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This Complimentary Ebook


Provided By
Teresa Thomas Bohannon Teresa Thomas Bohannon
Author of the Original
Regency Romance Novel
A Very Merry Chase A Very Merry Chase
Prepared for istribution By
!ady"eb#s $irtual Coffee Table Books
All Rights Reserved%Teresa Thomas Bohannon &''(
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Canvas Painting 101!
Beginners )uide To Canvas Painting

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Table Of Contents
Table of Contents
Chapter 1 Painting 101
Chapter 2 Understanding Paints
Chapter 3 Choosing Your Brushes
Chapter 4 Color Your World
Chapter !ight "our#es in Painting
Chapter $ What t%pe of painter are %ou&
Chapter ' Choosing ( "ub)e#t
Chapter * "etting Up Your "tudio
Chapter + (rt "uppl% ,esour#es
Chapter 10 Clean Up Ti-e
Chapter 11 .ree (rt !essons
Chapter 12 Ta/e Care of Your Creation
Chapter 13 Pa% (ttention to 0etail
Chapter 14 1n)o% Your "ub)e#t
Chapter 1 .re2uentl% (s/ed 3uestions
Chapter 1$ (rt "#hools
Chapter 1' 4useu-s of .ine (rt
Chapter 1* One .inal Word

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Chapter 1 Painting 101
People have been e*pressing themselves through painting for thousands of
years+ Even the cavemen sho,ed great hunts or other events ,ith paints
made from berries and plants+ There -ust seems to be an innate need to
sho, others our thoughts. feelings. and ideas through pictures+ The phrase
/ A picture is ,orth a thousand ,ords0 is so very true+
"ith colors and design you can e*press every emotion you feel+ "hether it
is a ,oman in a garden ,aiting for her lover or an old barn set in a field of
,ild flo,ers. the sub-ect bring memories and feelings to the fore front of the
vie,er#s mind+ All of this being accomplished on a blank canvas ,ith paint+
There are some basics the beginning artist should kno,+ Although you may
have been sketching and dra,ing for years. the first time you pick up a
brush it ,ill seem foreign to you+ This is fine+ 1ou ,ill become very familiar
,ith each of the brushes and the strokes they can make+ They ,ill soon be
as comfortable in your hand as the charcoal pencil you use on the sketch
pad+
Paints can add style and creativity to an art piece+ A single tear drop on the
face can take on a totally ne, dimension by adding color+ Paints allo, you
to do this ,ith ease+ The types of paint you use ,ill also allo, you to be
more creative+
2any artists use the oil paints for e*tend pro-ects+ The oils do not dry as
3uickly and can be re-uvenated ,ith a little turpentine or mineral spirits+ This
allo,s the artist to continue the pro-ect another day+ The brushes you use
,ith an oil painting must be cleaned e*tremely ,ell+ 4f you allo, them to sit
in the cleaning solution they can loose their shape+ This means you may
not be able to use certain brushes to achieve a particular brush stroke+
"hen the artist uses acrylic paints. the dry time is e*tremely fast+ 2any
times. a pro-ect ,hich is being done in half an hour or so ,ill be done ,ith
acrylic paints because of the ease of use+ Clean up ,ith soap and ,ater is
a 3uick task+ The brushes ,ash up 3uickly and cleanly+ Allo,ing them to
dry either on a flat surface or standing ,ith bristles up ,ill keep their original
shape+
The best thing to do ,hen first beginning canvas painting is to e*periment+
Try using oils+ Become familiar ,ith acrylics+ 1ou ,ill eventually choose
,hich medium you prefer to ,ork ,ith+ By playing ,ith each. you can
determine ho, the paints mi*. get a feel for ho, they flo, onto the canvas.
and become familiar ,ith blending+ These are all important for the novice
artist to consider+
Another factor is the type of canvas you ,ill ,ant to use+ There are stretch
canvases. rolled canvas. canvas boards. and canvas mats+ Each one can
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be used for different styles. art,ork. and even paints+ "hich one you use
,ill be determined by ,hich one you feel more comfortable painting upon+
The information can become over,helming ,hen you start painting on
canvas+ )etting to kno, the terminology ,ill help clear some things up a
little bit+ 5ere are some terms ,e ,ill be using in this book+
Abstract 6 abstract art depicts the sub-ect by using form and color+ 1ou
may see a resemblance to the original piece+ 5o,ever. the sub-ect is
generally represented in more geometric shapes than the natural setting+
Above are t,o forms of abstract art+
Accent 6 )iving e*ceptional detail to a certain ob-ect in the painting to bring
attention to it+
A good e*ample of accenting+
Acrylic 6 A type of paint ,hich dries 3uickly+ 4t can easily be cleaned up
,ith mineral spirits+
Alla Prima 6 2eaning /at the first0 in 4talian. this phrase means the painting
is completed ,ith -ust one sitting+
Cool colors 6 Colors associated ,ith the cold such as blue+
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Color Wheel 6 Any full spectrum circular diagram ,hich represents the
relationships of colors+
This allo,s the colors to be compared for contrast+
Composition 6 The arrangement of the elements in an art piece+
Medium 6 The type of pain being used to create a ,ork of art+ 4t can also
mean the binder. usually an oil+
Palette 6 The painter#s board ,here colors can be mi*ed and and different
hues can be created+
A before and after shot+
Perspective 6 Being able to reproduce the same height. depth. and
distance perception in a t,o dimensional medium that the human eye ,ould
perceive+
This
photograph is a good
representation of
perspective+
Pigment 6 The colored substance created by natural elements and
synthetic ones ,hich are mi*ed ,ith certain binders to create paints+
Primary colors 6 A color ,hich can not be created by mi*ing other colors+
The only three primary colors are red. blue. and yello,+ "ith these three all
other colors can be created+ 7"hite is not a color+ 4t is the absence of color+
Black is the combination of all colors+8
Secondary colors 6 Any color ,hich can be created from mi*ing the
primary colors. such as violet. green. and orange+
Warm colors 6 5ues ,hich represent ,armth such as orange. red. yello,+
No, that you kno, some of the language. let#s step into the art studio+
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Chapter 2 Understanding Paints
There are t,o types of paints ,hich ,ork ,ell on canvas+ One is oil and the
other is acrylic+ 1ou need to choose ,hich painting medium you ,ill be
using+ 9ome people prefer the oils to the acrylics+ There are several
differences bet,een the t,o paints+ The oil can take days to dry
completely+ This allo,s the artist to continue ,ith the painting for days after
the original sitting+ The acrylics are not so forgiving+ These paints can dry
,ithin hours+ 4f you think you can make a mistake and go back later to fi* it.
