<![CDATA[PATRICK HOWE, ARTIST, AUTHOR, EDUCATOR

<![CDATA[PATRICK HOWE, ARTIST, AUTHOR, EDUCATOR - BLOG]]>Tue, 07 Jul 2026 23:03:46 -0700Weebly<![CDATA[Why Do Paintings in Museums Sometimes Appear Dull Compared to the Image of Them Online?]]>Tue, 07 Jul 2026 20:29:48 GMThttps://www.patrickhowe.com/blog/why-do-paintings-in-museums-sometimes-appear-dull-compared-to-the-image-of-them-online Here is a Cezanne painting as you would may see the actual painting in a museum:

Here is the same same painting as seen online. The one seen online appears to be much better—brighter! Why is that?

Here are the two main reasons
1. Our modern eyes have become accustomed to intense color in our environment. Neon lights, LED billboards, backlit screens, and colorful children's toys. What we see daily didn't exist 100 years ago when great masterpieces were painted. So when someone says paintings by Monet, for example, have wonderful color, you have to understand that statement in context to history.

2. Today, we have colors that are more saturated and brighter than colors they had 100 years ago. For example, we commonly use Phthalo Blue, Quinacridone Red, Phthalo Emerald, and Dioxazine Purple. So, while the Impressionists of the late 19th century were known for their brilliant colors no one had seen before, their colors pale by comparison to the colors we have today.

Here is what a famous Monet painting would look like in a museum:

And here is what the same painting looks like online:

Here more reasons

Printed reproductions are often enhanced. Publishers frequently increase saturation, contrast, and brightness so paintings look more vivid on a page or screen. They are not calibrated to match the original painting.

Museum lighting is intentionally low. Many paintings are displayed under relatively low light levels to protect pigments and varnish from light damage. Dim lighting makes colors appear less vibrant.

Aged varnish can yellow. Many older paintings had varnish that has yellowed over decades, muting colors and making the overall painting appear warmer and duller. Conservators sometimes remove old varnish, but not always.

Impressionist technique. Monet, for example, often used broken brushstrokes and subtle color relationships rather than highly saturated pigments. Seen live and up close, the colors can seem doll. Reproductions often exaggerate these effects.

 Here is what a van Gogh painting would look like in a museum:

Here is what the same van Gogh painting looks like online:

So the next time you are disappointed when seeing original paintings in a museum, try to imagine how the paintings were absolutely astonishing in their day.

]]><![CDATA[Why are There more Paintings of Women than of Men in Modern Art History?]]>Tue, 23 Jun 2026 01:55:18 GMThttps://www.patrickhowe.com/blog/why-are-there-more-paintings-of-women-than-of-men-in-modern-art-history

One of the most important reasons that women are depicted in paintings more than men is that, historically, the majority of artists, patrons, collectors, and art academy officials were men. These individuals often determined what subjects would be painted and purchased. As a result, female figures were frequently chosen as subjects because they were associated with beauty, grace, fertility, romance, and other qualities that artists and patrons wished to explore or celebrate. This tendency contributed to the development of a long tradition in which women were viewed not only as individuals but also as aesthetic subjects.

The tradition of the nude figure also played a major role. In ancient Greek art, both male and female bodies were depicted, but over time, especially from the Renaissance onward, the female nude became one of the most common subjects in Western painting. Artists often used mythology, religion, or allegory as a justification for depicting unclothed women. Paintings of Venus, nymphs, goddesses, bathers, and other idealized female figures became staples of artistic production. Although male nudes remained important in certain periods, female nudes became more prevalent in later centuries and contributed significantly to the visibility of women in art.

Women were also frequently used as symbols representing abstract ideas. Concepts such as liberty, justice, victory, peace, nature, and even entire nations were often personified as female figures. These symbolic representations appeared in paintings, sculptures, and public monuments, further increasing the number of female images in the artistic tradition.

Economic considerations also influenced artistic choices. Artists depended on commissions and sales for their livelihoods, and they often produced works that appealed to the tastes of buyers. Throughout much of European history, collectors showed strong interest in images of women, particularly those that emphasized beauty, elegance, or idealized forms. Consequently, artists had practical incentives to create such works.

]]><![CDATA[Paint Like Miles Davis played Jazz]]>Tue, 16 Jun 2026 19:40:21 GMThttps://www.patrickhowe.com/blog/painting-like-miles-davis-played-jazz

Many artists possess the extraordinary skill to paint photorealistically, rendering every detail—even a single eyelash on a model painted from life in the studio. Yet many painters with that level of ability choose not to work that way because they are more interested in communicating mood and feeling than in demonstrating technical virtuosity.

The analogy I like to use is the album Kind of Blue, featuring jazz musicians Miles Davis, Bill Evans, John Coltrane, and other top-tier performers. Any one of these musicians could have dazzled listeners with the speed of their fingers and the power of their technique. Instead, the album is subdued, smooth, and unhurried, moving with a steady groove. The performers felt no need to impress listeners with the full scope of their capabilities. Throughout the album, they ease into simple tunes with mastery rather than flash and flair. And this has made it one of the greatest jazz albums of all time.

