What are some good videos to watch teaching oil painting techniques?
I am sorry I have to say this, If you want to paint mediocre paintings watch Bob Ross or that one stroke painting painting lady. If you really want to learn how to paint there are WAY better choices out there. I just purchased a video from Timothy Tyler today as a matter of fact:
http://www.timothyctyler.com/PortraitPaintingDVD.html
He is an amazing painter.
Find artists you like and see if they have a video. Also there are some great free videos on youtube. Here is an awesome one:
http://uk.youtube.com/watch?v=_02UgcxWgrc
I am thinking about taking a class from him so I was glad to see this online.
Don’t just watch a video. There is more detailed info in books. I have been researching painting techniques for the last 6 years and this is one of the best books I have found:
http://www.amazon.com/Traditional-Oil-Painting-Techniques-Renaissance/dp/0823030660/ref=sr_1_1?ie=UTF8&s=books&qid=1228379009&sr=1-1
I have a great list of books I could give you if you want to email me. Here is one of my paintings and I learned it all just by reading and watching videos.
http://fineartamerica.com/featured/pewter-cup-kristine-mobley.html
Please, please go beyond the the Ross, you will be happy you did.
In the drawing, drafting, architecture and engineering world this piece of storage furniture, called a taboret, is known to be one of the most useful for a studio or work room.
What is a Taboret? Many people have never heard of the term and probably have not considered a use for such an item. They are often seen in artist studios, but are also appropriate for use in a work room, craft room or even a sewing room. Taborets (which are also called tabourets) usually have the ability to be moved around a room (since they have rollers, casters, or wheels), making them popular with painters who need a place to put their paints and other supplies next to their easel. There are usually drawers for supplies storage, too.
History of the Taboret. The history of the taboret is from what was once a small stool. This stool was short, had no back or arms and was probably named taboret because they were cylindrical and resembled a drum (in Old French, the word for drum is tabur). In France at the time of King Louis XIV (in the 1600s), special visitors to the royal family were given a seat of honor on a more elaborate version of a stool. This was a upholstered piece of furniture in the decorative style of those times (it sometimes was a folding stool) with wooden legs and tassels on the edges. When royalty would come to visit, this fancy taboret was brought out by a servant and placed right in front of the queen. To be seated on this was a privilege that was highly coveted and often granted to Duchesses.
So, in the past you could say, pull up a taboret, instead of pull up a chair … but today, that wouldn’t work at all! It does work to set objects on top and within it (in the drawers or cabinet).
The Taboret Today. Today taborets are not as elaborate or decorative. We now use the term for a portable stand or cabinet or cart for art supplies storage which is made of plastic or wood. Larger taborets can be used to hold a tabletop easel and paints, brushes, as well as other painting supplies. Many are made of oak or birch wood, and are quite attractive (though these larger ones can be expensive). If you ever consider buying a one, they can be found in local art supply stores and in many online web stores.
They may no longer be used by kings and queens, but in an artist studio, a taboret still has importance as a useful piece of furniture and is given a “place of honor” right next to the artist at a their easel or at their drafting table.
How to Set Up an Art Studio : How to Set Up an Easel
Two London exhibitions, the Serpentine Gallery’s Indian Highway and Aicon’s Signs Taken for Wonders, are the UK’s most ambitious attempts yet to distill coherence into the chaotic rush of art emerging from the Indian subcontinent.
The marriage between the conceptually minded Serpentine and Indian art– whose overriding characteristics are narrative drive, flamboyant figuration and sensuous colour – is interesting because it is so unlikely. Recent memorable Indian installations have been sprawling, direct and often rooted in the animal motifs of folklore: Bharti Kher’s “The Skin Speaks a Language Not Its Own”, a collapsed fibreglass elephant adorned with bindis (female forehead decorations) at Frank Cohen’s Passage to India, or Sudarshan Shetty’s bell-tolling aluminium cast of a pair of cows, now at the Royal Academy’s GSK Contemporary. Nothing like that is in Indian Highway; with conceptual aplomb, the Serpentine turns the accessibility and energy of Indian art into a taut cerebral game.
The highway of the title refers both to the literal road of migration and movement, and to the information superhighway, which together are propelling India to modernity. Dayanita Singh’s wallpaper-photographs of Mumbai’s central arteries illuminated at night introduce the theme in the first contemporary artgallery, and a crowd of sober documentary films worthily continue it – but a pair of installations catch the symbolism best. One is Bose Krishnamachari’s celebrated “Ghost/Transmemoir”, a collection of a hundred tiffin boxes – widely used to convey home-cooked lunches to workers across cities – each inset with LCD monitors, DVD players and headphones, through which everyday Mumbaikars regale audiences with their stories, accompanied by soundtracks evoking the high-pitched jangle and screech of Mumbai street life.
The other, towering upwards to the North art gallery’s dome like a beating black heart at the core of the show, is Sheela Gowda’s “Darkroom”, consisting of metal tar-drums stacked or flattened into wrap-around sheets, evoking at once the grandeur of classical colonnades and the ad hoc shacks built by India’s road workers. Inside, the darkness is broken by tiny dots of light through holes punctured in the ceiling like a constellation of stars; yellow-gold paint enhances the lyric undertow in this harsh readymade.
Opposite is N S Harsha’s “Reversed Gaze”, a mural depicting a crowd behind a makeshift barricade who tilt out towards us – making us the spectacles at the exhibition. All Indian life is here in this comic whimsy: farmer, businessman, fundamentalist Hindu, anarchist with firebomb, pamphleteer, aristocrat in Nehruvian dress, south Indian in baggy trousers and vest, tourist clutching a miniature Taj Mahal, and an art collector holding a painting signed R Mutt – linking the entire parade to the urinal, signed R Mutt, with which Marcel Duchamp invented conceptual art in 1917.
