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“Any work that aspires, however humbly, to the condition of art should carry its justification in every line.” - Joseph Conrad

When you finally decide on a course of action, all the usual psychological blocks are bound to occur. Where shall I begin? Have I a right to make a choice, based on any sensible guides? Is a piece of ceramics a work of art? Is a piece of Tiffany glass? Is a rug designed by Matisse? Should I buy a painting… a print… a drawing?

There is no crystal-clear answer. As I have tried to indicate in foregoing chapters, you are dealing with your own personal reactions, as well as with certain rules and laws which are vague, at best.

One of the first muddles that need clarifying is the sharp line often drawn to set off arts from crafts. I cannot see why these two should be so summarily opposed to each other. How can anybody decide at first blush that a man who has a sense of form, an eye for color, and a definite quest for the beautiful is producing only a vessel - if he spins a lovely pot on his wheel, applies glowing glazes, and fires his work to produce a handsome jar glowing with a jewel-like finish? Yet there are critics and collectors who would dismiss the man’s work with a snobbish shrug that it is a fine example of the potter’s craft… but as a work of art there is no room for it.

Why, I ask, this strange, if fine, distinction? Is it because the jar is intended for functional use and the higherbrows believe such a pragmatic approach precludes it from joining the upper world of “fine arts”?

Let us go back almost 3,000 years to a Greek potter in his workshop as he formed a vessel for oil or wine. The term “vase” is now applied to most of the early Greek ceramic pieces; but their original purpose was functional… for everyday use. On such vases we see indications of an entirely new way of looking at things by the artist. He was no longer hidebound by the old style he had inherited from earlier Egyptian forms. Yet there was still the same regard for a sharp outline and exact symmetry. So vases from this period are not only valuable for their beauty of color, dimension, and proportion; they are esteemed for their obvious role in shaping a new course for the artist to follow as he broke the shackles of a hardened past. Yet it is clear that the objects as originally created had a humble purpose indeed. Such intent has not lessened their artistic validity or value.

Let us go even farther back into history. Museums which own objects from the Sumerian period display them proudly. In the University of Pennsylvania Museum there is a gold cup used by Queen Shu-Bad of Mesopotamia. It has a graceful form, a delicate gold color, and intricate decorative fluting. Obviously it was designed to provide the queen with a drinking vessel. Is it therefore less beautiful than it would have been had it lacked practical purpose?

The same will naturally apply to the pottery tomb figures of the Ming dynasty in China… to T’ang glazed pottery… to the heroic bronze cats and baboons of the Egyptians. Recently I saw a cover design for the bulletin of the Museum of Fine Arts in Boston, showing a drawing of an Incan Empire Poncho, made about 1500. It was an almost pure design… with cubes of black and white. At the top was a reverse triangle of deep brown. I have seen many paintings of the abstract school which could have hung side by side with this poncho reproduction.

So I say: judge by the results and forget the notion that one can always erect a false fence to separate the beautiful from the functional. If the object is beautiful to you, then it is worthy of your collector’s eye and instincts. This attitude can open up many new fields to you - for example, the folk arts.

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Finding the right brushes and becoming familiar with the texture and nuances of oil paint is critical to successfully using this medium.

As far as brushes go, you can use hoghair oil-color brushes with this medium - two or three round-shaped ones, sizes 3, 6, and 8, and two or three flat-shaped, with one large one, size 12. These can be the usual long-handled type of brushes. They should be kept carefully and washed well with first turpentine and then soap and water after use (see Figure 14). They should be kept in a long round tin if you can find one.

You could do with a strong ex-army knapsack to hold your tin of paints and your tin of brushes, your bottles, large and small, of turpentine, and plenty of soft rag. You will also need a tin dipper, a fairly good big one with a turned-over clip at the base to clip on to your palette.

The chief point to remember is that now you are not dealing with a water medium which runs downhill and takes time to dry - you have the knowledge that almost as soon as your brush touches the paper, your paint will “stay put,” you have no need to guide washes of color to the right place, and no need to wait for drying because the color dries almost at once. But it is not wise to put one wash over another as in watercolor - you have to get the full force of your color straightaway.