you are ,rong+
Oil paints are made up of pigment and oils+ A simple paint can be made
from dried saffron and peanut oil+ 2i*ed properly you can use this formula
to create a ,onderful shade of yello, ,hich you could also eat+ 2ost of the
oil paints on the market are poisonous. so al,ays keep them out of the
hands of children+
"hen oil paints are made from three things+ This is pigment. oil. and some
type of drying agent+ The latter ,as added because the oils took too long to
dry+ rying agents can be things like a paint thinner+
Although the primary colors can be formulated into any other color in the
spectrum. there is no need to try creating the same color every time you
paint+ Oil paints come in any shade or hue you can think of. from black to
,hite+ Each color can be blended ,ith another to add even more
combinations+ There is literally no color you can not reproduce on the
canvas ,ith oil paints+
Oil paints can be used to create te*tures+ They can be spread on thick or
thin+ One thing you ,ill learn is the more thick you have the paint the longer
it ,ill take to dry+ Also. a thick layer of oil paint ,ill crack as it dries+ This is
not good for the painting+ The best thing to do ,hen ,orking ,ith oils is to
create the ,ork in layers+ This ,ill allo, the paint to dry evenly and prevent
cracking+ This is one reason ,hy some artists spend days creating an art
piece instead of rushing through alla prima+
Acrylics are synthetic paints designed to mi* and blend -ust like the oils+
The main difference is the dry time+ "hile oils can take days. acrylics can
take only hours+ There are advantages to using acrylics over oils+ "hen
you need the pro-ect done 3uickly. the acrylics are up to the task+ By
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having a faster dry time. the painting can have layers added in hours
instead of days+
"ith acrylics. the artist can be assured of a straight line for hori:ons or
other needs+ 1ou can actually apply masking tape to dried acrylic paint+
"hen you peel the tape off. there is no danger of lifting the paint off the
canvas+ This ensures clean. precise lines every time+ "ith oils. you ,ould
have to use an edger and still take the chance of smearing the paints+
9ome artists prefer acrylics+ 9ome prefer oils+ There are those ,ho go
back and forth bet,een the t,o. depending on the pro-ect+ 4t is advisable to
learn about each one+ 1ou should e*periment ,ith at least the primary
colors to see ,hich you prefer+ Everyone should learn all there is to art+ By
e*perimenting ,ith the different mediums. you can learn 3uite a bit+
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Chapter 3 Choosing Your Brushes
1ou cannot do very much painting ,ithout a brush+ Although some people
,ould argue ,ith that statement. for no, ,e ,ill assume you ,ill be using a
standard artist#s brush+ There are as many brushes on the market as there
are paints+ 9ome are made better than others+ o not fall under the
misconception that more e*pensive is better+ This is not al,ays the case+ 4
have spent ;&' on a brush to have the bristles fall out during my first
session+ 4 have one brush 4 have used for four years no, that 4 paid ;<+''
for+ 4t is actually the best brush 4 o,n. in my opinion+
The first thing you need to kno, is there are many different types of
brushes+ Each one is made from different materials for the bristles+ 1ou
can order sable brushes or hog bristle+ There are s3uirrel brushes+ 1ou
can buy the synthetic bristle brushes also+
The truth is that most artists ,ill find a particular set of brushes they like and
use them consistently+ There may be a fe, times ,hen they alternate+ 4n
the long run. most ,ill go back to the one ,hich feels most comfortable in
their hand+
1ou ,ill get a feel for your favorite type of brush the more you paint+ There
are certain brushes ,hich ,ill give you a particular flo, to the paint+ 1ou
,ill either like this or you ,on#t+ =ntil you practice ,ith them. you ,ill never
kno,+
The style of the brush can make all the difference ,hen it comes to
painting+ A fan brush is the perfect instrument to add leaves to distant
trees+ A liner brush ,ill allo, you to paint in the perfect tree limbs on dead
trees or ,inter trees+
4t can become over,helming ,hen trying to determine ,hich brushes to
buy+ There are brush sets ,hich give you a good selection to start ,ith and
are also ine*pensive+ 1ou may -ust ,ant to start ,ith t,o or three good
brushes until you further your e*perience ,ith painting on canvas+
1ou ,ill definitely ,ant to buy a fan brush. a liner brush. and a flat brush+
1ou ,ill also ,ant to have an angle brush+ Each one of these brushes can
give you a certain stroke ,hich makes it easier to paint certain things+ One
brush can be used to create flo,er petals. ,hile another makes spectacular
shrubs+ The angle brush can create a perfect beard in 3uick time+
1ou should have a blank canvas available to -ust practice brush strokes+
1ou ,ill learn ho, to make each stroke so the effects are beautiful+ o not
get discouraged if you do not get it right the first time+ "ith practice comes
familiarity+ The more familiar you are ,ith a brush. the better of a tool it
becomes+
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One techni3ue ,hich ,orks ,ell to help become familiar ,ith ho, a brush
