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Here I have simplified some of the issues relating to photographing your artwork with a camera phone. With these common sense suggestions you’ll be able to produce good-quality photos of your paintings. For the highest possible quality—if you intend to make prints, you will need to go to a professional art photographing service that specializes in photographing art. But a good phone camera can produce excellent images of your artwork for most digital representation. Here are some important tips to follow. Set you camera to the highest resolution. This will make the file larger, but you want a larger file for recording your paintings for display, reproduction, and posterity. On an iPhone you would select High Efficiency for the highest resolution. (Settings > Camera > Format > High Efficiency).  Avoid crooked image: When photographing your artwork, make sure you position your camera so that the painting is perfectly square on the screen.  Avoid image distortion: Make sure your camera is perfectly parallel to your painting.  Correct orientation of your phone to your artwork.  Camera orientation. We are used to holding our phone cameras vertically. But to get the largest possible image, and highest resolution. Always orient you camera so you are shooting the longest side of the screen with the longest side of the painting. You can rotate the image later with your camera's editing feature.  Phone cameras focus automatically. But sometimes, because a painting is flat, and not three-dimensional like the real world, the camera has difficulty focusing. Check to make sure your image is in focus.  Avoid glare: Whether shooting your artwork indoor or outdoor, make sure you are not getting glare from any light source.  Uniform Lighting: Make sure the light is uniform on your artwork. No glare and no shadows.  No flash! Turn the camera’s flash off. It will cause a glaring ‘hot’ spot in the middle of your painting.  No shadows. Make sure no shadow are anywhere on the painting from the surrounding environment.  Shoot your painting on a neutral colored background. Don’t use white or any bright color. The reason is that if you have white all around your painting, the camera will ‘think’ the white is part of the painting and will include it in its overall color and value adjustment. Whereas a neutral color will tend to be “ignored”.  Don’t shoot from far away. You want the image as large as possible in the picture frame without cropping any part of the image.  Don’t shoot too close. You always want a little of the surrounding background to show on the screen. That way you will know for sure your haven’t cropped out any of your painting. Then you can do a more precise crop with the camera's photo editing tools.  White Balance: Most cameras adjust White Balance automatically. When the camera sees white, it will automatically adjust all other colors to their proper color temperature. Temperature relates to an image's either cool cast or warm cast. White Balance is a perfect balance between cool and warm. But sometimes the camera doesn’t correct White Balance perfectly. I alway include a small piece of white paper next to my painting so I can check the White Balance after taking the photo. If the white is not perfectly white, then I can adjust it on my camera after taking the photo.
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Monet and Renoir, two renowned French Impressionist painters, were contemporaries and close friends, sharing a common artistic movement but expressing their creativity through distinct painting techniques. While both artists sought to capture the fleeting effects of light and atmosphere in their works, they approached their subjects with unique styles and perspectives. Let's explore the painting techniques of Monet and Renoir, highlighting their similarities and differences.  Claude Monet and Pierre-Auguste Renoir Claude Monet, often regarded as the master of Impressionism, had a fascination with the interplay of light and color. His technique emphasized capturing the essence of a scene through loose brushstrokes and vibrant hues. Monet's paintings often featured spontaneous, broken brushwork that conveyed the ever-changing nature of light and its effects on the environment. He painted en plein air, working directly from nature, which allowed him to observe and depict the shifting colors and atmospheric conditions. Monet's "Haystacks" and "Water Lilies" series exemplify his innovative techniques. In the "Haystacks" series, he painted numerous haystacks at different times of the day to study the variations in light and shadow. By employing rapid brushwork and layering complementary colors, he created an optical mixture that gave the impression of luminosity and movement. Similarly, his "Water Lilies" series explored the play of light on water, utilizing short, dappled brushstrokes to capture the reflections and the transient qualities of the scene.  