All of us painters can learn from this. The paintings I am presenting in this Weekly Art Beat do not display the full range of the artists' technical capabilities. Many of them are quiet and simply rendered, but that restraint allows the message, metaphor, or emotional statement to come through more vividly.

]]><![CDATA[Replace Your Paint Tube Caps with Flush Valves]]>Tue, 09 Jun 2026 16:35:06 GMThttps://www.patrickhowe.com/blog/replace-your-paint-tube-caps-with-flush-valves

Replace Your Paint Tube Caps with Flush Valves
I've been using them for a few weeks now, and they seem to work really well. The benefit is that you no longer have to fiddle with paint tube caps. The little valve pinches together so tightly that it forms a sufficient seal, keeping your paint from drying out. Then, all you have to do is squeeze out paint when you want. I will probably continue using them, but here are a few minor inconveniences. You have to press very hard and twist to get the valve onto the end of your paint tube. And when you squeeze paint out of the tube, you have to squeeze a little firmer. But those are minor issues. (Just in case you don't care for the flesh valves after trying them, don't throw your paint tube caps away)
Amazon here.

To attach a valve to your paint tube:
To attach the valve, don’t try to press the valve straight onto the tube. Instead, you have to stretch the valve opening at an angle against the rim of the tube, then twist firmly to get it on.

The invention of collapsible metal paint tubes in the mid-1800s transformed painting. Before tubes, artists mixed and stored paints in cumbersome containers, making outdoor work difficult. During the Impressionist era, painters such as Claude Monet and Pierre-Auguste Renoir could carry ready-made oil paints into the countryside, allowing them to paint quickly on location and capture fleeting effects of light and atmosphere.

Art History—Invention of Paint Tubes
The invention of collapsible metal paint tubes in the mid-1800s transformed painting. Before tubes, artists mixed and stored paints in cumbersome containers, making outdoor work difficult. During the Impressionist era, painters like Claude Monet and Pierre-Auguste Renoir could carry ready-made oil paints into the countryside, allowing them to paint quickly on location and capture fleeting effects of light and atmosphere.

Famous Artist Quote
“Without colors in tubes, there would have been no Cézanne, no Monet, no Sisley or Pissarro, nothing of what the journalists were later to call Impressionism.” —Pierre-Auguste Renoir

I look forward to seeing you in the studio soon!

]]><![CDATA[Sensing the Emotional Energy of a Painting]]>Tue, 02 Jun 2026 20:06:52 GMThttps://www.patrickhowe.com/blog/the-emotional-energy-of-a-paintingCheck out theseSome people may not experience that feeling because they are only looking at what a painting is of. They see the subject matter, or, a little more advanced, they appreciate the color relationships, the form, and the texture relationships. But the deeper level is also to experience the feeling those elements may inspire. In these paintings, take note of the subject matter, then notice the colors, forms, shapes, and textures. Then, in a state of mental and emotional stillness, feel the energy, the vibe, the emotion of the paintings.

]]><![CDATA[Painting on Board]]>Wed, 27 May 2026 19:52:26 GMThttps://www.patrickhowe.com/blog/painting-on-board

Some painters prefer prepared board over canvas for its rigid, smooth surface and durability. Board allows finer detail, cleaner edges, and less texture interference than stretched fabric. Oil paint often behaves more predictably on panel surfaces, especially for glazing and precise brushwork. Properly prepared boards can resist warping and last for centuries.... Because hundreds of years from now, people will surely want to see your paintings!

If you haven't painted on board yet, try it out to expand your experience of painting surfaces. Find on Amazon.

Personally I paint on both, however, when painting smaller pieces I often prefer board because you can get more refined edges and textures.

But not so fast...
Board requires that it be primed with Gesso (pronounced "Jess-O"). Three coats, with very light sanding between coats. This primer is the same that is used on canvas. It enables the oil paint to adhere firmly, and seals the wood protecting the painting from oils and impurities that may be in the wood. Buy the smallest amount (8oz), found on Amazon.

Learn lots of stuff about painting on board and displaying it here:

“Every child is an artist. The problem is how to remain an artist once we grow up.” — Pablo Picasso

]]><![CDATA[Developing Your Painting Style, and Your Unique Artistic Eye]]>Mon, 18 May 2026 23:37:27 GMThttps://www.patrickhowe.com/blog/developing-a-painting-style-and-your-unique-artistic-eye

Developing your painting style
Paint on most days. Developing your painting style by painting a variety of subjects: interiors, landscapes, mountains, oceans, pets, people—whatever subject is at hand. Paint subjects that inspire your curiosity. By giving yourself these painting challenges, you continue growing and learning as an artist, and this becomes the foundation for your own painting style, which will eventually emerge. Regular engagement with your painting practice is the best way to develop your own artistic style.