handles is to try painting a picture only using one brush+ 1ou ,ill 3uickly
become familiar ,ith ,hat the brush can do and ,hat it ,ill not do+ This is
an old trick used by some teachers to help the student understand the
limitations of each brush+
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Chapter 4 Coor Your !ord
4#ve al,ays been fascinated by the ,ay you can blend paints to create ne,
colors+ 4 have sat for hours ,ith my palette and created many different
colors all from three basic. primary colors+ To me it ,as like opening a
present to see ,hat ,ould happen if this color ,as blended ,ith that color+
By the time 4 ,as done. my palette had the makings of an English garden in
full bloom. not to mention the e*otic birds contained ,ithin+
There are stunning portraits and eye stopping canvases being created all
the time ,ith color+ This does not have to be the case+ The portrait can be
-ust as stunning ,hen done ,ith the absence of color+ Black and ,hite
al,ays gets your attention+
1ou are the creator of the ,orld on your canvas+ 1ou can
have it as simple or comple* as you ,ish+ 1ou can have it
be formal or funny+ 4f black and ,hite ,hat you like. then do
black and ,hite+ 4f color is the key. then add all the color you
,ish+ 1ou ,ill en-oy the piece more by allo,ing yourself to -ust let go and
create+
o not ever ,orry about ,hether something looks right or not+ As one
professional art teacher al,ays stated. there are never any mistakes on the
canvas. -ust happy accidents+
There is one thing you should remember ,hen painting. keep the darks to
the shado,s+ This means you can use the darker colors as a base for the
lighter ones and the sub-ect matter ,ill actually shado, it#s self+ Of course.
if you cover the entire dark area ,ith the lighter color then adding the dark
background is a mute point+
There are so many things ,hich can be done ,ith color+ 4 once did an
entire landscape using t,o colors. ,hite and prussian blue+ 4t ,as a sno,
scene centered around a lake+ 4 have to admit. it ,as beautiful+ 4 am not
the only one ,ho thought so+ 4 had it done e*actly one hour and someone
,alked in and bought it right off the easel+
No ,here in the ,orld is the statement /Beauty is in the eye of the
beholder0 more true than in the art ,orld+ 4 have no desire to o,n a
Picasso+ To be honest. Norman Rock,ell is more my style+ 4n the ,orld of
art. there has to be something for everyone+ That is ,hat makes it such a
grand adventure+ Every one has the ability to shine+
Colors allo, you to turn a forest into a fall scene+ Colors are ,hat make
certain portraits more noticeable than others+ >or instance. Thomas
?inkade has become one of the foremost artist#s in this decade+ 5e uses
lighting and a ,arm color palette to create a canvas you ,ould love to visit+
Never underestimate ,hat colors can do to an image+ Al,ays remember
your lighting as ,ell+
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Chapter 5 Light Sources in Painting
4n the real ,orld. the light comes from one main direction+ This is the rule+
Even if you are outdoors. the light from the sun comes at you from East to
"est+ epending on ,here you are during the day ,ill determine ,here
the shado,s are+ This is the same ,ith painting+
1ou must al,ays determine ,here your light source is coming from+ Once
you have done this. keep it consistent+ 4t ,ill sho, 3uickly if you have a
sub-ect standing on one side of the canvas ,ith the light dancing off her hair
from the left and on the other side of the canvas the table has light
streaming in from the right+
1ou can help to keep the light source in the proper perspective by setting a
light ,here ever you are going to have it shine from+ 4f you choose to have
the light source come from the right of the painting. then set a light to the
right of your canvas+ ?eep the light source in your studio the same as the
light source in your painting+ This can assist you in keeping shado,s ,here
they need to be and reflective light ,here it should be+
As you become more familiar ,ith painting you may not need this techni3ue
so much+ 4t is -ust a simple ,ay to keep everything flo,ing in the same
direction+ 4t helps to keep the visual real+
A light source ,ill fade as it travels across the canvas+ 4n some paintings. it
,ill fade 3uickly+ This depends on the sub-ect and type of painting you are
doing+ 1ou may ,ant to splash a sunset across the canvas+ There ,ill be
shado,s. and dark ones. ,here the light source starts to fade+
To understand ho, crucial lighting is in a painting. set up a still life on a
table+ Nothing fancy. -ust a fe, pieces of fruit in a bo,l or a vase of flo,ers
,ill do+ No, get bare @' ,att light bulb to set around the table+ 9tart on
your left+ 9ee ,here the light glistens off the surface of the sub-ect+ Notice
,here the shado,s are+ 9ee ho, the light fades across the scene+
2ove the light to the back. front. and other side to notice all the angles+
This ,ill give you a good idea ho, light ,orks on a sub-ect+ 1ou can even
simulate high noon by suspending the light bulb from up above+ Placing a
sheet or other translucent material bet,een the light and the table ,ill sho,
you the affects of an overcast day or diffused lighting+
1ou can become familiar ,ith lights and shado,s the more you do this+ By
using different test models. you ,ill begin to understand ho, curves.