Essential to the meaning of “Reversed Gaze” is that it will be erased when the exhibition closes – a slap in the face for the predatory art market. So will the pink and purple bindi wall painting “The Nemesis of Nations” by Bharti Kher, who recently joined expensive international gallery Hauser and Wirth. And a canvas of drawings greeting visitors as they enter is all that is left of Nikhil Chopra’s performance piece “Yog Raj Chitrakar”, in which the artist this week spent three days assuming the persona of his grandfather, an immaculately dressed gentleman of the Raj, and lived and slept in a tent in Kensington Gardens, entering the gallery only to daub the canvas that stands as an art of aftermath – a memory drawing.
Painting here is a vanishing act. Maqbool Fida Husain (aged 93) has made 13 bright poster-style works – red elephants, a tea ceremony after a tiger shooting, a satirical Last Supper with dapper businessman, umbrella, briefcase, body parts – to surround the exterior of the Serpentine. MF Husain is India’s most respected artist; with these billboards, executed in his standard style of forceful black contours, angular lines and bright palette, he returns to his career origins as a painter of cinema advertisements.
In the catalogue, curator Ranjit Hoskote argues that “transcultural experience is the only certain basis of contemporary practice” and that “the chimera of auto-Orientalism, with its valorisation of a spurious authenticity to be secured as the guarantee of an embattled local against an overwhelming global, has been swept away”.
But Husain, godfather to generations of Indian artists, and indeed every piece in Indian Highway – from feminist painter Nalini Malani’s looping fantasy figures intricately inked on bamboo paper in “Tales of Good and Evil” to Jitish Kallat’s photographic series “Cenotaph (A Deed of Transfer)”, chronicling the demolition of slum dwellings – proves the opposite: however hard a western gallery tries to make Indian contemporary art, talk a global conceptual language, its local strengths speak louder. Indian art, on this showing, is visually arresting and thoughtful, but nothing here is formally or conceptually innovative, or aesthetically provocative. We thus respond to its distinctive idiom and themes as cultural tourists.
Video Workshops DVD video course of classical painting
An advice on cleaning any oil painting Tats covered in dust or yellowed varnish has to come with a disclaimer qualified. More than other types Project Rough And Ready, cleaning oil paintings must really be trusted to specialist conservators. However, if the paint youÂ’re is not that old, not offensively precious, too important or not, there are few means to make it look brighter and spot less yourself. In addition, changing true antiques almost never diminishes their value, whether or not they look better for you.
If it seems that your painting is slightly older, to assess if the paint is in good shape but the varnish is old enough. In this case, try to apply a mild liquid solvent called conservation. May Art Supply stores sell an emulsion “plan to clean and polish remover. There is always a chance that the solvent would also damage or remove the oil paint. If you’re willing to risk this option, the mix Wipe with a cotton swab very carefully. Try to spot to detect a shift before going to the whole canvas. Work in a place with adequate ventilation.
For recent paintings, your problem is more likely an accumulation of dirt, smoke, pet hair, dander, and so any bacterial or fungal growth. In this case, ensure none of the painting is ready to come off the canvas or board, which means it does not show any cracks or flakes. You could then carefully dust the surface with a very dry sponge and brush like a toothbrush for baby or shaving cream brush.
When the surface is moist, dirty or oily, you might want to take the attack a step further and actually uses a solution mild detergent. Again, generally speaking, oil and water should never mix, as moisture could damage your the canvas and the impasto. Proceed carefully, use brand new fiber cloths soaked in a mixture of dish soap and water wet. Slightly up to the surface, but do not rub, scrub or clean the painting. At no time, you run a portion of the painting, nor allow both humidity that drips or pools.
How can launch a career visual artist (painting Abstract Art Department)?
I am not a trained artist, but My father painted cars, my grandmother was a trained artist. I studied art abroad and liberal, I am therefore well versed in life.
It will depend on a number of factors. Do you thrive on rejection? Can you put aside what you want and create what the market wants and if so, start creating a body of work. Start the show. This may be a show at home, in local businesses such as your bank or anywhere they will allow you to block it. Then get feedback. Then, begin to show the art fairs. Make searching for art shows, craft fairs and there are a number of promoters. Do not jump yet. Search local artist who demonstrate at these shows and find out what sells and what not. Next start producing what will sell. Buy tents, sheds and stands to sell (to a few thousands) and you will need to be able to sell credit cards. You can skip this using PayPal distance selling feature. Listen to feedback. Part of the feedback that sells. My first major show, the Washington Square Outdoor Art Exhibit in NYC made me almost $ 3000. Most of the old the old, it included many pop artists you know, and I saw the work, told me not to expect to do very well. When they discovered what I did, they were surprised. You will learn to demonstrate small first. Then work your way up to large ones. Winter Park makes most artists over 30 K in the short time entertainment. Each artist may have four times that amount in volume. This means that you will need to have four both what you hope to do a show retail sales. However, many who have been there for years could have 10K to 40K. Why famous performing artist here? They wanted to get feedback from buyers firsthand. If you create what you like, you’ll always have someone who is satisfied with your work. If you create that which pleases the masses, you will have masses who buy your work. One more thing … you’re not in the business to create art if you want to succeed. You will need to be in the collector collectors of your art. You realize that that your application would take a book to answer. Best wishes and how you never leave, may you fare well.
Creating an Abstract Art Painting by the Contemporary Artist Vera – www.veraarts.com