The mixing of colors is just about the same as with watercolors. The difference in use is the important thing. You do not mix up a lot of color, you dip your brush slightly into the turpentine in the “dipper” fixed to your palette, find the tint on your palette, and then take only the minimum of paint. Then, with very little of the required color on your brush point, you dip it well into the turpentine and rapidly apply it to paper. You aim at a full tonal effect from the start, for your colors will be fuller and stronger than in watercolor paint.
One of the things to remember is that as you are using a more expensive medium than water to dilute your colors, you must keep the amount of turpentine in your “dipper” as clean as possible by liberal and constant use of your rags. Should your “turps” become really dirty, however, do not hesitate to pour it away and put out some more.

Your technique should be one of directness, rigorous selection, emphasis, and simplicity, are essential for using this medium, for once a brush stroke is on the gleaming white paper, it is there finally: no subsequent overlaying with other tints is going to help - in fact, this will spoil the result at once. It spoils the effect if any preliminary drawing in pencil is made on the paper; therefore it is as well to take your smallest round brush and dip it slightly in your cobalt or ultramarine blue and, with a good jab into the turpentine, start off to draw your subject in a blue outline.

Or if you consider blue is too definite a color for your drawing you can use a mixture of madder and viridian green. This, mixed with plenty of turps, will give a nice soft warm gray tint, that will make a pleasant start to your work.

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Oil painting is the ideal medium for the novice. It is an excellent way to study, because changes and corrections are easily made. Unwanted passages of color can be scraped off the canvas any number of times without injury to the surface.

One color can be painted over another, drawing and proportions can be corrected, and all the nuances of light and shadow can be studied experimentally. The painting can be put aside at any time, to be picked up and continued at a later date.

Some beginners choose oil without considering other media because of a reverence for the “genuine oil painting.” When they take up painting as a hobby they want to produce “pictures that show the actual brush strokes.”

Many other amateurs, who would like to work in several media but feel that their time is too limited, select oil after checking with teachers or schools or experimenting on their own. Even a person who is more interested in another medium may find, as I have, that by using oils he can more easily study color subtleties and can acquire basic knowledge that will later be applied to the medium he prefers. The old adage, “One medium helps another,” is especially true if the first one is oil.

As you progress you will soon discover that there is more to oil painting than the surface quality of the brushwork. The type of surface you work on, the preliminary staining of the surface, and the under painting all affect the finished result.

However, in your initial efforts you will want to work in a direct manner, particularly when painting outdoors. Later you can experiment in the studio with various types of under painting.

If you are just beginning to paint, you will do well to start with a reputable brand of student color. Most color manufacturers make a line of student colors along with their professional grades. These colors are appreciably less expensive and the selection is nearly as wide as in the professional line.

As you progress, you can replace the student brand with colors of professional quality, which have far greater covering quality, particularly in the Cadmiums and Blues. There are several good brands of colors available. My own choice is the Grumbacher line.

I recommend the following colors for basic use: Alizarin Crimson; Cadmium Yellow, Light; Cadmium Red, Light; French Ultramarine; Ivory Black; Light Red; Thalo Green; Yellow Ochre; Zinc or Titanium White.

These nine colors will enable you to mix the various shades of other colors that you will need for most purposes.

However, you may want to supplement these colors with: Cadmium Yellow, Deep; Cadmium Orange; Cerulean Blue; Burnt Sienna; Viridian; Cobalt Blue; Thalo Blue; Raw Umber.

Once you get your paints in order, you’re going to need something to paint on. The best and most receptive surface on which to work is stretched linen canvas. Linen, however, is relatively expensive, and cotton canvas is a good substitute.

The cotton canvas panels that fit in your paint box are the most convenient for painting outdoors and are inexpensive. They are light in weight, too, and have the added advantage of not taking up much space when stored in your studio. These first few tools are essential components of oil painting. Once you get these, you’ll be on your way to creating your masterpiece.