reflective surfaces. and other things can affect the light+ This ,ill enable
you to capture it more accurately on your canvas+
4f you thought all you needed to do ,as buy some paint. a brush. and a
canvas to start painting you ,ere right+ To be really good at it takes some
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thought and planning+ Even a fe, e*ercises in techni3ue ,ill be necessary
to create a good ,ork of art+

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Chapter " !hat type o# painter are you$
"e are going to cover styles and techni3ues in this chapter+ 1ou need to
understand the different forms of painting+ 1ou may find yourself dra,n to
one form or another+ This often happens ,hen you start painting+ As you
become more familiar ,ith techni3ues. you ,ill generate your o,n style+
There have been many different art periods+ 5ere is a list of the periods
along ,ith some of the artists ,hich made it famous+
A8 Baro3ue 6 Caravaggio. Carracci
&8 Classicism 6 2engs. 4ngres
<8 Cubism 6 Picasso. Bra3ue
B8 E*pressionism 6 Beckmann+ i*. 2unch. ?andinsky
C8 >auvism D 2atisse
@8 4mpressionism 6 Renoir. 2onet. Pissarro. 2orisot. Ba:ille
E8 Realism 6 Caravaggio. $ela:3ue:. Furbaran
(8 Renaissance D 2ichelangelo
G8 Romanticism 6 )ericault. elacroi*
A'89urrealism 6 Arp. Ernst. 2asson.Tanguy. ali
Each one has it#s o,n uni3ue style+ 9ome are more of an impression than
an actual picture. like a representation of ,hat the artist feels about an
issue or sub-ect+ At times this is referred to as abstract art+ 1ou can
recogni:e the Romanticism type of art,ork by the attention to detail+ The
background is left in shado, ,hile the image is bold and clear+ 5uman
bodies are painted to represent each curve and muscle+ The strength
comes through ,ithout any doubt as to ,hat the artist is trying to instill in
the vie,er#s mind+
By choosing a style or form of art,ork. you can have a reference to ,hat
your paintings ,ill be representing+ 1ou can sho, the images you ,ant+
1our likes and dislikes ,ill sho, ,hen you put them on a canvas+ "hether
you are a romantic or an impressionist. people ,ho study your ,ork ,ill be
able to tell at a glance+
1ou do not have to limit yourself to one style+ There may be times you feel
like painting -ust for the sheer -oy of painting+ "hen this happens. there is
no telling ,hat you ,ill put on the canvas+ As long as your feelings and
desires come through in the art,ork. it is -ust fine+
1ou may find it easier to e*press yourself ,hen you put paint to canvas+
There may be times you are depressed+ 1ou may find yourself in a state of
-oy and happiness+ 1ou ,ill see these emotions come out in the art,ork
you are creating+ This is ,hat painting is all about+ Creating a picture of
,hat is going on in your mind. allo,ing others to see ,hat you are feeling.
these are the real reasons for painting+ The fact that you en-oy ,atching a
blank. ,hite surface turn into something spectacular is a benefit as ,ell+
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No matter ,hat style you choose. there is one ,hich is right for you+ 1ou
,ill decide this ,hen you are more familiar ,ith ho, you like to paint+
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Chapter % Choosing A &u'(e)t
>or everything in this ,orld there is someone ,ho has painted it+ "hether it
is a person. place. or thing some,here someone has put it to paint+ 4t does
not matter ,hat you choose as your sub-ect. as long as you feel
comfortable painting it+
9ome of the better sub-ects are ones that ,ill offer color and contrast+ >or
instance. a bo,l full of bananas ,ith an apple in the center+ A vase full of
blooming flo,ers is the perfect still life because of the colors and shapes+
1ou should look for many things ,hen choosing a sub-ect+ 4f it is a
landscape. you ,ant some te*ture+ "hat 4 mean is there should be
different buildings. trees. or animals to add interest to the picture+ 1ou do
not ,ant to saturate the painting ,ith activity but you do ,ant to keep it
interesting+
A scene ,hich is full of busy people can be good as long as the activity
stays in one place on the canvas+ 2aking the background as busy as the
foreground can over stimulate the senses+ By adding the activity to a
tran3uil background. the painting takes on a sense of order+
1ou may choose to do portraits+ o not underestimate the sub-ect+ There
is a term. /photogenic0. ,hich means that someone#s beauty sho,s through
the lens+ 1ou may see someone as plain and uninteresting+ =nder the eye
of the camera. this person can transform into a vision of beauty+
The camera is the perfect tool to choose a sub-ect+ By taking pictures of
,hat you ,ant to paint. you can determine the contrast. lighting. and
te*tures+ 1ou ,ill be able to see ,hat the vie, ,ill look like framed+ This
can give you a better understanding of ,hat you are really looking at+
Taking a picture ,ill sho, you the true vie,+
Another reason an artist may take a picture of their sub-ect is timing+ 4f you
are doing a portrait. you may not be able to finish before the person has to
leave+ Even a boat in the harbor ,ill put out to sea sometime. leaving you
,ith an empty pier+ The lighting changes every minute of every day+ By
taking a picture of the sub-ect. you can preserve the moment so the painting
can be done at your leisure+ Even if you are using artificial lighting. there
could be other circumstances ,hich do not allo, you to finish your ,ork+
The camera can become your ne, best friend ,hen it comes to painting+
4t can actually be fun taking pictures of different sub-ect matter+ Then you
get to go home and choose ,hich angle ,ill make the best painting+ 1ou
can e*periment ,ith lighting in this manner as ,ell+ By shooting from all
angles. you can get many different vie,s+ There may be something the
camera sa, that you missed+ Accidents can sometimes make the best
art,ork+
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Never overlook anything ,hen it comes to choosing a sub-ect+ One of the
most intriguing art sub-ects 4 ever sa, ,as a dandelion ,hich had gone to
seed+ The artist had shot a closeup of the puffy seed head+ 5e then
painted it in shades of blue+ 4t took several people almost three days to
determine e*actly ,hat the sub-ect ,as+ 1et the painting fascinated all of
us for 3uite some time+
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Chapter * &etting Up Your &tudio
There are certain things you ,ill need for your studio+ The first thing is a
place to paint+ Every beginning artist seems to think they can bring out
everything and scatter it onto the kitchen table. set up an easel. and start
painting+ This is great for a day or t,o+ 4f you ,ant to continue pursuing an
art career or hobby. you need a place to keep everything up and ready to
go+ This ,ay. any time you feel inspired all you need to do is pick up a
brush and start painting+
There are some basic things you ,ill need for your studio or ,ork area+
The first of ,hich is a table+ 2any times it is actually nice to have this be a
desk ,ith dra,ers+ 1ou can store e*tra supplies in the dra,ers for easy
access+
1ou ,ill also ,ant an easel+ There are some artists ,ho are comfortable
,ith painting on a flat surface+ 2ost prefer the canvas at eye level+ This
means supporting it someho,+ An easel is the easiest ,ay to accomplish
this+ 4 have found that t,o or more easels are necessary+ This makes it
more accommodating to ,ork on more than one piece at a time+ 1ou can
choose from a table easel or a full standing easel+ The table easel is good
for someone ,ho is limited in their ability to stand+ 4t allo,s them to sit ,ith
the canvas at a comfortable level+ Both types of easels are ad-ustable so
the canvas can be raised or lo,ered accordingly+
9ome artists have a set of shelves or shelving unit to store e*tra canvases.