Developing an Artistic Eye
Your painting style is how you apply paint, but developing an artistic eye is about how you see the world. Developing your artistic eye is the same as developing your artistic voice. It’s easy to notice a beautiful landscape or flower, but the artistic eye goes beyond that. Our days are full of the busyness of life, but to develop an artistic eye, we must slow down enough to take the time to truly see.

Every day we look at things, but we don’t really see them because they are not essential to accomplishing whatever tasks have gained our attention. To develop an artistic eye, however, we must sometimes let go of those tasks and enjoy seeing the world for no other reason than the pleasure of seeing. This requires moving more slowly and cultivating mental stillness.

Look for things in the world that are beautiful. Allow yourself to broaden your understanding of what beauty is. Some things we see may not be beautiful in the conventional sense, but may instead be interesting because their shapes, colors, or textures are unusual and captivating.

Notice how light falls across your kitchen counter. Observe the colors, light, and shadows on the face of the person speaking to you. Observe reflections of people and objects in windows, along with their shapes and colors. Look at a wet street and see it as a painting in your mind. Practice this daily.

This does not mean you have to paint everything you see; you only need to practice seeing it. This practice builds your “visual vocabulary,” the storehouse of visual impressions that accumulates in your mind over time. It requires no effort other than giving the things you see your attention for a moment. Over time, your unique way of observing the world will naturally find its way into your artwork.

]]><![CDATA[For Your Eyes and Every Other Bone in Your Body]]>Tue, 21 Apr 2026 18:02:16 GMThttps://www.patrickhowe.com/blog/for-your-eyes-and-every-other-bone-in-your-body

They say to make a good blog post, you should say something about the content. But honestly, sometimes I find paintings online that are beautiful, interesting, or in some way evocative, and I really have nothing to say about them. I just want to share them with you and let your eyes enjoy them. If you'd like me to offer analysis of any of them, please let me know.

]]><![CDATA[Mary Tonkin]]>Wed, 21 Jan 2026 19:26:34 GMThttps://www.patrickhowe.com/blog/mary-tonkin

I love this Australian artist. She plays in the same creative space I've occasionally explored. Now I'm inspired to return there. Some of her paintings are H-U-U-G-E.

]]><![CDATA[Color Basics]]>Wed, 14 Jan 2026 01:28:59 GMThttps://www.patrickhowe.com/blog/color-basics

Excellent basic color presentation.
Art by clague_fine_art

Here is the finished painting:

Values are the lightness and darkness of a color. Here the color is stripped away and we only see value:

Complementary Colors are opposite each other on the color wheel. In this case blue and orange:

Color Saturation is how much color is in the color. Below the left square is highly saturated with orange. The square on the right is less saturated with orange. It is muted and dull:

Color Temperature.
On the inside of the orange, the orange square is WARM. The rind of the orange has COOL blue added to it to make a brown color.

]]><![CDATA[Maxfield Parrish]]>Sun, 14 Dec 2025 01:18:05 GMThttps://www.patrickhowe.com/blog/maxfield-parrish

Maxfield Parrish (1870–1966) was an American painter and illustrator known for his distinctive use of saturated colors and luminous landscapes. He studied at the Pennsylvania Academy of the Fine Arts and later at the Art Students League of New York. Parrish gained prominence through magazine illustrations, advertising, and commercial work, including covers for Collier’s and Scribner’s. His technique involved layering glazes over detailed underpaintings to achieve depth and vibrancy, often combined with photographic references and careful perspective. He frequently depicted idealized figures and fantastical settings. Parrish’s work influenced American illustration and remains widely reproduced in prints and posters.

]]><![CDATA[Why are there more women in painting classes? And what does that say of the few men who take painting classes?]]>Tue, 04 Nov 2025 20:30:13 GMThttps://www.patrickhowe.com/blog/why-are-there-more-women-in-painting-classes-and-what-does-that-say-of-the-few-men-who-take-painting-classes

I am often asked by men in my oil painting classes, why are there more women than men? And here are some results of studies that address the topic. And below are studies that have addressed why men take painting classes.

(The studies addressed only traditional "men" and "women", not the fluidity between genders).

Why do women take painting classes?

1. Emotional Expression and Stress Relief
Painting is often pursued for emotional release, mindfulness, or personal reflection.

Women, on average, are more socially encouraged to process emotions through expression like writing, talking, or creating.
Men, by contrast, are often taught to manage emotions through action or distraction (e.g., sports, gaming, or practical projects).
So painting fits comfortably into the ways women are socialized to manage feeling and meaning.

2. Cultural Framing of “Appropriate” Leisure
Society subtly signals which hobbies are “feminine” or “masculine.”

Activities emphasizing aesthetic sensibility, introspection, and beauty like painting, floral design, or decorating are seen as more feminine.
Hobbies emphasizing competition, mechanics, or mastery of tools like woodworking, car restoration, or sports are seen as more masculine.
Painting, particularly non-competitive painting, lands squarely in the “feminine-coded” zone.

