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from the easel log

In selecting fine art, it can be an enjoyable to know a little more about how the art was created.  Below are a few notes to that end.  I keep a black & white Mead Composition Book (you know, the kind you used in high school science class?) right beside the easel, so that as I work, I can record valuable information on techniques for future work.  You might say that they are the "cardinal rules" or the "fundamentals" that I have adopted for my studies.  Note that they are my individual preferences, and what seem to work for me.  (They may or may not be the industry standard.)  But I hope you find them interesting.


Lay colors on the palette in the same order each time so that mixing pigments becomes instinctive.

Block in main images with a very rough sketch in pencil/charcoal,to make sure that your composition fits well.

Begin with an underpainting of juicy color like cad yellow or vivid alizarin pinks.  This will show beneath the layers of paint that you'll apply over it, and be luminescent.  Depending on the piece, another choice at this point might be a value study in rich, warm umbers.  Note drying times of various pigments (unless wet-on-wet is suitable for your project.)  Pigments containing cobalt, manganese, & lead (such as the cads) accelerate drying and work well for underlayers.

"Fat over lean"- the proportion of oil in progressive layers should grow.  Lower layers of
pigment absorb oil from layers on top of them.  If the upper layers dry first, they could crack.

For wet-on dry, linseed oil works well in the lower layers as it dries most thoroughly.  (Keep in mind, though, that this vehicle tends to yellow, so use it sparingly with blues and whites.  Instead, with these colors, poppyseed or walnut oil work well.)

Contrasts.  Color, value, size, shape.  'Nuff said.

Horizon: never in center.  2/3 up or down.

As you work, step back from the easel often.  Take frequent breaks to get a "fresh eye."

Color continuity.  A really blue sky with a really green plain look like a cartoon unless you share some of that blue with the plain and green with the sky.  It's ok - it works.

Glazing builds colors & tones slowly, and brilliantly.  It can be used in all, or just part of the piece.  It gives depth and brilliance.  Viewers appreciate the work more without really knowing why.

Wipe-offs can leave brilliant highlights.  Tissue, cloth, even the handle end of a paintbrush can make striking textures and strokes of their own.

Be line-wise.  Use shapes instead, or forget about distinct spaces.  Use your eyes.  A snowcap may drift into sky without any delineation at all, save white to blue, just as it appears in nature.

Enjoy the use of negative space.  Block a tree in, then "punch holes" in the tree with background hues.

There are no insignificant strokes.  Even the smallest require confidence, style and joy!

Drying paintings in the dark can cause a film that yellows (partially remedied with bright sunlight.)

After signing the piece, log its hours, pigments and vehicles as well as any special techniques.