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Although watercolor painting is many centuries old, its application as we know it today is fairly recent. Used in the past by the Egyptians on papyrus and by the Chinese on silk, it gradually evolved to become an important medium on paper. Its original use on paper was to elaborate upon line drawings with monochromatic washes. Color followed, with the line still used for drawing and modeling of form.

It was not until Winslow Homer appeared that watercolor became a medium to be handled directly on the spot in a broad manner. While these early watercolors were used as a means of study from nature for subsequent oils, they came to have all the power contained in the heavier oil medium. Watercolor continues to be a medium that lends itself readily to painting on the spot, and working directly from nature is the most vital part of learning to handle it, aside from the original intention of studying the various aspects of nature. It is only alter a long period of outdoor study that a reasonably convincing watercolor can be made in the studio.

If you have worked in oils, you will find the knowledge you have acquired in painting with this heavier medium very helpful in doing watercolors. Experience in drawing and composition, and the training of your eye to see color, will all stand you in good stead. Now all you have to do is master the technique of handling watercolor!

To acquire this technique requires much practice. When working in oils you could finally arrive at the desired effect by much mixing of color, scraping the canvas for a fresh start, and making changes by the application of an opaque color over a previously painted area. Now you must work more directly. The beauty of watercolor lies in its fresh, transparent effect, and the approach must often be one in which the value, color, and drawing are accomplished in a single operation. However, while this is the ultimate effect you may want to achieve, a subject can be painted by separating these important ingredients into progressive stages.

The paper upon which you work is also a vital factor in imparting luminosity to a watercolor painting, because the whiteness of the paper showing through the transparent color aids in establishing a brilliant effect.

The novice has a tendency to work with too small a brush on an equally small surface. I advise you to work with as large a brush as possible and to do your early work on a half sheet rather than a quarter sheet. This will help to prevent a niggling or timid approach; the larger brushes and working size will force you to work more broadly. Later, when you have acquired more technical facility, you can work on any size.

Though preliminary drawing is always stressed, as you progress you will undoubtedly want to try other methods, possibly painting a subject directly with color or combining watercolor with other media. You will find that watercolor is an excellent medium for experimentation.

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When you get ready to paint your first picture, a great thing to bear in mind is that you are working in a specific and defined space or shape. You have, not infinity to deal with, but a canvas, measuring so many inches wide by so many deep. Into this given space, this little world, you are going to put your whole conception of the landscape before you.

So something must go, something must be overlooked or done away with. That is the point that so many people, who do not understand the technique of painting, overlook. They expect the whole gamut of the things they see to be transferred to the canvas, whereas only a very few of the things can be given.

Remember, therefore, that your canvas space is your own world and not the world of actuality. You are going to create in this world, this small confined space, a picture of something you have clearly visualized from the great world of facts and fancies, which lies outside you. To do this you must condense, you must emphasize, you must suppress and you must exaggerate. So the artist does not faithfully follow the actual facts, but he creates a new thing by adapting and translating the facts into the terms of the medium he has chosen.

Now, can I help you to compose a picture? All I can say is, feel the general rhythm, place your masses in a relationship one to the other but not in set proportions. Get the “swing” of the landscape, the trend, the essential underlying structure. Exaggerate as hard as you can, dance round your canvas, let your arm be moving from its whole length, and step back constantly, so that you are not close up and just nervously putting on little dabs of paint. Let your brush be full of paint, full to overflowing, don’t work with niggardly little dabs of color.

Please do not get set in your notions. Do not on any account be hidebound. Let your imagination have full rein. If you see a tree as “a man walking” - then let your tree be as a man stepping out. Do not be obsessed by accuracy, for that is the end of all creation. You can leave out anything that is not of sufficient interest to hold your thought or your feeling.

The necessity for elimination of extraneous detail is one of the great discoveries you must make. Your medium cannot possibly translate all the detail of nature, and therefore you should try always to make a synthesis, a summary of the things before your eyes.