brushes. and other paint supplies+ 1ou can also keep completed paintings
vertical and free from damage ,ith an ad-ustable storage unit ,hich allo,s
the paintings to stand+ One ,ord of advice. never store turpentine. linseed
oil. or other mediums of this type on the same shelves you store your
completed ,ork+ Accidents have been kno,n to happen+ 9hould one of
these bottles spill onto your ,ork it could be ruined for good+
Beside your ,ork easel. you ,ill ,ant to have a small table or cart+ This ,ill
allo, you to keep the items you need to complete the art ,ork+ 1ou never
kno, ,hen you may need another dab of paint on your palette+ 1ou ,ill
also be able to set the palette do,n on a surface ,hich ,ill not be damaged
if paint gets on it+ Believe me ,hen 4 say the paint does not only go on the
canvas+
1ou ,ill need a good supply of clean rags+ Also necessary is a bucket or
coffee can for clean up+ 1ou ,ill most likely need many more than one. -ust
to let you kno,+ Hars ,ork too. but can create a big mess ,hen one falls
and breaks+ 2etal cans are actually safer in the studio+ 2any an artist has
gotten lost in their creation and backed right into a shelf or table. knocking
everything do,n+
One of the most important things is a good lighting system+ 1ou ,ill ,ant to
be able to see your painting in full light+ This ,ill allo, you to see ho, the
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paint is going on the canvas+ 4t ,ill also make it possible to see the true
colors you are using+ The brighter lights should be set up by the easel+
The more conventional lighting should be placed by the sub-ect+
Once you have this all set up you are ready for the supplies+
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Chapter + Art &uppy ,esour)es
There are many places you can find your painting supplies+ !ocal craft
stores and artist supply houses ,ill have many of the supplies you are
looking for+ "hen you ,ant it to come to you. there is al,ays the 4nternet+
1ou need to compare prices ,hen shopping on line for your paint supplies+
5ere is a list of some of the better ,eb sites that carry an e*cellent variety
of artist#s tools+
Blick Art 9upplies
A9" E*press
2ister Art
Herry#s Artarama
There are so many things you ,ill ,ant to get+ 4t ,ill be like a kid in a candy
store to look at all the ,onderful items for sale+ 4t is best ,hen you are first
starting out to save some money and purchase student paints+ This ,ill
allo, you to become ,ith the different mediums ,ithout breaking your
,allet+ 1ou can build up your stock a little at a time+ The paints actually go
a long ,ay+ 1ou -ust have to become familiar ,ith your paints to
understand thinning and li3uefying+ $ery fe, times ,ill you use a paint
straight out of the tube ,ithout mi*ing it ,ith another color and some
turpentine. linseed oil. or turpenoid+
The oils or additives also act as an aid in drying the oil paints+ 1ou do not
need to ,orry about this if you are using acrylics+ They are designed to dry
3uickly+ An amusing note of interest is ,hat your tubes of paint ,ill go
through ,hen painting+

Ne, paint tube Old paint tube
1ou may think this ,ill never happen to you+ 4t happens to all of us all the
time+ 1ou -ust have to get used to it+ 2y mother ,as a professional artist
for over thirty years+ 4 still have visions of her coming out of her studio ,ith
paint up to her elbo,s. holding a s3uished up little tube and muttering about
only needing an /itty bitty dab of the stuff0+ 4t ,as ,hen this happened more
than three times in a ,eek that ,e ,ent to the art shop to pick up more
paint+
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Chapter 10 Cean Up Time
This is al,ays the ,orst part in an artist#s life+ The need to clean up the
palettes. brushes. easels. and other odds and ends in the studio+ 4t is
actually rather easy if you kno, ,hat you are doing+
The brushes are the first thing to address+ This is ,here the coffee cans
come into play+ >illing them half full of turpentine or other paint solvent ,ill
allo, the brushes to soak until you are done ,ith everything else+ Hust drop
them in. bristle first. right into the turpentine+ "e ,ill get back to these in a
moment+
4f you are ,orking ,ith oils. you ,ill ,ant a fine cloth to cover your canvas+
o not use a cloth ,hich has a lot of lint or loose fibers+ A thin cotton
sheeting is perfect+ Be careful not to let the fabric touch the art piece+ 1ou
can actually buy e*tender clamps to attach to your canvas at the top+ This
allo,s the covering to drape ,ithout coming in contact ,ith the painting+
The ne*t thing you need to determine is if you are going to be using the
same palette colors again. any time soon+ 4f you are. then -ust slip the
entire thing into a plastic bag and t,ist the end shut+ This keeps foreign
matter from getting into your paints ,hile you are a,ay+
4f you have decided you are done ,ith that particular color palette. scrape it
off ,ith a putty knife+ 4 ,ill say this about palettes+ 9tored properly. the
ones you have used for your oil paintings ,ill last for several days or even a
,eek or so+ 1ou may not ,ish to ,aste the paints+ 4f you are scraping the
palette. rinse it off ,ith some linseed oil or mineral spirits ,hen you are
done+ Rub clean ,ith a clean rag+
After you have put a,ay all your supplies you can go back to the brushes+
Certain brushes can carry a large paint load+ 1ou may not believe it until
you are trying to clean them+ Clean one brush at a time+ "ork the
turpentine or other solvent into the bristles of the brush+ Rinse ,ith fresh
solvent and completely dry ,ith a clean rag+ Either lay the brush flat or
stand it up in a container ,ith the bristles to,ards the ceiling+ 1ou do not
ever ,ant to leave the brush in solvent overnight+ This can break do,n the
