Beauty is the most universal, self-expressing phenomenon that does not require words or language knowledge. It is present in all walks of life, but it becomes something extremely perceivable due to art.
As we rush our daily schedules and spend most of the time running, we might not notice the moment when a bud opens. The magic moment when the fragile petals unfold and when the sun and rain pour life into it. It becomes a mediator of beauty. Every smallest vein and line, every nuance of color is so unique. Beauty which breathes and is alive.
The biggest advantage of being able to create, draw and paint is the feeling of being a creator. We can do anything with the sheet of white paper in front of us. It’s our choice what goes on it. I choose the never-ending, personality enriching and mood uplifting divine features of the nature. It is a cheerful activity on its own. It is more than meditation, it is much more than immersion in oneself, it is the imperative life-continuing reveal of the underlying essence of life, and the essence of life is beauty.
Enjoy! Happy Mother’s Day! I know my mom will love these paintings.
Rose is a wonderful subject for an acrylic painting. Especially, pink rose.
I always prefer and I always advice others to use real objects, real scenes and live models for their paintings. It’s not only because camera does not see things as a human eye does, but also because of immediate presence.
When somebody aims only for technically great achievements in arts, they certainly stick with photos because we quite cannot distinguish between tiny details when looking at something with just our eyes. I’m not painting or drawing anything I cannot see or which is too small to see. I prefer to go bolder and not to use any magnifying glass.
It can be tough painting flowers sometimes, especially in winter, and real flowers generally do not last as long as painting takes. Anyway, whenever possible using real things has its advantages. They have emotional impact, cause admiration, attraction. This is also something we are trying to implement in our paintings. Technical ability is great, but technically perfect and emotionally cold art isn’t speaking to me. I’m not saying that I always keep working until I have achieved absolutely everything. There is something great about unfinished paintings, too. For instance, a chance to add imaginative characteristics or continue with one’s thoughts. When painting is small, 16 x 20 inches (40.5 cm x 51 cm) inches or so, it doesn’t feel right to spend a year painting it. I sometimes return to a painting after 2-3 years.
Bright red rose, it was so beautiful that I sold it right after finishing this painting, 20 x 16 in
Therefore, it feels great becoming a rose. As we paint any petal, we build it and grow it to our liking. Although, it’s just a rose, it has it all: some hidden attraction, some mystery and some color combinations that do not always find reflection in a photo of the painting, but they do become visible when looking at the artwork in person.
Bright wild roses, sold This painting inspired to paint another one in lighter colors
There are lots and lots of objects which can be painted not even leaving our room. People sometimes say: I don’t want to paint still life, it’s boring. That’s totally wrong. That is the best exercise in painting there can be found. People who can paint or draw can paint anything and draw anything from apple to face. Still life is the shortest way to explore values, edges, color transitions and the ways we can create them. It’s the best tool to learn underpainting, sketching and blocking in the main shapes. It’s also the easiest way to learn about lines and their relationships, as well as all kinds of shadows. Therefore, we should never underestimate still life as subject, genre or way of expression.
Pink rose, acrylic painting 20 x 16 in. The background colors work very well
Any creation involves saying something about ourselves. That is how we are telling others what our point of view is. True creativity is never copying and reproducing, but taking an idea that lives or is just born in our imagination and bringing it to life.
The use of color and technique
The use of color is also a very personal feature. To mix up a color which we find unique and love, we have to learn the process of color mixing. It is important not to stick with paint colors out of tube. Composition can be explained as good layout of the painted subject on a particular size paper, canvas or other surface material. There are generally applicable principles, and we should know them. Specific take on composition is a personal feature of an artist, and we should rather develop our own preferred compositions.
Choice of painting subject
Choice of painting subject is always important, and it is also a very personal feature. We should remember that it is much more useful to learn principles of drawing or painting without reproducing subjects somebody else is already painting in a very specific manner. You like it because they are painting it great. Nevertheless, we should not copy this style and painting subject.
Choice of technique and style
How and what we draw and paint always depends on us. As we progress, we study the many ways of achieving the desired result. Learning is an ongoing activity, and it’s erroneous to assume somebody knows everything. Experiment is the best teacher of all. Try for yourself and you will see whether it works or not.
Experiment and error
Learning process always involves mistakes and errors. Only people who do nothing never make mistakes. Try not being a perfectionist, at least at early stages of learning how to draw and paint. Perfectionism lives inside many minds, but it is restrictive and limiting. Art which is less than perfect is still art and provides you with improvement value.