3. Aesthetic Orientation
Women tend to have a stronger interest in environments that involve aesthetics and visual harmony like interior design, clothing, and decor, which naturally aligns with painting.
That doesn’t mean men lack visual sense, but men often express it through design linked to utility.

4. Time and Social Networks
Women are more likely to participate in community and social hobbies that foster connection and calm, such as group painting classes. Men’s leisure networks tend to center more on shared activity (sports, games, projects) than introspective or artistic collaboration.

5. Identity and Self-Care
In recent decades, painting has been reframed in popular culture as a form of self-care and mindfulness.

Why do men take painting classes?

1. Comfort with Emotional Expression
Painting requires a willingness to engage with feeling, ambiguity, and aesthetic experience, all of which many men are socialized to downplay. So a man who paints as a hobby is often more emotionally self-aware or comfortable exploring the inner world. He may have an above-average capacity for reflection, empathy, or sensitivity to beauty.

2. Independence from Social Expectations
Men who paint for pleasure are often confident in their individuality and less concerned about fitting into traditional masculine roles. That independence signals psychological maturity and self-assurance. They’re pursuing what feels meaningful, not what’s expected.

3. Cognitive and Sensory Strengths
Painting draws on visual-spatial reasoning, pattern recognition, and hand–eye coordination, traits that are not gender-specific, but men who paint often find joy in the problem-solving and design aspects of visual creation. They may think analytically and aesthetically — a rare blend.

4. Appreciation for Process over Outcome
Painting as a hobby often appeals to men who value craftsmanship and the meditative rhythm of work, similar to woodworking, music, or model building. They may enjoy getting “in the zone”, a focused, almost meditative flow state where thinking quiets and making takes over.

5. Broader Emotional Range
Men who paint tend to be more comfortable with ambiguity, nuance, and subtlety, qualities that help in relationships, leadership, and personal growth. In research terms, they often show higher levels of openness to experience, one of the Big Five personality traits correlated with artistic engagement.

6. Balance and Self-Regulation
Many male painters describe the hobby as a counterbalance to work stress or rational overdrive, a way to access intuition and calm.

]]><![CDATA[Halloween Costume Ideas]]>Tue, 28 Oct 2025 21:11:40 GMThttps://www.patrickhowe.com/blog/halloween-costume-ideas

Here are some fabulous Halloween costume ideas inspired by famous paintings of art history.

]]><![CDATA[Benefits of Painting in Monochrome: Strengthening Value, Contrast, and Composition]]>Wed, 15 Oct 2025 22:40:04 GMThttps://www.patrickhowe.com/blog/benefits-of-painting-in-monochrome-strengthening-value-contrast-and-composition

Painting in monochrome helps artists focus on the fundamental aspects of visual structure without the distraction of color. It strengthens understanding of value relationships, contrast, and light distribution. This approach improves control over tonal transitions and spatial depth. It also enhances accuracy in rendering form, volume, and perspective. By simplifying the visual information, monochrome painting allows for clearer analysis of composition and balance. It is an effective method for studying texture, edges, and brushwork. Additionally, it serves as a strong foundation for later color work, ensuring that the underlying value structure remains stable and consistent in more complex paintings.

I highly recommend doing a monochrome painting sometime.

Noticed the below images do not have bright highlights or super dark shadow.

]]><![CDATA[15 Painting Hacks]]>Wed, 27 Aug 2025 17:14:52 GMThttps://www.patrickhowe.com/blog/15-painting-hacksThese painting hacks for artists working in oil paint will help you simplify your workflow, improve your results, and help keep you organized. These artist painting tips and time-saving painting techniques will make the process smoother so you can focus on what really matters—exploring your curiosity in oil painting.

1. Prevent Galkyd Lite from hardening in the bottle
Whenever you use Galkyd Lite, always add a small amount of gambol to the bottle before closing it. This will keep it liquid over a longer period of time and prevent it from oxidizing and hardening inside the bottle.

2. Color-code your paint tube caps
For those of us who leave the caps off our paint tubes while painting, paint a dab of that color on the top of the cap so you can quickly identify which cap belongs to which tube of paint.

3. Prevent oil from oozing out of your tub of paint
This effect, which is normal, is related to the storage, temperature, and humidity conditions during paint manufacture. The oil sometimes rises to the top of the tube. A simple solution is to hang or store your tubes of oil paint upside down, with the cap at the bottom. The oil will migrate slowly upward. Later, when you turn the tube over and squeeze out the paint, it will not be overly oily.

4. Use acetate to test your brush marks
You know that you're painting needs something, but you're not sure what. And you do not want to mess up your painting by taking a wild guess. A great solution is to lay a sheet of clear acetate over your painting and paint over the acetate, allowing you to see your brush mark effects without committing to them on the actual painting. Then, if you like the effect, remove the acetate and paint the marks on your painting. Some acetates will accept oil. Check the manufacturer's guidelines.