Monet "Haystacks" Claude Monet, often regarded as the master of Impressionism, had a fascination with the interplay of light and color. His technique emphasized capturing the essence of a scene through loose brushstrokes and vibrant hues. Monet's paintings often featured spontaneous, broken brushwork that conveyed the ever-changing nature of light and its effects on the environment. He painted en plein air, working directly from nature, which allowed him to observe and depict the shifting colors and atmospheric conditions. Monet's "Haystacks" and "Water Lilies" series exemplify his innovative techniques. In the "Haystacks" series, he painted numerous haystacks at different times of the day to study the variations in light and shadow. By employing rapid brushwork and layering complementary colors, he created an optical mixture that gave the impression of luminosity and movement. Similarly, his "Water Lilies" series explored the play of light on water, utilizing short, dappled brushstrokes to capture the reflections and the transient qualities of the scene.  "Luncheon of the Boating Party" On the other hand, Pierre-Auguste Renoir embraced a more classical approach to painting. His technique was characterized by a smooth, blended application of paint, producing a soft and sensual effect. Renoir's brushwork was less fragmented compared to Monet's, favoring a more refined and polished finish. His works often featured rich colors, delicate tonal transitions, and a focus on human subjects and their relationships. Renoir's mastery of portraiture is evident in his iconic works such as "Luncheon of the Boating Party" and "Dance at Le Moulin de la Galette." In these paintings, he skillfully rendered the human form and captured the nuances of light and shadow. Renoir's brushwork was more controlled and precise, lending a sense of harmony and elegance to his compositions. His use of warm and glowing colors created a vibrant and lively atmosphere, inviting viewers into the scenes he depicted. Despite their contrasting techniques, Monet and Renoir shared a common goal of capturing the transient qualities of light and atmosphere. They both rejected the academic conventions of their time, opting for a more spontaneous and direct approach to painting. Both artists aimed to depict the fleeting impressions of a moment and convey a sense of immediacy in their works. Monet and Renoir sometimes painted in the same spot together  "Bathers at La Grenouillère" by Claude-Oscar Monet, 1869  "La Grenouillère" by Auguste Renoir, 1869 Moreover, Monet and Renoir frequently painted alongside each other, exchanging ideas and influencing one another. They shared a passion for exploring the effects of light on different subjects, be it landscapes, seascapes, or human figures. Their close friendship and collaborative spirit undoubtedly contributed to the evolution of their respective techniques.
Monet and Renoir, while belonging to the same artistic movement of Impressionism, developed distinct painting techniques that set them apart. Monet's loose brushwork and emphasis on capturing the effects of light and color through broken strokes defined his style. Renoir, on the other hand, favored a more refined and polished approach, utilizing blended brushwork and warm colors to depict human subjects and their environments. Despite their differences, both artists revolutionized the art world with their innovative techniques and continue to inspire generations of painters with their unique visions.  “Leaves of Contemplation”, 36" x 48", oil on canvas, © Patrick Howe
I found these leaves near my house. If only the world would stop its craziness and spend more time looking at leaves! Walt Whitman celebrated leaves in his famous poem "Leaves of Grass," describing them as "the flag of my disposition" and symbolizing the inherent beauty and diversity of the natural world. He saw leaves as a reflection of life's vitality and interconnectedness. When light filters through leaves, it transforms the ordinary into a spectacle. The interplay of sunlight and foliage creates a mesmerizing dance of shadows and patterns. Each leaf acts as a prism, diffusing and fracturing the light, casting a dappled glow on the world below. It evokes a sense of enchantment and beauty, as if nature itself is painting a vibrant tapestry. The filtered light through leaves brings a serene and ethereal ambiance, inviting us to pause and appreciate nature's ephemeral artistry. Landscape painting in general holds a unique place in the realm of art, captivating viewers with its ability to transport them to distant places or evoke a deep connection to familiar scenes. It captures the beauty and grandeur of nature, allowing us to contemplate its vastness and sublime qualities. Through meticulous brushstrokes and careful composition, landscape artists capture the essence of a place, its changing seasons, and the interplay of light and shadow. It invites us to contemplate the passage of time, the cycles of nature, and our own place within the vast tapestry of the world. Landscape painting can awaken a sense of awe, inspire reflection, and provide solace in our increasingly urbanized and digital existence. It reminds us of the intrinsic value and magnificence of the natural world. A floating picture frame conveys a sleek and modern aesthetic and creates a sense of depth. It highlights the painting by appearing to suspend it in mid-air, allowing for easy appreciation from all angles. Plus, its minimalist design complements various decor styles.  The word “board” and “panel” are synonymous. Some board comes already primed with gesso. If you get board that is not primed, you will need to put three coats of acrylic gesso on it before you begin oil painting on it.  Measure the width of the board, mark the midpoint, and draw a straight line from one end to the other, ensuring it passes through the marked midpoint. Draw another line indicating where the top of the board will be.  