In this chapter, we will cover the topics from the basics of preparing the palette to the intriguing realms of classic and limited palettes, and the unique charm of the Zorn palette.

1: Preparing Your Palette

2: Organize Your Colors

3: Classic Palette vs Limited Palette

4: Find Your Own Best Palette

5: Simple Exercise

1: Preparing Your Palette:

Wooden palettes are classic, while paper disposable palettes offer convenience; you can tear them off right after a painting session. You can also use a piece of glass as your palette. Glass palettes are easy to clean and allow for smooth color mixing.

If you choose to use a wooden palette, rub it with multiple coats of Linseed oil to protect the surface from paints.

Remember, the palette you choose has to be large enough to allow you to lay down all the paints and leave plenty of room for mixing colors.

I have all of these palettes in my studio. I use my glass palette most often. But when I want to do a quick underpainting with acrylics, I choose the disposable paper palette because acrylics dry quickly, and it’s hard to scrape off the wooden or glass palette as oil paints do.

Below is the link to the paper palette I use. I like how it was made of neutral grey paper to make judging color value easier: https://amzn.to/3uC3dxI

2. Organize Your Colors:

Arrange your colors in a logical order. There are many ways to organize your colors.

a: You can arrange them from light to dark, or dark to light.

b: You can group all the reds, yellows, blues, and browns together.

c: You can separate the bright colors from earth colors.

d: You can pre-mix the colors. You will mix each pure color with white or other colors to make tonal graduations. This method is especially useful in portrait paintings. As the skin color has many subtle graduations. So if you pre-mix the colors, you will save time in mixing the color as you paint.

3: Classic Palette vs Limited Palette

Classic Palette:

The classic palette is a broad spectrum of colors that includes primary and secondary colors. It provides a wide range for color mixing and is a staple for artists exploring various subjects and styles. The classic palette typically includes:

• Primary Colors:
  • Red
  • Blue
  • Yellow
• Secondary Colors:
  • Green (mix of blue and yellow)
  • Orange (mix of red and yellow)
  • Purple (mix of red and blue)

A recommended basic Classical palette includes:

Titanium White

Cadmium Yellow Light

Cadmium Red Medium

Cadmium Orange

Alizarin Crimson

Ultramarine Blue

Yellow Ocher

Raw Umber

Burnt Umber

Burnt Sienna

Ivory Black

Some of the additional paints I will add to my palette, depending on the painting I am working on, include:

Lemon yellow

Naples yellow (especially for portrait)

Cobalt blue

Prussian blue (especially for seascapes)

Phthalo blue (especially for seascapes)

Viridian green

Limited Palette:

In contrast, a limited palette restricts the number of colors used, fostering a more harmonious and cohesive look in a painting. 

Limited palettes have been commonly used in grisailles, underpainting, and tonal paintings. 

Grisailles are made using only black and white to achieve a grayscale effect. You can also add umbers like Burnt Sienna to add more warmth. 

A good practice to understand the warm and cool color temperature/relationship is using only red, yellow, blue, and white.

Common limited palettes include:

a: Burnt Umber, Yellow Ochre, Ivory Black, Titanium White

b: Burnt Sienna, Yellow Ochre, Ultramarine Blue, Titanium White

c: Cadmium Red Medium, Cadmium Yellow Light, Cobalt Blue

d: A cooler palette: Cerulean Blue, Alizarin Crimson, Lemon Yellow, Titanium White

Zorn Palette:

Named after the Swedish artist Anders Zorn, the Zorn palette is revered for its ability to capture a wide range of colors with just four pigments:

• Ivory Black
• Titanium White
• Cadmium Red
• Yellow Ochre
• The Zorn palette is particularly effective for portrait painting, creating a warm, muted color scheme with a distinct Old Masters feel.

Note: Expect the colors with the same name from different manufacturers to sometimes have slight and sometimes great variations. Try different brands and pay attention to the differences. And it’s absolutely ok to mix colors from different brands.

4: Find Your Own Palette

When it comes to choosing your own best palette, don’t stress out. The rule of thumb is, if you’re just starting, stick with a simple, classic palette—it’s your best bet. 