5. Stay on the level
I often see painters paint a copy of a photo they have taken, and not realize they had not held their camera level, and subsequently, the horizon in the painting is also crooked. It's normal to take a photo that is not perfectly level. But always check the level in your painting. Even when it's off slightly, it shouts!

6. Another oily paint trick
If your paint is excessively oily when you squeeze it out of the tube, squeeze the paint onto a piece of cardboard. Spread the paint around, and the cardboard will absorb the excess oil. After a few minutes, scrape the paint off the cardboard, and you will have a nice, thick, pasty color.

7. A hard copy is better than digital
If you are painting from any kind of reference image, it is far better to have a good, high-quality color printout than to try to paint off of your phone. The downside of painting off your phone is that the image is small, and the colors are backlit, which is an effect that is difficult to reproduce in paint. A better approach is to paint using a high-quality printout, as a printout is on a reflective surface, and your canvas is also reflective. That way, they are both in the same visual environment.

8. Work out the wrinkles
If your painting is wrinkled, spray Tight-N-Up on the back of the canvas. It will work even after you have painted your picture, but it is best to tighten your canvas before you begin.

9. Lavender oil
Some artists use lavender oil in their painting, and it smells delightful, but it's also toxic. Don't use it in your painting.

10: Take your eyeballs for a walk
Studies have shown that when artists look at their painting for a long time, they lose objectivity, enter tunnel vision, and lose perspective in what they're doing in the context of the whole. It is essential to constantly refresh your eyes and shake out the stiffness in your hands and back. Set the timer on your phone to every half hour, to remind you to get up and loosen up. Take five minutes to check in with other painters or take a walk down the hall. You'll come back refreshed and see your painting with new inspiration.

11 Make a name for yourself
Sign your painting at least 1/2 inch from any edge to avoid a picture frame from covering it. And practice your signature over and over until it looks like a work of art itself. You don't want to go to all the work of making a beautiful painting and then have a child-like signature.

12 Experiment with a limited palette
Limit yourself to three primaries + white (ultramarine blue, cadmium red medium, cadmium yellow medium, and titanium-zinc white). A reduced palette makes color mixing easier and creates natural harmony in your painting.

12 Keep a palette scrap canvas
Don’t waste leftover paint—scrape it onto a spare canvas or panel. Over time, this becomes an interesting textured ground for a future painting.

13 Work on a toned ground Instead of white
Before beginning a painting, cover your canvas first with a thin layer of burnt umber, raw sienna, or gray. A touch of Gamsol may be needed. Scrub in the paint, then wipe it off with a dry rag, and the canvas will remain stained. This reduces the stark white, helps judge values better, and often speeds up the painting process.

14. Use the Mirror of Truth
There is something wrong with your painting, but you don’t know what it is. Place your painting in front of a mirror. Seeing it reversed tricks your brain into noticing proportion errors, awkward edges, or compositional imbalances. Or take a photo of you painting, then flip the image in your phone's image editing feature, and you will see the painting in reverse, making errors stand out.

15 Brush soaps
Artist brush soaps can be expensive, and I have experimented with them all. Try this alternative method: After cleaning your brushes with Gamsol, clean them more thoroughly with inexpensive Dawn dishwashing liquid. It is formulated to break down grease and oil. Put a dab of Dawn soap into the bristles of your brush, massage it in well, then rinse in water. Lay your brushes flat to dry.

Keep following your curiosity!]]><![CDATA[50% Off Oil Painting Classes—Starting Soon!]]>Mon, 18 Aug 2025 22:11:44 GMThttps://www.patrickhowe.com/blog/august-18th-2025

First-time students get 50% off their first month of classes. Offer is for September and October classes, 2025

]]><![CDATA[Washington State Fair Art Show Judge, and Recent Color Theory Presentation]]>Wed, 13 Aug 2025 17:48:42 GMThttps://www.patrickhowe.com/blog/washington-state-fair-art-show-judge-and-recent-color-theory-presentation

I had the privilege of being a juror in the Washington State Fair art show. Another oil painter and I viewed about 100 oil paintings and selected which ones would be in the show, which ones would be rejected, and which would be the first, second, and third place winners. Below is me standing next to the winner in the oil painting division.

How do you judge an art show?
It's not easy. Sometimes you might reject an outstanding painting because its garish frame has made the painting look terrible. Other times, you might include a painting that is poorly executed but has an outstanding concept. Or, several beautiful landscapes have been submitted, but you reject one in order to make room for a still life or an abstract to make the exhibit well-rounded. In the end, the selection is subjective because there is no objective, scientific, quantifiable method of determining good art. If you ever enter an art show and are rejected, don't feel bad; it happens to really good artists all the time. Maybe the judge doesn't like the color orange in any painting, and yours happens to have orange in it. The selection can come down to superficial decisions like that.