Use a piece of 1"x3", or 1"x 4" board and draw a line down its center. Paint the edges black so they won't show later. Staple of screw a piece of wire to the wood.  Mark on each piece of wood where to Velcro will align. Peel off the backing from the stick back Velcro, align it to each board, and firmly press it down to ensure proper adhesion.  Press the two boards together. Make sure the wire is at least 1-1/2" lower than the top of the board. This is so the wall hook will not appear when the painting is hung.  Painting appears to float off the wall. Notice that you do not see the wire or hanging hardware visible at the top of the painting.  From the side, the backing board should not be visible.  To hang cradled board, or stretched canvas, attach D-rings to the inside of the support members. This will insure the painting lays flat to the wall,
Yes, you can paint a picture on Masonite. Masonite is a type of engineered wood composite made from wood fibers, typically formed into a dense sheet using heat and pressure. It has a smooth, hard surface and is often used as a building material or as a substrate for painting and other artistic applications.  First, remove any dirt or debris from the Masonite. Then you can paint on Masonite if you apply three or four coats of gesso first. If the surface of the Masonite is smooth, then use light sandpaper to rough up the surface before applying the gesso. This will allow the gesso to adhere better to the board. If you are intending to produce a super-smooth surface to paint on, then apply each gesso layer thinly with a soft brush. Wait for the gesso to dry completely before painting. Be aware that if you apply the gesso thickly, the ridges of the gesso will appear in your painting if you apply thin layers of oil paint over it. This appearance is neither correct nor incorrect; it’s just an effect the painter needs to be aware of. Apply each layer of gesso at different angles. This will result in a smoother gesso surface:  (TAT #58) Artists often seek to express motion, or stillness, in their paintings. Here are examples of famous paintings shown side-by-side to compare their differences.  Vincent Van Gogh's "A Starry Night" Artists have tried for centuries to capture motion in their paintings. In this painting by Vincent van Gogh, he sought not only to convey the motion of the night sky but also the movement of the entire cosmos! It's a big vision that can be seen in so many of his works. His very application of the paint creates a sense of motion over every inch of his canvases. The motion in "A Starry Night," is depicted through expressive brushwork and a swirling composition. The sky is filled with rhythmic, spiraling brushstrokes that create a sense of movement and turbulence. The swirling patterns are echoed in the cypress tree and the village below, giving the impression that everything in the scene is caught in a dynamic dance. The energetic brushwork and the vibrant colors convey a sense of liveliness and motion, capturing the restless and dynamic nature of the night sky. Compare "A Starry Night" to Georgia O'Keefe's "A Force of Nature":  in Georgia O'Keeffe's painting "A Force of Nature," motion is conveyed through dynamic brushstrokes and vibrant colors. The composition captures a sense of swirling energy and movement, with sweeping curves and flowing lines that suggest the power and force of nature. The contrasting hues and overlapping forms create a visual rhythm that engages the viewer and evokes a sense of natural vitality and motion in the scene. Now, going to the entire other end of the spectrum of painting styles, let's compare O'Keeffe's "A Force of Nature" with Vermeer's "Milkmaid".  In Vermeer's painting "Milkmaid," a timeless stillness pervades the scene. The composition centers around a milkmaid engrossed in her daily task, frozen in a moment of serene concentration. The stillness is emphasized by the balanced composition, muted colors, and careful rendering of textures and light. The soft play of light on the milkmaid's figure and the simple domestic setting create a sense of quietude and timelessness, evoking a contemplative mood that transcends the passage of time. Now back again to a painting with intense force and power:  In Chaim Soutine's painting "Bent Tree," energy and motion come alive through dynamic brushwork and vivid colors. The tree, contorted and twisted, seems to pulsate with life. The forceful and bold brushstrokes convey a sense of movement, as if the tree is caught in a gust of wind. The vibrant hues and exaggerated forms further enhance the feeling of energy, imbuing the painting with a restless vitality. The overall composition exudes a sense of animated motion, evoking a dynamic and expressive interpretation of the natural world. Now, let's return to stillness again, with Edward Hopper's "Automat".  In Hopper's painting "Automat," a profound quietude envelops the scene. The solitary figure sits alone at a table in an empty café, engrossed in her thoughts. The muted colors, stark lighting, and absence of any other visible individuals contribute to a sense of stillness and isolation. The woman's introspective gaze and the empty space around her create a serene atmosphere, evoking a feeling of introspection and solitude. The painting captures a moment of quiet contemplation, inviting viewers to reflect on their own inner worlds.