brush and it ,ill not perform as you have come to e*pect+ ?eeping the
brushes clean and the bristles straight ,ill allo, them to continue making
the brush strokes you ,ant+
Acrylic paints can be cleaned up in the same ,ay+
5o,ever. the difference is the palette ,ill not last+ 4t must
be cleaned after each use+ The paints ,ill dry ,ithin hours+
There is one little tip that some artists use+ By sticking the
palette in a plastic bag and putting it in the free:er. the
paints can stay soft+ 9ometimes this ,orks and sometimes
it does not+ The 3uality of the paints have 3uite a bit to do ,ith this+
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Chapter 11 -ree Art .essons
The more you kno, the better you ,ill become as an artist+ >or over &'
years. my mother taught many students the art of painting+ 9he spent
hours going over lighting. shading. and focal points+ 9he taught about
centering the eyes of the face instead of sticking them in the forehead+ 9he
e*plained color theory. paint mediums. and different brush strokes+ 9he
taught anyone ,ho ,ould listen+ There ,ere only t,o years she taught
professionally+ All the other times the lessons ,ere free+ 9he ,ould say a
gift is a gift+ 1ou do not charge someone to perfect a gift. you teach them to
use it+ 4t ,as perfect ,hen )od gave it to them+
There are other artists ,ho feel the same ,ay+ 2any different classes are
offered on line and in the local community ,hich are free+ 5ere are some of
the ones ,hich are on the 4nternet+
Art )raphica
Hohn 5agan !essons
E*pert $illage This is probably one of the best because from a drop do,n
menu. there are many on line videos ,ith free access+
Creative 9potlight
1ou ,ill find there are many others available+ These should give you a
great start to painting on canvas+ There are lessons on using every
medium+ Each of them is from a different perspective because each is from
a different artist+
The local library in your area and some other organi:ations usually have
free art lessons at different times of the year+ Check in the local paper to
determine if there may be an organi:ation offering free classes+ 1ou should
never pass up the chance to learn about art+
As you learn. do the same for others+ Never forget to pass on the lessons
you have learned in your e*perience as an artist+
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Chapter 12 Ta/e Care o# Your Creation
An oil painting is not -ust some poster type thing you purchased at the local
super store+ 4t is an e*pression of someone#s thoughts. feelings. or
personal life+ 4t is beauty and style ,ith a sense of personalDism+ An oil
painting is someone#s creation+ "ith proper care. your painting can last for
generations+
1ou should never touch the painting it#s self+ Al,ays handle it by the frame+
Never allo, anything to come into contact ,ith the back or front of the
painting. either+ A canvas is pliable and can easily tear or have a hole
poked into it+
4n order to clean an oil painting. you should give it a light dusting ,ith an
e*tremely soft brush+ o not use sprays or chemicals on it at any time+
9hould there be damage or a dirt spot ,hich is not able to be taken care of.
have it repaired or cleaned professionally+ 1ou may think you are capable
of doing this. ho,ever there are professionals ,ho have been trained to
handle original art pieces valued into the thousands+ They kno, ,hat they
are doing+
o not hang an oil painting in direct sunlight+ This can fade the paint+ 4t is
advisable to hang the painting in an area ,ith a rather constant
temperature+ )reat changes in temperature can damage the painting over
time+ 4t is never advisable to hang an oil painting near an outside door or a
,indo, ,hich is opened fre3uently+
>or short storage or transporting. you can put cardboard on both sides of
the canvas and ,rap the entire painting. frame and all. in bubble ,rap+ A
,ooden crate ,ith a moisture proof filling is recommended for long term
storage or ma-or shipping+
4f you ,ant to. ,hen you have your painting framed. you can ask the framer
to put the art,ork under glass+ This ,ill ensure the risk of damage is at a
minimum+
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Chapter 13 Pay Attention to 0etai
The picture above is an actual print done by my mother+ This piece ,as
taken from an oil painting she had done+ 1ou can actually see the canvas
marks ,hen you look closely at it+ !ook closely at this piece+ The name of
the painting is /9easide )reeter0+ 4t ,as one of her last ,orks she did
before her passing+ There are some things a ne, artist can learn from
studying another artist#s ,ork+ By studying this painting you can learn a
great deal about contrast and lighting+ 1ou can begin to understand colors
and shading+ 1ou should also get a sense of ho, to balance out a painting+
The first thing 4 ,ant you to notice is the sub-ect+ The point is that is the
first thing you notice+ 1ou kno, ,hat she ,as painting+ All the other things
take a back seat to the blue herring+ Although you notice the sand and the
,aves. this is not ,hat is important+ 1ou can see the ocean behind the
bird+ 1et it is not impressive enough to distract from the sub-ect+ The sea
shells on the beach do not compete at all ,ith the sub-ect+ The only thing
you see is the blue herring+ "hyI Because this is ,hat the artist ,ants
you to focus on+ This is ,hat the artist ,as entranced ,ith ,hen she
painted this picture+ 9he ,as fascinated ,ith the proud stance these birds
sometimes have+ 9he loved the subtle natural shading of their feathers+
9he also loved the ,ay the eyes seemed to have a blank stare and still
had a look of intelligence to them+
This painting ,as done in stages+ The background of the ocean and sky
,as put in first+ There ,as a great deal of color and blending that ,ent on