The best way to find a color arrangement that suits your needs is to just start painting. With time, you will find your working rhythm, and your color palette will follow.

But I encourage you to at least try the limited palette in your spare time. You will learn so much about color mixing, color temperature, and hues from the limited palette.

5: Simple Exercise

Paint a simple still life or abstract painting using different combinations of a limited color palette. So you can better understand color temperature, interactions, and relationships.

A: Paint a grisaille—use only black and white.

B: Add umbers like Burnt Sienna to it.

C: Now add a blue like ultramarine blue to see the warm/cool relationships.

D: Using only red, yellow, blue, and white to paint the same object.

Check out this post for some interesting color history: https://yingmclane.com/the-interesting-history-of-artists-color/

If you enjoyed this post, share it with a friend or leave a comment.

The post Color Series 2: Artist Palette—How to Find Your Palette appeared first on Ying McLane.

While I was making my Three Weekend Portrait Painting masterclass, I realized that many people have a bit of a hard time transitioning from watercolors or acrylics to oil painting because no one has ever explained to them the basics of oil painting.  

So I am going to make a series of posts about this topic. 

And even if you are an experienced oil painter, you may find something helpful. So here we go.

First, we will start with Canvas:

Why choose canvas? 

Reason number one: Oil paints is a dense and heavy material so cotton and linen are ideal surfaces to hold an oil painting. 

Reason number 2: Canvas is a much lighter material than wood board. It’s easy to transport. And has the same longevity. 

How do artists choose canvas? 

The answer is, depends on your budget and your experience.

The two canvas materials are cotton and Linen. 

I love the cotton canvas. It’s affordable and easy to paint on. Linen canvas is smoother than cotton but it’s also more expensive, great for painting detailed portraits. 

You can buy canvas rolls and stretch bars to stretch your canvas. But I advise you to buy a pre-stretched canvas to save time. And they are not much more expensive.  

A good canvas will be tightly wrapped around the bars.  Beware a loosely stretched canvas.

A good tip: If you have a loose canvas, you can spray the back with a water mist bottle and let it dry in the sun. 

Most store-bought canvas already has been primed. But I suggest you do your priming anyway. I have made a post about why you need to do so and how to prime your canvas in the last week’s blog. You can access it here: https://yingmclane.com/the-best-way-to-gesso-the-canvas/

The frame of the canvas is important, especially for larger pieces. If your canvas is 24”x36” or larger, you will want to get a canvas with a horizontal bar going across the middle of the canvas. Better yet, a crossbar in the back as support. 

If you are a beginner who just learning to paint with oil, I suggest you get canvas boards, canvas pads, or stretched canvas in small sizes and sold in bulks in art stores.  

Because you will need to do a lot of practice painting and those are very reasonably priced choices.

Hope this post is helpful. Let me know if you have any questions! 

The post How to choose the right canvas for oil painting? appeared first on Ying McLane.

What is gesso?

Gesso is a paint-like substance that is brushed on a canvas or substrate to prepare it for painting. Its purpose is to protect the canvas from paint and provide a smooth painting surface.

Originally, gesso was a mixture of animal glue and gypsum(usually rabbit skin glue) applied to a wooden panel so a painting wouldn’t wash away. In the 14th century, gesso started as a primer for wood panels. This gesso primer allowed tempera paintings to stick to the painting support and last longer because the paint would sink in more evenly instead of unevenly in the wood grain.

But we don’t need to have an art history lesson here. Let’s talk about modern gesso—the gesso most artist use today. 

Created in 1955, modern acrylic gesso acts as a canvas sealant, a primer, and a painting ground and comprises an acrylic polymer medium (glue) and calcium carbonate (chalk). It’s similar to traditional gesso but more versatile and easy to use.

Why do you need to use gesso? 

You always need to gesso your canvas if you want to paint with oil because the oil will seep through the canvas over time and break down the fibers if you don’t have gesso to protect the surface. 

Theoretically, you don’t need gesso if you paint with acrylics, because acrylic paint is made of plastic substance and will not cause harm to the canvas. 