Personally, I enjoy both energetic and quiet paintings. When done well, they both can evoke a delightful non-verbal appeal. Here is how to get your painting on loose canvas ready to display on a wall. First, paint your painting in a common frame size. Then apply YES Paste to the back of your painting and to a board of firm substrate, and press the two together. Let dry, trim, and you are ready to frame. Here are the details: Important to know before you begin your painting: If you paint on loose, primed canvas, make sure your painting is a common size if you intend to also frame it. Here are some common frame sizes:  Below I am using the example of an 8"x 10" painting. Notice that the painting is painted on a piece of loose canvas that is larger than the painting era. Then, once your 8" x 10" dimensions are draw on the canvas, notice that the painting is actually painted 1/8" to 1/4" beyond the boundary of the painting's area. This is for trimming later.  After you have finished painting your picture and it is dry, use a pushpin to poke a hole in each corner of the 8" x 10" era. (Not the corner of the trim era)  Next, turn the painting over to the back side. Find the holes you poked through the canvas. Then, draw a line between the holes. The box drawn will match the boundary of the painting on the other side.  Apply YES Past to the back side. YES Paste is acid-free. So if the board is not acid-free already, the YES Paste will form an acid-free layer. Make sure you push to paste into the fabric so there are no air pockets. You can either cut your own board, or many art supply stores have cut board available. Apply the YES Past to both the canvas and board. Follow the instructions on the jar. Align the board to your boundary line and press the board firmly to the back of the canvas. Make sure the board you use is thin and firm. If it is too thick, it will not fit in a frame.  Press the board firmly so it is snuggly in place. Then flip it over to the front and press out any bubbles if there are any. Then gently, turn the painting to the back side again and make sure the board has not slid out of position. If it has, nudge it back into position. Next, place something heavy on the board to keep it pressed for 24 hour. In my example I used books. Important: while the paste is still wet, use a palette knife, or any sharp-edged instrument, and remove any excessive paste that may have squished out with the weight on it. If this paste is allowed to harden, if will be very difficult to trim later.  Another important reason to keep the weight on for 24 hours is that YES Paste is water soluble and could warp your painting if it is not held flat until it dries. After the YES Paste has dried completely, using a utility knife, trim off the excessive loose canvas from the board.  Your canvas painting is now mounted on board:  If you intend to fit your mounted painting into a prefabricated frame, remove the glass and mat that comes with the frame. They will not be needed. And, in general, you do not put glass over an oil painting. It doesn't need the protection, and the glare of glass makes viewing the painting difficult.  If you wish to hang your mounted painting without a frame, you can make it "float" off the wall:  This PDF file is an overview of stretching you own canvas. Stretching your own canvas requires a lot of gripping. If you are planning to stretch many canvases you will need a pneumatic stapler and good tools. This PDF presumes you are stretching a large canvas that would need bracing in the back. Smaller canvases, under 24" x 24" will not need bracing. 
 Avoid placing your bracing down the vertical center of the canvas, which would interfere with hanging hardware.       Examining and comparing a variety of paintings helps to develop a better understanding of painting composition. Here are several paintings in which to examine and compare their composition. Each of these paintings is effective for its own reasons. Take the time to study their differences and see how they might inspire your own painting. Read the captions to see my comments about painting composition. Check out these master painters. Each painting to their own tune. Here we have Cezanne, Monet, Parrish, Fechin, Klint, Klee, Lawrence, and others. Ask me about these styles and techniques in the studio and we can discuss.
