 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
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 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.        • 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   (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.)
If you're painting from photos, why not take photos with a fisheye filter or wide-angle filter? Or imagine your subject in a swirled state rather than predicably static, and paint directly from your imagination. I enjoy Rob Pointon's paintings above, and it made me think of how artists throughout history have distorted images to create new and exciting effects. Movements like Cubism, led by Picasso and Braque, fractured perspective to reveal multiple viewpoints at once, while Expressionists, such as Edvard Munch, exaggerated form and color to convey psychological intensity. Surrealists like Salvador Dalí twisted reality to explore the subconscious, merging dream logic with the real world. Abstract artists, including Jackson Pollock and Mark Rothko, abandoned literal representation entirely, using shape, color, and gesture to evoke mood and meaning. These distortions often reflected broader societal shifts—industrialization, war, existential uncertainty—offering new ways to see and feel the world. Rather than mere imitation, modern art became a language of transformation, allowing artists to reinterpret reality, confront truth, and provoke thought. In distorting the familiar, they opened doors to deeper understanding and imaginative freedom.
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Patrick Howe, Artist, Author and Educator Seattle, WA. Contact: [email protected] |
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