Color Theory Presentation
In several classes last week I offered a color theory presentation, focusing on complementary colors, and color mathching:

]]><![CDATA[The Psychological and Emotional Benefits of making Art]]>Thu, 07 Aug 2025 15:35:18 GMThttps://www.patrickhowe.com/blog/the-psychological-and-emotional-benefits-of-making-artMaking art offers measurable mental and emotional benefits, supported by a growing body of research in psychology and neuroscience. Engaging in visual art—particularly painting—has been shown to reduce stress, improve mood, and enhance cognitive flexibility. These effects are not limited to professional artists; they apply to anyone, including beginners in painting classes.

A 2016 study published in Art Therapy: Journal of the American Art Therapy Association found that just 45 minutes of creative activity significantly lowered cortisol levels, a biological marker of stress, in 75% of participants. Importantly, this stress reduction occurred regardless of participants' prior art experience. The act of making art engages the parasympathetic nervous system, inducing a relaxation response similar to meditation.
Beyond stress relief, painting enhances emotional processing and self-awareness. According to a 2018 meta-analysis published in Frontiers in Psychology, visual art activities promote emotional expression and help individuals explore complex feelings, leading to increased psychological resilience. Creating images can allow people to process trauma or grief nonverbally, offering a powerful outlet for those who struggle to articulate emotions through language.

Cognitively, making art stimulates several brain regions associated with memory, attention, and executive function. A 2014 study by Bolwerk et al., published in PLOS ONE, found that adults who participated in a ten-week visual arts program (as opposed to an art appreciation course) showed increased functional connectivity in the default mode network of the brain. This network is tied to self-referential thought, memory retrieval, and emotional regulation. Participants also experienced higher levels of psychological resilience and reported greater personal fulfillment.

Painting specifically requires fine motor skills, visual-spatial reasoning, and problem-solving, which contribute to neuroplasticity—the brain’s ability to reorganize itself by forming new neural connections. These cognitive demands may help delay age-related decline. A study published in Neurology in 2014 found that individuals who engaged in artistic activities in mid-to-late life were 73% less likely to develop mild cognitive impairment compared to those who did not.

Participating in painting classes adds further psychological and emotional advantages beyond solo art-making. Structured instruction provides goal-oriented engagement, which has been shown to improve motivation and increase the sense of agency. Social interaction in group classes can reduce loneliness and contribute to a sense of belonging. A 2020 review in Health Education Journal concluded that adult learners in community-based art programs reported increased self-esteem and well-being, largely due to social cohesion and skill mastery.

Painting classes also foster a growth mindset. Students routinely encounter failure (such as a color mix not working or a composition falling flat) and learn to iterate and adapt. This process builds frustration tolerance and reinforces the idea that improvement comes through practice—an attitude that can transfer to other life domains.]]><![CDATA[Still Life Painting From Life]]>Mon, 28 Jul 2025 23:48:39 GMThttps://www.patrickhowe.com/blog/still-life-painting-from-life

I was asked if students can bring objects from home to paint in class. Yes! Here are some things to consider:

• Make sure that the objects you bring to class aren't busy with lots of complex details and patterns. Keep it simple.

• Plan to have your painting done in 2 hours, the length of the class. That way, you will be painting under the lighting conditions in the classroom that day; there's no saying the same light conditions will be there next week.

• Bring items to paint and we'll make it happen!

To paint a still life from observation, begin by arranging objects under consistent lighting. Use a viewfinder or mark your canvas edges to establish composition. Sketch the basic shapes lightly with pencil, brush, or charcoal, focusing on proportion and placement. Identify the light source and block in shadow masses first to establish value structure. Mix and apply middle tones next, keeping paint thin in the early stages. Observe color temperature shifts and refine edges—keep some sharp, others soft to suggest depth. Use a limited palette to control harmony and mix colors accurately, based on observed color, not assumptions. Work across the whole painting, not object by object, to unify the composition. Avoid overworking; maintain brushstroke intention. Finally, step back often to assess relationships and make corrections. Let it dry between sessions if using oils. Clean tools thoroughly when finished.

Above is a setup I made at home. It would make a fun painting.

I have a big @ symbol. It would also be fun to paint.

Above is a more complex arrangement. Notice the lighting was carefully adjusted.

Here, the painter has kept the strokes loose.

Give it a try.

]]><![CDATA[Plein Air Painting 2025]]>Sun, 27 Jul 2025 01:46:51 GMThttps://www.patrickhowe.com/blog/plein-air-painting-2025

Plein air painting is the practice of painting outdoors, where artists directly observe the landscape. Artists bring their materials to the site and work on location to capture natural light, color, and atmosphere. This method requires quick decision-making due to the changing weather and lighting conditions. It challenges artists to simplify forms and focus on essentials. Plein air painting improves observation skills and deepens understanding of color relationships and spatial depth. Artists often complete studies on-site and may refine or expand them later in the studio. It’s a practical exercise that builds technical skill, visual memory, and confidence in working efficiently under natural conditions.

