Fine Art Tips with Lori McNee: Painting Techniques and Professional Advice
Format: PDF / Kindle (mobi) / ePub
Since 2009, thousands of artists have flocked to Lori McNee's FineArtTips.com for creative and professional advice. A social media guru as well as a professional artist, McNee has assembled a diverse and impressive group of today's most popular artists to create Fine Art Tips (the book!), an unprecedented master class in representational painting and art business advice.
Fine Art Tips goes "behind the paintings" to show how 24 of today's top artists transform dabs of paint into incredible still lifes, landscapes, portraits and wildlife art. Along the way, they generously share practical, real-world tips on everything from evoking the illusion of sparkling water to professional networking.
Plein air afficianado Ken Auster offers an unforgettable lesson on focal point. John Seerey Lester, a rock star in the world of wildlife painting, talks about the power of storytelling in paint. Joe Anna Arnett reveals her secret to painting white peonies, and Daniel Sprick discusses the foundations behind his classical portraits.
The advice in these pages can be life-changing for artists, both aspiring and established. For art-lovers in general, Fine Art Tips is a brilliant showcase of today's top artists.
Inspired by Lori McNee's art blog sensation, FineArtTips.com!
Illuminating tips, techniques and professional advice from 24 of today's most highly acclaimed artists
26 step-by-step demonstrations in oil, acrylic and pastel
A thrilling range of signature styles and subjects
adjustments to the foreground. With a no. 10 flat, apply a thin glaze of gel medium mixed with Pyrrole Orange and Diarylide Yellow to brighten the cactus and other foreground elements. Add a small bit of Phthalo Blue to the glaze to alternatively go warmer or slightly cooler as needed. Note the change made from the photo to improve upon the painting. Sunrise on Black Mountain John D. Cogan Acrylic on canvas 20" × 30" (51cm × 76cm) Dramatic Lighting John D. Cogan used the warmth of the
Pre-primed canvas is available with a size and/or ground and as either single- or double-primed. A majority of the pre-primed canvases are cotton primed with an acrylic dispersion ground. If your canvas has been pre-primed with gesso, it is good practice to apply another coat to ensure a smooth, flawless painting surface and prevent bleed-through, especially when working with oils. Linen pre-primed canvases with a size and an oil primer are also available. When buying a roll of pre-primed linen,
hour or two in the evenings. Oil Demonstration • David Gray Steps to Creating a Classical Portrait When teaching, I am amazed by how quickly and inaccurately the students lay down the paint. If you want to be a realist, you must train yourself to slow down. I am an advocate of comparative measuring with some sort of measuring tool such as a knitting needle. Make marks that are sure and accurate, and double-check and triple-check your measurements before moving onto the next one.
trace the ghosted charcoal image, taking the opportunity to correct any minor inaccuracies. STEP 3: Start the Underpainting With nos. 4 and 6 filberts, lay in the basic color scheme with oil paint thinned with mineral spirits. I use an “open palette” system, which means I tap into whatever color is needed at the time. This makes it difficult to explain exact color recipes. For this painting, I used all the colors from my palette. Get to know your palette so you can mix what you see. Add in
filberts for this step. STEP 3: Refine the Masses Make the shapes relate as larger masses before you add the smaller shapes and details. Mix Ivory Black with alkyd medium to make a glaze. Use it and a no. 6 fan to darken the entire background. This will make the colors seem more luminous. Work quickly, as the medium will begin to tack up if you take too long. Adjust the edges of the brass bowl and make its receding edges softer, and the interior of the bowl brighter with a heavier paint