Pumice Gel enables oil painters to texture their painting surface before painting. (It is also used by acrylic painters.) It is an acrylic medium, so you cannot mix oil paint into it. The pumice gel must be completely dry before applying oil paint over it. If the gel is too stiff and grainy straight out of the jar, you can use acrylic medium or molding paste too thin it.  This is a painting of door in Venice that I did, and used a lot of Pumice Gel. The gel comes in fine, course, and extra-course. In this 3 ft x 5 ft painting, I used the course gel. The extra course would have been way too grainy.  Here is a close up of the grainy surface of my painting.  This is what the gel looks like straight out of the jar.  Pumice Gel is made by Golden.
 Indirect painting is when the painter paints the picture first in black and white (a grisaille) or in warm tones such as Burnt Umber. Then, after it dries, the painter applies glazes of colors over it.
However, what I wish to point out is that for glazing to be effective over a black and while underpainting, the high-key colors (bright reds, greens, and yellows) must be painted in extra-light values. Notice the values in the bottom painting above, the apples are extra light. That way, when the bright, high-key colors are applied over the apples, you will be able to maintain their intense color saturation. Conversely, if the apples in the black and white painting were painted in darker values, the glazing over the top of them would only produce a murky color and lack brilliance. (I don't know who painted the picture above, so unfortunately I cannot attribute it.)  A tabletop easel is perfect for experienced and new painters alike. Pictured above is one that is light-weight and folds down for convenient transport. Follow this link for a guide on several kinds of easels for indoor and outdoor painting.
A floater frame is designed to make the painting appear to float within the frame. The frame molding does not wrap around the front of the painting and is usually flush to the face of the painting. It has a sleek modern look. I prefer a floater because I usually want the edges of my painting to show.     Consider a floater frame if you want a contemporary look that reveals the edges of the painting.
I have not personally experimented with floater frames from the below stores. Please let me know if you are satisfied with your purchase. Blick Art Materials https://www.dickblick.com/products/blick-contour-floater-frames/ Jerry's Art-A-Rama https://www.jerrysartarama.com/1-1-2-inch-deep-illusions-floater-frames Jerry's Art a Rama- Ampersand https://www.jerrysartarama.com/ampersand-floater-frames (Framing is discussed in my live oil painting classes in Seattle. "Specializing in oil painting instruction for 40 years".  Follow this step-by-step guide to paint a brown pear. Go here to download a PDF file. Send me a picture of your painting and I would love to see it!
Oil painting Classes in Seattle. Artist Patrick Howe, specializing in oil painting instruction.  This is a quick sketch of a landscape. 8"x 10", oil on canvas.
Oil painting classes in Seattle. Starting soon!
  Basic Mantra: Brushes do what they look like.
Brush Choice Select a brush that is suited to the effect you want to achieve. You can designate certain brushes for certain tasks. But you can also use a single brushes to do most things. Size: Select a brush that is the right size for what you are painting. Small brushes for small shapes or areas. Large brushes for large areas. (But it may be different for advance painters). Soft Hair or Bristle? Soft for delicate blends. Use Bristle for most general painting. Manufacturer confusion: For example, a size # 6 brush by one manufacturer may be a #2 to another manufacturer. So make your selection by the factual dimensions of the head of the brush. Real vs synthetic: The quality of synthetic soft hair and bristle brushes has gotten really good. Choose either. Brush pricing: You don’t need an expensive brush to do a great painting. Brands: I tend to use a lot of Princeton brushes, but I actually go by how the head feels, not by the manufacture. Practice: Buy a new brush every now and then to see what it will do. Because you can’t really know what a brush does until you use it. Brush Care: Some brushes you can be hard on (Chip), others you want to handle with care (Liner). Clean with Gamsol after use. For deeper cleaning, use Dawn soap. Put a few drops in the base of a sink. Stir the brush into it. Then rinse thoroughly. Oil Painting Classes in Seattle, starting soon!  I did this charcoal drawing of candles along with my students. There is a special little trick to make candle light look like it is really glowing!
 "Apples And Bananas", 10" x 8", oil on canvas. This was a demo of the Indirect Method for my students.
Oil Painting Classes Starting Soon, in Seattle. Contact www.PatrickHowe.com  16" x 20", Oil on canvas. © Patrick Howe
Oil painting classes starting soon.
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Patrick Howe, Artist, Author and Educator Seattle, WA. Contact: patrick@patrickhowe.com |
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