Here are three of my recent plein air paintings:

"Rose Garden in July." I was mesmerized by the flowers' soft colors.

"Rose Garden 2". Toward the far side of the Rose Garden, there is a small wooded area. I set up there to avoid the crowds.

"Woodland Park". Every direction you turn—trees! This one took about an hour.

Watch for more plein air paintings in future posts!

]]><![CDATA[What Attracts Us to Some Paintings but Not Others?]]>Wed, 09 Jul 2025 20:04:31 GMThttps://www.patrickhowe.com/blog/what-attracts-us-to-some-paintings-but-not-others

Some paintings attract us more than others due to psychological, emotional, cultural, and aesthetic factors. While taste is subjective, certain elements engage our attention and emotion on a deeper level. These include composition, color harmony, emotional resonance, symbolic content, and the viewer’s personal experiences or cultural background.

In the below paintings, observe what each painting evokes in you:

Visual composition plays a foundational role in our response to paintings. We are naturally drawn to visual balance, rhythm, and clarity. A well-composed painting guides the viewer’s eye through the image in a way that feels satisfying or intriguing. The placement of elements within the frame can create tension, harmony, or curiosity. This subconscious visual organization can make a painting feel “right” even before we understand its content.

Color is another powerful attractor. Warm tones such as reds, oranges, and yellows create excitement or warmth, while cool tones like blues and greens evoke calm or introspection. Artists often use color to evoke emotion, and we are often unconsciously drawn to hues that resonate with our internal states or emotional needs.

Beyond formal elements, emotional resonance is a major reason why some paintings attract us. A painting may reflect a mood we’re experiencing or longing for—joy, melancholy, nostalgia, wonder. We are drawn to art that mirrors our emotional world or gives voice to feelings we cannot easily express. This is especially true of figurative or symbolic art, where facial expressions, gestures, and settings invite empathy or contemplation.

Cultural and personal background strongly influence what we find attractive. A painting that references a viewer’s heritage, beliefs, or lived experiences will often strike a deeper chord. Likewise, personal experiences—such as a memory of a place, a relationship, or a trauma—can create a magnetic pull toward certain subjects or styles. This makes the viewing experience unique for every individual.

Lastly, the mystery or originality of a painting can be a powerful attractor. We are naturally curious beings, and when a painting challenges our expectations, invites interpretation, or contains ambiguity, it compels us to look closer. Innovative techniques, unusual perspectives, or imaginative concepts stimulate both the intellect and the imagination.

]]><![CDATA[What to do with all your artwork piling up in your house or studio?]]>Tue, 01 Jul 2025 18:20:22 GMThttps://www.patrickhowe.com/blog/what-to-do-with-all-your-artwork-piling-up-in-your-house

All paintings below by Dennis Congdon

A musician friend once said, "The advantage of making music over art is that once you are finished performing your music, it goes away, but when you finish a painting, it just sits there, out in the world."
So what is an artist to do?

Keep it - Collect your own art.
I have paintings I did 40 years ago that I still love looking at. Not because I think highly of myself, but because I’m still amazed that I somehow managed to paint them. It's OK to be amazed by your accomplishments and fill your walls with them.

Recycle your art
Embrace an honest assessment of a painting and determine if it is really, really a keeper? If not, paint another painting over it with a clear conscience. (Cover the painting with a solid tint of color first, before painting on it.) This has been a practice by many great artists throughout art history, so you're in good company.

Give your art as a gift
Someone may not appreciate your thoughtful gift of a 10' x 10' (305 x 305 cm) painting, but they may be super excited to receive a smaller one.

Offer your art at auctions
Many organizations host fundraisers and are seeking items to auction off. Help their cause and bring happiness to those lucky people who buy your art.. (Caveat: your art must be your original creation, not a painted copy of another person’s photograph or painting.)

Art Galleries and coffee shops
If you are accomplished enough and consider yourself an artist, find art galleries, gift shops, or coffee shops that will display and sell your artwork. If no sales happen, at least people will see your amazing artwork. (Caveat: your art must be your original creation, not a printed copy of another person’s photograph or painting.)

Studio Sale
Once a year, have an art party and studio sale at your house. Bring out all of your paintings and spread them out everywhere, on the walls, on tables, leaning on furniture—everywhere! Make the whole place look like the studio of a mad artist. Then, invite all your friends to come over. Offer works for rock-bottom prices. Offer two paintings for the price of one. Refuse no offer!

