Seascapes are probably the easiest painting subject because the information is quite repetitive. Once you learn the anatomy of the waves, you can create many variances of them in different settings. In most cases the eye of the wave becomes the focal point. It is also important to establish an interesting visual “roller coaster”...
Johannes Vloothuis explains the pros and cons of four art mediums, as well as the benefits of using mixed media with acrylic and oil.
Johannes Vloothuis explains the pitfalls - and their solutions - of painting en plein air in this guest blog post at ArtistsNetwork.com
Rivers and streams make excellent visual paths to draw the viewers in and lead them where you want. Because we crop out information for our paintings, how do we send a message to our viewers as to the size of the body of water?
Water is one of the most sought-out subjects in paintings. In this tutorial you will learn some valuable pointers on painting water reflections.
An excerpt from Ron Hazell's "The Artist's Guide to Painting Water in Watercolor," on creating a value study.
Johannes Vloothuis addresses the challenges artists face when they want to paint waterfalls. Read his tips for painting water, and see an expert example here.
There’s something romantic and alluring about paintings of boats. It takes an understand of boating culture to successfully pull off a seascape or boat painting, and that’s where Terry Harrison comes in.
If you were strolling along a river or canal in France on a lovely evening, you may have passed a landscape artist who was painting water--still, peaceful water. Ian Potts, who painted en plein air, found that watercolor best suited his needs, rather than oil.
Using a chalk line, I start my seascapes by dividing the canvas into horizontal bands that establish a horizon line and the progressive layers of water, depth, and color. The bands are also an important aspect of the composition. I’ve always been interested in design, and I look for a specific proportional relationship, as...
The paintings of David Ligare fall roughly into three categories: historical narrative, landscape and still life. These categories are useful to a point; however, they only begin to inform the viewer of the impulses, interests and deeper purpose behind each painting. And purpose there is, one that informs Ligare’s paintings, his writings about them...