Take the path of discovery
I personally always think: let’s see what happens. Everybody who is painting or drawing has thrown out lots of paper and damaged quite a lot of canvas. There is nothing bad about that. I had a girl who once said: I do not want to throw away this expensive paper just because I started the painting wrong. Don’t do that! When something cannot be corrected, throw it out without any regret.
Start over
It is much more difficult to correct wrong lines and colors than start a fresh using the new knowledge you just discovered. I believe that every task adds something to our knowledge and skills.
Sunflower drawing
Sunflower watercolor
Creating on the go
I am not at home at the moment, but visiting my closest family in Latvia. I had a few sheets of paper and student grade paints in too few colors. Such paints don’t have the transparency or flow ability of good quality paints. However, I could not resist when I saw this bloom and these apples, because I do not have these painting subjects in Canada. I always prefer drawing from real subject. It was more difficult because I didn’t have the right tools and brushes, but I did not allow that stopping me. I can reuse the same drawings with decent paints and better size paper or canvas at home.
Drawing for apple watercolor
First layers of watercolor
I finished the painting after I returned home, Purple variety
My life school blog deals with GREEN LIVING and importance of changing our perception in order the Earth was living and livable longer. Links to 3 recent posts which continue the same conversation about green living.
Sticking to a plan is a key also in painting. Whatever we are doing, we need some kind of a draft in our head or some plan which we keep in mind. However, it is easier said than done. That especially refers to beginners in art. I have noticed that most people want to draw or paint without any plan and without any thinking.
Elements of a painting
Perhaps, when starting out, it is hard to know what parts or matters we should pay most attention to. There are lots of simple things which make the subject look multi-dimensional. By far, those are not only darker and stronger values. Strongly emphasized edges or absence thereof, strong dark areas behind the lighter ones also contribute significantly to the spatial perception, not to mention color if it is used.
Things to do and not to do
I was told that the darkest dark should meet the lightest light when I started painting about 50 years ago. It can be tough to implement, especially without real reference, when we have only a photography or a sketch. I am personally not excited about patterns which repeat in a regular rhythm such as petals or trees along the path, blooms on a branch and similar things which we unintentionally place on our canvas when there is no firm plan or sketch.
Pink spring magnolia blossoms is an acrylic painting on 20 x 16 in or 51 x 41 cm canvas, Spring mood, light colors and feeling.
Reference is a guide
Why am I saying: pay attention to reference? Because most people don’t do that. When we are just beginning the painting, they would have a look at the reference image or set-up. After a while, I notice nobody looks any more at the reference. You have to! The only exception is when it is a completely abstract work which has been drafted in one’s imagination or when we paint from memory.
Painting or drawing from memory
Painting from memory takes practice, and beginning artists cannot handle that too well. Reference or value drawing (if you have created such) has all the answers: where to use dark color, where to make strong edge, where to wash out edges to lose them, where to place highlights and what exactly the shape of something is.
Preferred brushes
Knowing what values go where is extremely important, much more important than what brush to use. However, talking about brushes: always use the ones which you feel comfortable with and which suit the size of the area you are working on. Very simple. We can use no brush at all, but sponge or palette knife, that is a matter of preference and choice.
Try no rules, but use principles
I know how some art instructors want to make rules about everything. There are no rules in the use of tools. It is very obvious that using a very wide brush for tiny spot is simply difficult and vice versa. I know a lot of artists who create the entire painting with just one brush. I do that sometimes, too.
Pink rose, acrylic painting on canvas, 20 x 16 in or 51 x 41 cm, this painting is also a demonstration artwork for art class.
Real versus photo
So, the conclusion is: do not change things around dramatically or completely when the work is halfway through and always keep an eye on the reference. If something does not work at all, it is better to start over again. That’s why it is so rewarding to paint from real subjects, live is live and photo is just a photo. Live comes with smell, touch, very visible shape and very noticeable values.
Lovely purple pansy faces, acrylic painting on 20 x 16 in canvas. Bold color, large flowers
No pressure
Do not put pressure on yourself and painting: there are moments when we need to stop and make a decision about the next step. Paintings and drawings really hate when they are not treated with due respect. It is much better to allow everything to develop in a natural way. For illustration, I have attached the recent flower paintings. There are many more, but they just need finalizing touches. You know: painting is never done, right?
You always wanted to draw or paint, it’s time to start painting
Sometimes, this idea might seem too complex to pursue, but, in fact, all it takes is starting to draw or paint. Simply get your art and – start painting. Learn as you go. You will need patience, courage, willingness to experiment and accept your mistakes. You should be ready also to put efforts, work and time into your learning process. Nothing happens on its own and without actually doing it. Any drawing and painting starts with being able to see and use our senses. It does not start with knowledge of techniques and all kinds of tools and mediums. We acquire this knowledge gradually as we gain experience.