But in my personal opinion, it doesn’t matter if you paint with oil or acrylic, it’s best you gesso your canvas to prevent the paint sink into the canvas. Gesso will also make the surface smoother to paint. And because gesso contains chalk, the paint will stick to the surface better. 

There are two different grades of gesso: Artist-grade and Student grade. The difference between the two amounts to the different ratios of pigment vs. filler. The Student’s grade is cheaper because it contains more filler than the Artist’s grade. The artist’s grade has more pigment than the Student’s grade, making it thicker and more opaque. These differences are reflected in the price, and also in the quality. 

My favorite gesso brand is this one: https://amzn.to/459lBuY ( I thank you in advance if you choose to use these links in my blog to shop art supplies. This will not add any extra cost to you, and it will support this blog over time). 

I used to directly put down the gesso on the canvas and use a big brush to spread it. But somehow it will always leave hard ridges that I can’t sand off.

Now I found the best way to gesso a canvas:

Mix roughly 2/3 gesso and 1/3 water and gesso in 2 to 3 layers. The water makes gesso spread thinner and smoother.

Mix well and test on your canvas. Some gesso are thicker so you may need more water. You want a consistency that is easily spreadable but not running down to the sides. 

How do you gesso a canvas?

There are many ways to gesso your canvas, as long as you leave the layers even and smooth.

I like to start from the middle of the canvas if the canvas is a smaller size. 

First I pour some gesso and water mixture in the middle, then I spread it outwards with my brush. After that, I use strokes from left to right, from top to bottom to spread the gesso to the entire canvas, and repeat several times. 

For a bigger canvas, I will drop the same amount of gesso evenly throughout the canvas, then spread them from left to right. 

After I’ve done this, I then examine the canvas closely by tilting it in different directions, so I can see if there are any big paint ridges were missed. I usually give my final layer of gesso some sanding using sandpaper. 

Gesso is usually white. But you can also find grey, or black gesso in the store. 

If you already know what your painting background will be, you can also add acrylic colors to the gesso, to make a colored gesso ground. 

This is especially useful for paintings that have big areas of sky as background, or abstract painting. 

What do you use to spread gesso? 

I have followed advice from different people and spent a good amount of money on brushes, in the hope to find the best one for spreading gesso on canvas easily and smoothly. 

But I found the best tool to use is the cheapest foam paint brush like these: https://amzn.to/45bQZJl

How many layers of gesso do you need?

Even with pre-stretched stored-bought canvas, which usually already has a layer of gesso, I advise you still do at least two layers of gesso and water mixture. Because the store-brought canvas usually is gessoed by machine. The gesso on them is very thin. It will not be enough to allow your brushes to glide smoothly. I found two to three layers of gesso are the best. You can sand in between layers as well, to make it even more smooth.

You must make sure each layer is totally dry before you apply the next layer or start sanding.

You don’t need too many layers or sand down too much either. Or your painting surface will become too heavy and slippery to paint. Trust me, I have made all of those mistakes before so now you don’t have to.

Important Tip:

Remember to wipe off any drips of the gesso on the edge of the canvas. Or you will have hard ridges in those areas, and they are almost impossible to get rid of. 

Let me know if this post is helpful! 

The post The Best Way to Gesso the Canvas appeared first on Ying McLane.

1. Solid Color Extension

Pros: Adding a solid color extension to the canvas edges complements the main artwork and provides a clean and polished look. This method allows artists to choose a color that complements the painting, adding depth and coherence to the overall presentation.

Cons: While it offers a neater finish, this method still requires the use of frames if desired. Choosing the right color for the extension can be challenging, as it must harmonize with the painting without overpowering it.

2. Mirrored Edge

Pros: The mirrored edge technique involves replicating a part of the painting’s outer edge and extending it to the sides. This creates an illusion of continuity and a 3D effect, giving the artwork a more substantial presence. Mirrored edges work well with a wide range of paintings, including landscapes and abstract art.

Cons: Achieving a seamless mirror effect can be tricky and time-consuming, especially for intricate and detailed artworks. It requires careful planning and precision during the painting process.

3. Natural/Unfinished Edge

Pros: Embracing the natural or unfinished edge of the canvas can create an organic and raw aesthetic. This technique works well with certain artistic styles, such as impressionism or abstract expressionism. It saves time and effort, as it requires no additional painting on the edges.

