By Priscilla Hauser
Priscilla Hauser has earned her identify because the world’s “First woman of ornamental painting.” Her efforts to teach and encourage started in 1972 with the founding of the nationwide Society of Tole and ornamental Painters and maintains powerful at the present time. the following, the bestselling writer applies her many years of expertise to teach crafters the best way to make a huge effect on a small canvas. She starts off with portray fundamentals, together with right strategies for brushstrokes, and keeps along with her patented, easy-to-follow options for shooting grass, land, water, and bushes. via 15 of her personal beautiful works, Hauser indicates readers easy methods to mix all of these components to create attractive landscapes. beautiful colour images advisor aspiring painters via each step of the method.
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All of your gear should be in a state of readiness so you can concentrate on painting. Choose your brushes as you would choose weapons before battle. Make certain they are clean and the bristles well-shaped. Have your palette set up beforehand with plenty of fresh paint. Make sure your turpentine, mineral spirits (or water · if you are a watercolorist), are clean and ample. Have plenty of rags or paper towels handy. See that your easel is sturdy, and if you are outdoors, well-anchored. When all systems are ready, relax, take a deep breath, and approach your canvas as you would your lover or a sumptuous meal.
I can do or undo anything, which is why I like oil paint. One of its many advantages is that mistakes need not be permanent. It has a built-in safety factor. Nothing is ever unfixable. The worst possible blunder can be undone. A careful swipe with my palette knife will erase my worst sins. I can go back and change my squeaky little lines into whatever I wish. I can also paint over them without misgivings-which makes the best sense since that is my intention in the first place. The sole purpose of any preliminary work I do (work that will likely be covered by ensuing paint), is to help me in the course of finishing by providing information about where things will go, how light or dark those things will be, and what their shapes and colors are.
That the EDGES of color shapes have appropriate softness or hardness. WHAT YOU SEE AND WHAT YOU KNOW Theoretically, Direct painting demands no special knowledge of a subj ect other than its visual characteristics. Carolus-Duran, Sargent's teacher, felt it was unnecessary to have any familiarity with a subject. According to him, a painter merely needed a trained eye. Sargent himself went even further, saying that artists should not show how much they know about their subject, and better still, should know nothing whatever about the nature of what they are painting.