Experience and first issues
I have given countless classes and workshops over many years. It actually feels like I have been teaching arts all my life. It is obvious that all people, who would love to start painting or drawing, do not get past the first problems. They give up this fantastic activity before they familiarize themselves with easy fixes. We can fix anything in painting or drawing along the way when it comes to creation. It sometimes only takes a few brushstrokes with dark or light color.
First we learn seeing
The important aspect of engaging in visual arts is the ability to see and to understand what one is looking for. Most people are sure that they have good enough eyesight and that they can see everything. That is not true at all. While we are seeing things around us, we are not seeing them in an artistic way because for drawing or painting we need to sometimes abstract the view or define the detail. I suppose the inability to perceive values, shapes, colors, lines and their relationship, as well as correct scale, depends on whether one is aware that these things exist.
Don’t trace, don’t copy
It’s not rare that artists simply copy an image or photo and then transfer this copy onto paper or canvas. Many artists do a lot of image editing with special software so that the image is ready to copy and to apply paint on it. That supposedly saves time and efforts and makes painting process easier. If you want to ever draw and paint without fear and with confidence and know why you are using a particular technique or step, go with freehand drawing and observation straight from the beginning. It will pay off in longer time, usually not in the first hour.
Drawing takes time
A complex drawing might take me between 30 minutes and 2-3 hours. When the drawing, value or tonal sketch is done, I have everything what I need to proceed to painting: values, contrast, highlights, composition and correct correct scale. I’m usually doing drawings in size of actual paintings as opposed to thumbnail sketches. I can do whatever I want with my sketch afterwards: use it for watercolor, pastel or acrylic and more. I can even flip it or use just some part for my next painting. I don’t need editing, adjusting, copying or enlarging. Therefore, if you want to be ever free from computers, screens, measuring devices, grids, start learning to see.
Pay attention to reference
I have noticed this many times: students do not see the reference photo or picture in an artistic way. They see a flower, a tree or fence, but that’s not the most important aspect. I am using frequently real objects: fruit, vegetables, flowers, flower pots, leaves, cups, bowls, glasses and similar things for still life, and that can be a problem also. Until you start paying attention to shadows, values, correct size and scale, potential composition, contrast and layout, drawing doesn’t happen. Everybody can draw and paint anything as soon as they understand what they have to see in the subject.
Draw any subject
There are countless tutorials. They usually show how to paint one single subject. If you first learn to draw, meaning draw anything, you can choose any subject without limitations. You just need to know what is important about the subject and look for it. That means paying attention to things which other people don’t even know about. Start with placing your subject in front of you and look at it. Look carefully at dark and light spots, visible lines and shadows, direction and size and notice how light makes a difference. Starting with very light and general outlines try to get the exact form. We go from very general shapes and lines and move towards details. Repeat until the drawing becomes three dimensional, not flat.
My approach to creating acrylic flower paintings
I have elaborated a new approach to acrylic flower painting since many students want to learn painting with acrylic, but their results are quite often disappointing and don’t make them happy. We use the large-scale drawing, transfer it onto canvas and then follow with paint. This new approach uses the specific features of acrylic paints: short drying time, ability to work over dry layers; and turns them into the biggest advantage. Results are quite stunning. However: results are great as long as one follows all steps and uses multiple layers of paint.
Value sketch of lilies, it might seem slightly blurry because the drawing is done in the actual size of lily painting on tracing paper. We carefully transfer this drawing onto canvas and use as our reference while painting.
Easter lilies, acrylic painting on canvas, 20 x 16 in or 51 x 41 cm. I do not have images of process steps because I painted this lily during art classes. We transferred drawing onto canvas and after painting around the blossoms applied multiple layers of paint.
Everything matters
So far, I have given only live art classes because they make a lot of sense. Explanation and even watching somebody else painting do not always lead to good results. It matters how much water or how much paint, or what medium on what surface one uses. It matters how fast the previous steps are done and it matters how you move the brush and mix the paint. Everything matters, and we can correct mistakes right there as they happen. It is great that somebody can explain why some things work and why some others don’t by doing it in the classroom.
Acrylic is a fantastic medium for large and bold flowers. I recently demonstrated how to paint these poppies. This painting is 20 x 16 in or 51 x 41 cm, acrylic on canvas. I didn’t use any mediums, just canvas covered with medium dark color.