to get the right affect of the clouds and the ,ater+ 2ore paint ,as added to
the bottom of the canvas in other shades and hues+ The paint ,as blended
into the front of the picture to bring in the sand and beach+ After the
background had dried. the artist started painting the bird+
Being able to -udge perspective and set a reference point is important for
si:e composition+ 1ou have to look at ,hat you are painting to understand
,here it should go in the picture+ 4f you do not choose the si:e and
placement carefully. it can cause a lo, 3uality painting+ By paying close
attention to detail you can create a masterpiece like the one above+
9ome things to notice about this piece+
A8 The hori:on is blended perfectly and yet there is a definite distinction
bet,een the sky and the ,ater+
&8 The light source is directly above+ Nothing is in shado,+
<8 The artist ,as still careful to keep ,ith the reality of the scene by
making sure the ,aves reflected the color of the sky+
B8 Not many things in nature are ,ithout a fla,+ The artist ,as able to
paint ,hat she sa, ,ith the broken sea shells and ruffled feathers+
This makes the piece even more realistic+
C8 =sing different brush techni3ues. she ,as able to capture the
essence of the sand at the bird#s feet+ This did not take as long as
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some thought+ "hen you kno, ,hat a brush can do. you can make
it perform+
4 hope looking at this piece can teach you some basics in oil painting+
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Chapter 14 1n(oy Your &u'(e)t
There is one thing any artist must
do ,hen first learning to paint on
canvas+ This is to choose
sub-ects ,hich interest him+ 4n
other ,ords ,hen you are
painting something you do not
like. it ,ill sho,+
The 3uality of the painting ,ill not
be as good as the others you
have done+ 1ou ,ill not pay as
close attention to the details
because you ,ill ,ant to hurry
through and get it done+ This ,ill
result in a poor 3uality painting+
Compare the t,o pieces of art
,ork+ 2y mother did them both+
9he loved the blue herring and hated o,ls+ Can you tellI Anyone ,ho is
familiar ,ith her ,ork can take one look at this piece and kno, she did not
en-oy doing it+ There is more detail paid
to the leaves than the baby o,l+
"hen you like ,hat you are painting. you
,ill do very ,ell+ 9tick ,ith ,hat you like
to paint and leave everything else to the
other artists+ o not compromise your
3uality for any reason+
Compare this piece to the o,l+ No,
compare it to the first blue herring+ The
artist ,as able to capture the essence of
the bird in this painting+ 9he focused
completely on the bird ,ith no attention to
the background at all+ "ith subtle
shading added to the background color.
,hich is barely noticeable. she ,as able
to sho, the light source coming from the
left+ By focusing on the bird. the vie,er
can sense a feeling of tiredness+ To be honest. this bird is much older than
the one in the first picture+ The artist ,as able to capture this feeling+ 1et
there is still something proud in the ,ay the bird is holding himself+ One
other note of interest+ By putting the bird on a section of fencing. it gave the
painting some level of grounding+ There does not have to be a lot of detail
in the background in order for the painting to be noticed+
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Chapter 12 -re3uenty As/ed 4uestions
15 What is the best type of brush to use for painting? There are
many kinds of brushes+ Each one has a certain brush stroke+ 1ou
,ill need to e*periment ,ith the different types of brushes+ 1ou can
choose either sable hair. hog hair. camel hair. or synthetic+

25 Is a synthetic brush better than a natural hair brush? This is all
a matter of preference+ 9ome of the ne,er synthetic brushes last
longer than the natural hair brush+
35 How can I choose a subect? 4t is best to choose a sub-ect ,hich
inspires you+ >inding something to paint is not the problem+ >inding
a sub-ect you like ,ill sho, in your ,ork+
45 Should I do landscapes or portraits? 9ome artists are better at
portraits than landscapes+ They have the ability to capture the
personality of the people they paint+ Other artists can paint a
landscape ,hich looks as if you are looking out a ,indo,+ Try one
sub-ect and then do another+ etermine ,hich you en-oyed more+
Also look at them both ob-ectively and choose ,hich one you feel it
better+ This ,ill help in your decision+
5 What is a still life portrait? A still life. by definition is any inanimate
ob-ect+ This can be a flo,er. a bo,l of fruit. or even a paper clip+

$5 Why should I ta!e pictures of my subects? By taking a picture of
your sub-ect. you can ,ill have a better vie, of the sub-ect+ 1ou can
see it from varying angles+ 1ou ,ill be able to use the photographs
as a reference ,hen painting+ There are times ,hen you may be
painting a portrait and the model cannot stay for the entire session+
4f you have photographed the sub-ect. then you can continue to ,ork+
Another property the camera can offer is the lighting effects+ 1ou
can see ,here the light falls and ,here the shado,s are+ 1ou ,ill be
ama:ed at ,hat the camera can pick up that the naked eye does not
notice+ There are times ,hen you may feel the sub-ect is all ,rong
for the painting until you vie, it from a camera lens+
'5 Is there a special brand of paint I should use? Each brand of
paint has it#s o,n uni3ue properties+ 1ou can e*periment ,ith each
one to determine ,hich ones you prefer+ There is no one brand
,hich ,ill offer everything+ 9ome have more colors than others+
9ome are more able to blend+ ry times can be different as ,ell+
"hen you find one brand that ,orks for you. then you ,ill kno, it+