]]><![CDATA[AI-Generated Content and the Visual Artist]]>Wed, 25 Jun 2025 21:30:11 GMThttps://www.patrickhowe.com/blog/ai-generated-content-and-the-visual-artist

In the New York Times article below, commercial illustrator Christof Niemann discusses the challenges artists face when confronted with AI-generated images. He makes many excellent points, and his illustrations that accompany his ideas are delightfully original. I can see why he is a successful illustrator. Please read the article here:
https://www.nytimes.com/interactive/2025/06/23/magazine/ai-art-artists-illustrator.html
Then see my own comments on the topic below

My Take
My primary concern is the use of AI-generated images with respect to fine art, specifically painting.
First of all, I respect the choices of every artist who chooses to use AI in their creative process. And I will tell you why I personally will never use AI in any part of my artistic creative process. The first and foremost reason is that its use diminishes and atrophies an artist's creativity and imagination, while paradoxically making the art appear superior. It's much easier to tell a machine to come up with amazing images and ideas than for artists to have to go through the difficult work of doing it themselves.

Someone could argue, but why do it the old, hard way "by hand”? My argument is not whether it's old or new, but about what using AI may do to my cognitive skills and imagination.

Some have equated AI-generated images to the advent of photography and its impact on the artistic creative process over the past 150 years. Using a camera makes a person smarter because you have to activate your cognitive skills to select scenes to photograph. In contrast, AI-generated images are just handed to you, and then you curate them. "I'll take this one but not that one.” The AI artist has become a curator of images, not an originator. Related to this, recent studies have examined writers who use ChatGPT extensively for writing, revealing that their cognitive skills have declined significantly due to their reliance on the tool. One may assume that something similar would happen to a visual artist using images generated by AI. (Ask ChatGPT about the 2025 MIT study about the use of AI-generated content and the decline of cognitive function.)

It's a larger discussion than I can get into here, but these are some of my initial thoughts.

]]><![CDATA[Expose Yourself to New Ideas in Art]]>Tue, 17 Jun 2025 21:42:59 GMThttps://www.patrickhowe.com/blog/expose-yourself-to-new-ideas-in-art

Exposing yourself to new art offers a wide range of concrete benefits, many of which are supported by research in psychology, education, and even business. When you engage with art outside your usual tastes or comfort zone, you develop cognitive flexibility, improve your ability to empathize, and enhance your problem-solving skills.

Encountering unfamiliar art challenges your perception. Whether it’s a type of visual art, performance, or music you don’t normally enjoy or understand, your brain is pushed to interpret new symbols, patterns, and forms. This process activates areas in the brain related to critical thinking. You may not immediately understand what you're looking at, but the act of trying to make sense of it is intellectually valuable. This kind of mental engagement builds tolerance for ambiguity, a trait associated with higher creativity and adaptability. (Read more below).

A Deeper Dive
Exposing yourself to new art increases your capacity for empathy. Art often reflects the experiences, beliefs, and values of people from different backgrounds. When you see a painting from another culture or watch a film that portrays life in a different socioeconomic context, you’re given a window into someone else’s world. This exposure doesn’t just increase knowledge; it also helps you understand emotional perspectives that are different from your own. Studies have shown that regularly engaging with the arts can make people more empathetic and socially aware.

There are also measurable benefits for communication. People who engage with diverse forms of art often become better at expressing themselves. That’s not just because they’re picking up artistic skills, but because they’re exposed to many different modes of expression. For example, a sculpture might convey a complex idea without using any words at all. Observing how artists communicate helps you refine your own ability to convey ideas in more precise or nuanced ways. This can be useful not only in creative fields, but also in business, education, and personal relationships.

From a practical standpoint, seeing new art can help break routine patterns of thought. This is especially useful in problem-solving. When your brain gets used to the same kinds of inputs, your ideas tend to become repetitive. New art interrupts that cycle. It introduces unexpected elements that can stimulate different ways of thinking. This kind of mental disruption is a key ingredient in innovation.

Finally, exposing yourself to new art can reduce stress and improve overall mental health. While art doesn’t replace therapy or medical treatment, studies have shown that people who engage with art regularly often report feeling more satisfied with their lives. Even passive exposure—like walking through a museum or listening to an unfamiliar piece of music—can lead to lower cortisol levels and improved mood.

In short, regularly seeking out new and unfamiliar art isn't just a hobby—it’s a way to expand your mental toolkit, improve social and emotional understanding, and stay mentally flexible in a fast-changing world. The benefits are practical, measurable, and applicable to many areas of life.

]]><![CDATA[New Product - Gamblin 3-in-1]]>Tue, 10 Jun 2025 18:30:08 GMThttps://www.patrickhowe.com/blog/new-product-gamblin-3-in-1• No need to mix Gamsol and Galkyd Lite to create an oil out
• Can be used as a primer for board, instead of gesso. (But you can't apply an acrylic layer over it. Any underpainting or colored tinting before painting must be done in oils.
• Made of safflower oil, so less odorous and safer for chemically sensitive people
• Dries in a semi-gloss sheen rather than high gloss.
• It is a "lean" layer, so thicker paint can be applied over it

Learn more at Gamblin here

See video

(Sidebar: Notice how they always display tubes of paint upside down? This way, when you squeeze paint out of the tube, you won't get a lot of oil first.)

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