A wall of a building can be without all its window spaces - you can see it as a shape and leave out all the little details of the doors and windows - that does not mean that you are “faking” the subject: you are making a synthesis which can better explain your whole conception than by putting in all the details, which would only end by distracting interest from your main theme. Painting a picture in oils is like telling a story, you must make your point, but you must not get lost in a multitude of unnecessary facts and overpowering details.

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Drawing has been around for centuries. In fact, wonderfully vital drawings and paintings by primitive peoples have been discovered, which proves that many thousands of years ago the art of drawing was there, innate, in mankind. Everyone can draw, for it is an inherent human trait far more natural than writing.

Unfortunately most people lose this power as they grow older, or rather it is overlaid by more complicated mental processes. It needs only the desire to reawaken it and the courage to proceed and rapidly the power to express what one sees, in drawing and in paint, comes back again.

So take courage and go ahead.

The first thing to get is a sketchbook: not too big a one but a handy pocket size that you can carry about at all times. You can of course buy a children’s drawing book for a few cents, but this has a flimsy cover and has to be folded or rolled to carry, and that spoils the page, so a sketchbook with thinnish cartridge paper and a good stout cover is the best investment in the end.

See that the paper is not too thick or too rough in surface. Nothing harder than a 3B pencil is much use. Get a black Conte crayon or black chalk pencil with the wood round it, for this is the kind of pencil that will give you most satisfaction in sketching. Of course you will need a razor blade or sharp penknife because the breaking of points is a very frequent occurrence. Do not sharpen the pencil to a fine point - just a blunted point.

Now you have your sketchbook and your pencil, what are you going to look for? What are you going to start on? Don’t start straightaway on a landscape. Just focus your attention on a few simple things that are before you in the room you are in. Something the shape of which attracts your interest, say a decanter, or a wine glass, or a vase of flowers.

Draw a definite shape on the blank page of the sketchbook with a firm, thick line - say a rough oblong. Count this as your picture space: into this defined shape you are going to put your drawing.

Then begin with the part of the selected object that interests you most. Perhaps it is the bulge of the decanter - boldly draw the curve of the right-hand side and then look across and draw the corresponding curve of the other side; then go upward to the lip and the stopper, drawing first one side and then the other; then look at the base, the dark curve where the decanter rests upon the sideboard. You now have the shape of the object - then relate this to the glass that is near it; notice the size of the glass in relation to the decanter and repeat the process, taking into account where the two objects are placed in your oblong space.

Continuing to practice these techniques will help you get a grasp for the way drawing should feel and ultimately look.

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Brushes

Brushes are of great importance. Cheap ones on the whole are of doubtful value. As one needs but few brushes, he should buy the best. Those of red sable hair are generally so considered. The round, sharply pointed type is probably the most popular, but flat square ones can also be useful at times. A rectangular space such as a door or window shutter, for instance, can often be painted using a stroke of a flat, sable brush about three-fourths of an inch wide.

One generally needs about three round red sable brushes - small, medium and large. For any given piece of work, it is best to use the largest size brush practical. Small brushes require too frequent dipping and can lead one into finicky ways. For bold sketching (such as outdoor work) and for laying large washes (as on skies and backgrounds), so big a brush is needed that one sometimes feels forced to use a cheaper substitute for sable, such as imitation sable, camel hair or squirrel.

The Number 17 camel hair “dabber,” for instance, costs a fraction of the price of a red sable brush the same size. However, since camel hairbrushes lack spring and seldom hold their points well, they are not recommended except in the large sizes for bold work.

For certain types of work, particularly for scrubbing out high lights, stiff bristle brushes are sometimes used.

Care of Brushes

With proper care, good brushes will give years of service. Rinse them frequently, as you use them, and wash them thoroughly when you put them away. Don’t leave them standing for long periods in paint or water - and don’t allow them to dry in cramped positions.

Watercolor Paper

The most desirable papers for watercolor painting are usually handmade and imported, the best known perhaps being Whatman from England, Arches from France, and Fabriano from Italy. These papers are handmade of the very best rag stock, following traditional methods handed down through the years from father to son (not at all practical here in the United States); their properties are toughness, long life, surface texture, which cannot be matched by the very best machine-made papers, whether American or imported. A good handmade paper will withstand a considerable amount of soaking, scrubbing and erasing and will age with little deterioration.