*5 How can I store my unused paints? Acrylics do not store ,ell
after they have been put on the palette+ They tend to dry 3uickly+
There is one trick that can be done but the results vary+ 1ou can
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cover the palette ,ith plastic and free:e it+ There are times this ,ill
,ork and times it ,ill not+ >or the oils. you can cover them ,ith
plastic as ,ell+ 1ou can also submerge them in ,ater for later use+
+5 What are the benefits of acrylic paints? Acrylic paints have a
3uick drying time+ This means you can actually start. finish. and
possibly frame a painting all in one day+ "ith oils it can take days for
the paint to dry+ Acrylics can blend and mi* -ust as ,ell as the oil
paints+ 9ome artists prefer the acrylics to the oils and vice versa+
The acrylics can also be built up+ This can actually give you an
almost three dimensional look on the canvas+
105 "oes it matter how thic! I put the paint on the canvas? 1ou
should never put more paint on a canvas than you need to+ The
paint has to dry bet,een layers or you could have problems ,ith
flaking and cracking+ The painting can be built up to generate the
look you ,ant+
115 Why did my painting crac!? The more paint you have on a canvas
means the more space the paint has to cover+ As an artist layers
paint on the rule of /fat over lean0 applies+ This means the paint has
more medium mi*ed in ,ith it as each layer is added+ The addition
of the oil makes the paint more fle*ible+ This means there is less
chance of the painting cracking as it dries+
125 Is there a way to seal my painting after it is done? "hen you
have completed a painting you ,ill ,ant to seal it to make sure
smoke. dust. and other foreign matter does not damage it+ 1ou can
varnish the painting+ 1ou need to make sure the painting is
completely cured before sealing+ Also. the varnish should be a very
thin coat of clear varnish+ A thick coat can cause the paint to appear
yello,ed as time goes by+

135 Why don#t my paintings loo! natural? "e see things in three
dimensions+ The painting should reflect this+ 4n order to achieve
this. as in a landscape. start ,ith the background first+ This means
the entire background. from the sky to the grass+ Then you ,ould go
in and add the mountains or distant tree line+ 1ou al,ays need to
,ork from the back to the front to give the painting more realism+
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Chapter 1" Art &)hoos
There are colleges every,here that have an art program+ Each one can
offer great instruction+ 4f you are planning to attend a school for their art
program al,ays determine ,hat the curriculum is and ,hat degree you can
earn+ 9ome only offer an associateJs degree ,hile others can offer much
more+ 1ou ,ill have to make the choice as to ,hat you ,ant from the
school+ 5ere is a list of art schools to consider+
The Art 4nstitute of Pittsburgh
The Art 4nstitute of Chicago
To find other art instituteJs you can go to the ART 4nstitute ,eb site+ There
are many all over the country and in Canada+
=niversity of Te*asK College of >ine Arts
Carnegie 2ellon#s College of >ine Arts
There are many other fine art schools available both ,ith campus learning
or on line classes+ Each one offers financial aid to its students+ The ability
to further your education is possible+ 9peak ,ith a campus advisor to
determine your needs+
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Chapter 1% Museums o# -ine Art
Throughout the ,orld there are many places to see some of the greatest
,orks of art ever produced+ 1ou could spend days in these fantastic
e*hibition halls studying the styles and techni3ues of some of the greatest
artists ,ho ever painted+ 5ere are a fe, to get you started+
2useum of >ine Arts. Boston
Philadelphia 2useum of Art
The 2etropolitan 2useum of Art
The 2useum of >ine Arts 5ouston
2any of the fine arts museums offer partial sho,ings of their e*hibits on the
4nternet+ 1ou can appreciate the beauty of the paintings at home+ This also
allo,s you to vie, more museums ,hich may not be as close to you+
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Chapter 1* 5ne -ina !ord
There are many people all over the ,orld ,ho have aspired to become
great artists+ 2any have succeeded+ None have failed+ >or each person in
their o,n uni3ue ,ay is an artist+ "hether you create the picture ,ith paint.
pencil. or computer graphics the point is you are creating+ 1ou are
e*pressing yourself in a ,ay that is en-oyable to you+
Others may find great inspiration in your ,ork+ Criticism ,ill al,ays come.
,hether it be from others or even yourself+ o not let it bother you+
Art is a ,ay of e*pressing our thoughts. feelings. and emotions+ "e can
sho, ,ho ,e really are by ,hat ,e put on the blank canvas+ This can
sometimes be e*tremely thought provoking+ 4t can be comical or ,himsical+
The point is that it e*presses something+ 1ou capture the essence of ,ho
you are ,hen you begin to paint+
Even if you cannot afford to make a living out of painting. do it for the -oy of
it+ o it because you find a love for painting+ o it every day+ This is your
time to shine+ !et everyone kno, you painted that picture on your ,all+
Tell them you ,ere the master artist ,hen they ask ,here you got it+ !et
them kno, you can tell your story by the pictures you create+
Painting is a ,ay of loving ,hat you
do and doing ,hat you love+
Remember. a picture is ,orth a
thousand ,ords. no matter ho, it is
displayed+
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This Complimentary Ebook
Provided By
Teresa Thomas Bohannon Teresa Thomas Bohannon
Author of the Original
Regency Romance Novel
A Very Merry Chase A Very Merry Chase
Prepared for istribution By
!ady"eb#s $irtual Coffee Table Books
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