually be stretched tighter than linen, though it doesn't tend to have as much permanence as linen; it also doesn't tend to be as strong or as heavy as linen. Cotton canvases are usually primed with an acrylic-based gesso, making it a better option for acrylic and watercolour paintings. However, cotton canvases are also very popular for oil paintings. Linen canvases Linen is usually more expensive than cotton because the material it's made of is of a higher quality. It's also more expensive because it tends to be more durable and stronger, providing painters with a painting surface that will have permanence and will therefore last.
The reason why linen is longer-lasting is because the threads it's made of weigh the same, so the chance of them expanding and contrasting because of moisture is very slim. This also means that linen is very tough and will not become slack as quickly as cotton does. One of the reasons why artists use linen so much is because there are lots of varieties of it: you can get lots of different textures and weights of this type of canvas available in both smooth and rough finishes.
Linen canvases are usually primed with an oil-based gesso, making it a better option for oil paintings. Which one should I go for? Both types of canvas have their advantages, so really it's all about budget. If you can afford to pay a bit more for your canvas, you should go for linen, as it will offer you a very good investment. However, if your budget isn't that high, cotton will still serve you very well. 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.
Many students and beginner painters choose to go for cotton as it's easier to get used to and it's less costly. Cotton can actually be stretched tighter than linen, though it doesn't tend to have as much permanence as linen; it also doesn't tend to be as strong or as heavy as linen. Cotton canvases are usually primed with an acrylic-based gesso, making it a better option for acrylic and watercolour paintings. However, cotton canvases are also very popular for oil paintings. Linen canvases Linen is usually more expensive than cotton because the material it's made of is of a higher quality. It's also more expensive because it tends to be more durable and stronger, providing painters with a painting surface that will have permanence and will therefore last.
The reason why linen is longer-lasting is because the threads it's made of weigh the same, so the chance of them expanding and contrasting because of moisture is very slim. This also means that linen is very tough and will not become slack as quickly as cotton does. One of the reasons why artists use linen so much is because there are lots of varieties of it: you can get lots of different textures and weights of this type of canvas available in both smooth and rough finishes.
Linen canvases are usually primed with an oil-based gesso, making it a better option for oil paintings. Which one should I go for? Both types of canvas have their advantages, so really it's all about budget. If you can afford to pay a bit more for your canvas, you should go for linen, as it will offer you a very good investment. However, if your budget isn't that high, cotton will still serve you very well. 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.
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.
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.
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