The weight (thickness) of watercolor paper is important. Thin papers should generally be avoided, especially for large work, since they buckle when wet and are inclined to split if stretched. Weights vary from a light “72 lb.” to the extremely heavy “300 lb.” and, occasionally, even “400 lb.”

Some papers are smooth; these are identified by the phrase, “hot pressed,” or “HP.” The more popular surfaces, however, have a grain or “tooth.” “Cold pressed” or “CP” indicates a slight grain; “rough” or “R,” a heavier tooth. These last two have an indescribably sympathetic texture, excellent to work on and pleasing to look at.

Watercolor papers come in several sizes, but the most popular is the “imperial,” approximately 22″ x 30″. This is a convenient size for the averagee painting and it can be halved or quartered for sketches. Papers are also available in spiral-bound pads and in blocks that are convenient for sketching.

Now when you have purchased the paints you need, you have everything required for your painting. Good luck!

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In portrait painting there is the matter of representing the human features: notably the eye, ear, nose and mouth. Of these, the easiest to do are usually the ear and the nose.

The ear is a complicated thing in appearance to be sure, but excepting for its size and general set and shape there is nothing very individual about it; normally we pay little attention to the ears of even our closest friends unless there is something radically distinctive about them.

For that matter, the ear is often wholly or partially hidden by the hair, or viewed in shadow or in a greatly foreshortened position. So the usual rule is to suppress the ear’s complexity of parts, merging them in the simplest possible indication so that the spectator’s eye will scarcely be aware that the sitter even has an ear.

While the nose is a more distinctive and distinguishing feature, prominently located as it is at the front center of the face, it is relatively easy to do, for, though capable of some movement, it is quite immobile when compared with the ever-shifting eyes or the changeable and highly expressive mouth.

An important point in doing the nose is to avoid the all-too-common effect (in work of the beginner) that it is plastered on to the face and has little relationship to it. Make it look like part of the head, for it is.

Some, however, point out that although the eyeball itself has a quality of mobility and animation which the painter should strive to catch, the individuality and expressiveness of the eye come less from the eyeball - for eyeballs look much alike - than from the flexible muscles of the forehead and eyebrows, the type and position of the lid, and the surrounding network of wrinkles, in particular those at the outer eye corner and across the bridge of the nose.

Artists differ in their feeling toward the eye. Many - perhaps a majority - speak of it as the most expressive of all the features.

 But don’t overdo these details - one can paint a perfect likeness with the eyes almost lost in the general tone of the eye socket.

It is the mouth which is the truly sensitive thing. It is seldom twice alike, for under normal conditions it records instantly every change of inward thought or feeling. There are times when the shifting of the lines of the mouth by scarcely more than a hairbreadth will alter one’s entire appearance. Therefore, the painter must observe his sitter’s mouth keenly, recording with fidelity what he thinks to be its most significant expression.

But it is pointless to write much of such features. The main thing is to paint them all with restraint, remembering that they are but parts of a whole. Yet they are not separate parts, each complete in itself, but they form, together with the cheeks, the chin - the whole head, in fact - a homogeneous mass which must be painted as a unit. Only in this way can all the features be of consistent shape, size, light and shade and coloring.

The best way to get these features right is by practice, so begin now!

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Just as numerous attempts have been made to discover the laws of light and of color vision, and to invent practical systems of color measurement and notation, great effort has been expended in trying to ferret out the reasons why some combinations of color are pleasing and others are not, and to devise laws to insure harmonious color employment. We have finally learned, however, that even if it were possible to grasp all such reasons, workable laws guaranteeing immunity against chromatic discord still could not be devised.

Experience has taught us that certain combinations of colors, whether in nature or art, affect the eye and mind agreeably, while others give offense. We call the former “harmonies,” the latter “discords.”

In view of the contrary claims of some writers, we offer the following arguments to substantiate our statement.

First, as we have demonstrated, colors change in effect according to their environment, each hue being modified by those adjacent to it. Color harmony is not merely a matter of selection, therefore, but also of arrangement a fact not nearly as commonly recognized as it should be. A color scheme extremely pleasing to the average person can become, in rearrangement, positively disturbing. Arrangement obviously cannot be controlled wholly by rule at least in representational paintings.

Area, like arrangement, influences color appearances, as we have seen. Harmonious schemes can often be made discordant, or at least uninteresting, simply by increasing or decreasing certain color areas. Of course, the reverse is also true. It is easy to see that a small spot of vivid red, which delightfully reinforces, through contrast, a large area of bright green, might, if sufficiently expanded, rival the green, causing a disturbing division of interest. But there are no arbitrary rules to be followed with regard to area and color harmony.

Nor are there definite laws governing the use of such phenomena when alternating bands of complementary colors were viewed from a certain distance. Yet effects such as this are capable of making some schemes disagreeable and others pleasing or telling.

Texture, although not a quality of color, is another influence that can seldom be ignored. In architecture and decoration, for example, materials harmonious in color often show textural inconsistency or discord. A mere coating of varnish, changing dull woodwork to shiny, can be enough to upset a scheme completely. Even in painting pictures, textural harmony is almost as important as color harmony the two are closely wedded yet there are no clear cut laws.

Color fitness or suitability must also be considered, as must that ever present matter of personal taste. After all, who is to say which colors harmonize and which do not? We have all seen that changing fashions can have a considerable effect on the average person`s ideas of what colors are or are not attractive and suitable for particular purposes, especially in relation to women`s clothing and interior decoration. There are also, as we are all aware, attitudes toward particular colors and color combinations that stem from temperament, national traditions, climate, environment and other unpredictable factors.

This should be enough to warn the student against the exaggerated statements of writers who claim or imply that their methods or systems of obtaining color harmony are infallible or universally applicable. Printed laws and clever devices designed to reveal color schemes can certainly be of help, but only in a very limited way.

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Medium is nothing more than a vehicle. It must always be fun and I’m not saying don’t experiment, rather experiment with developing your skills first. Again, it’s old fashioned and probably cliché but you really need to walk before you can run. I know it doesn’t sound like it but there can be a huge amount of fun in that.

It’s an old fashioned concept I know but the first medium or tool that is essential to master in creating art is your hand. Once you have learned to control your hand and your hand eye coordination you will have the freedom to do just about anything you want and will then naturally gravitate to the medium(s) that serve you the best.

I will go into this more fully in subsequent posts but the real value in producing a work of art is in the proccess of creating the work itself. The artwork, no matter how successful, is a byproduct of that proccess.

P.S. Don’t pay too much attention to style. That will also develop naturally and is a product of self. By that I mean that style is more an indication of who you are and how you feel about what you are creating. You may find your style developing into the style of an artist whose work you relate to and this is not necessarily a problem.

Originality can be overrated. Picasso’s first words after viewing the ancient and primitive cave paintings in the south of France were that nothing is new under the sun. Complete originality in our world is impossibility. At least in art anyway. The best you can hope for is a melding of that which has gone before us.

There are many that will say; hold on, that’s not right! To that I can only say Sorry, it is but because so much has gone on before us the combinations and possibilities are endless and that’s a very good thing.

Quite aside from the effect that the work of another artist has on you is that we all live in society we are all profoundly affected by our surroundings. No matter how you see your work, it is in fact governed to a large degree by what you see, feel and hear in everyday life and much of that on a very unconscious level.

The long and the short of it is don’t worry about “style”. Be true to yourself and get on with having a good time and style will take care of itself naturally.

Murray Hubick

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Art Marketing Course For Artists & Craftspeople At All Levels. This Is A 13 1/2 Hour Multimedia Downloadable Course.

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Paint Or Draw Any Subject With Ease. Learn Unique Principles From A True Art Master!

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Use Mixed Media, Papercrafts, Textiles, Polymer Clay, Jewelry Making And More As A Transformative Tool For Self-development And Creative Expression. Written By Arts Industry Experts. Available By Individual Issue And By Annual Subscription

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