Cons: Leaving the edges unfinished may appear unprofessional and less refined. It may not be suitable for all types of paintings, particularly those with a realistic or polished style.

4. Gallery Wrap

Pros: Gallery wrap usually involves stretching the canvas around the wooden frame so that the image continues around the edges. It provides a modern and contemporary look, eliminating the need for a frame. The artwork can be displayed without distraction, focusing solely on the painted image. The artist can also choose to leave the side unpainted or paint with a solid color.

Gallery-wrapped paintings are easy to hang, saving time and money on framing costs.

Cons: Gallery-wrapped canvas cost more than stretched canvas. So it may not be the best option for new artists.

5: Frame the canvas

Pros: If you don’t like any of these options, you can always frame the canvas. You can go to a professional framing service or buy your re-made frame. But sometimes you still need to paint the edges of the canvas, especially with a floater frame. Because most of them have a small gap between the canvas and the frame, you need to pay attention to whether you need to paint the edges or not.

Cons: It’s obviously more costly.

A tip to remember:

If you plan on exhibiting your new series of works at an art gallery, you should use the same frame for all of the paintings. Or leave the edges on all of your paintings the same look. This way you will achieve a more consistent and professional impression to the viewers.

Lately, gallery-wrapped canvas has been my favorite. Because it looks modern and clean, and it does not need a frame.

What’s your favorite way to finish your canvas edges? Please let me know and hope this article is helpful!

Cheering you on!
Ying

The post 5 Ways to Paint Canvas Edges: Pros and Cons appeared first on Ying McLane.

Well, my friends, here’s the thing: before you even pick up that brush or put pencil to paper, you’d better sort out your mindset first. If you don’t, you’ll find yourself battling fear, self-doubt, or worse, losing your unique artistic voice.

To take your artistic journey seriously, you need a positive and resilient mindset. It’s like a superpower that helps you tackle challenges, setbacks, and criticism head-on, giving you the strength to keep going and keep getting better at your craft. So, let’s get that mindset right and unleash our full creative potential.

1. Define Your Artistic Vision:

• What is your ultimate artistic goal? Describe your vision as vividly as possible. (e.g., becoming a master portrait painter, so you can paint your loved ones and your painting will become precious family heirlooms. )

2. Acknowledge Your Unique Voice:

• What makes your art distinct and authentic? List the characteristics that set your work apart from others. If you don’t have a unique style yet, no worries, just keep painting and writing. Your voice will come.

3. Define what’s your 20% consist of:

• There is a rule for success: 80% of your progress is made by 20% of your activities. Spend three hours trying to decide the best fonts to use for your artist’s website does not belong to that 20% activity. But planning and researching for your next painting collection is. What’s that 20% activity in your creative process and what’s not?

4. Embrace Creative Vulnerability:

• In what ways do you fear expressing yourself through art? Write down these fears and consider how overcoming them can lead to growth. Because writing is a powerful way to combat fear. Usually, when you write things down, you will find they are not so scary after all. So start writing.

5. Set Realistic Artistic Goals:

• Outline specific, achievable short-term and long-term artistic goals. Ensure they are challenging yet feasible. I like to break up my one-year goal into four three-month goals, I found it is clearer and easier to achieve. What’s your three-month goal?

6. Cultivate Resilience:

• How do you handle setbacks and criticism? Reflect on ways to build resilience and maintain a positive attitude despite challenges. (e.g.remind yourself of Henry Ford’s famous quote: “The short successes that can be gained in a brief time and without difficulty, are not worth much.”)

7. Practice Regularly:

• How often do you engage in artistic practice? Create a weekly schedule that includes dedicated time for artistic pursuits. Even a daily ten-minute pencil sketch can help you improve your artistic ability in the long run. So what’s your plan?

8. Explore and Experiment:

• Step out of your comfort zone and try new art forms, techniques, or styles. Embrace the process of experimentation and learning. Have you tried mixed media? Gouache? Acrylic ink? Experimenting is creating and it’s fun!!

9. Find Inspiration:

• Identify sources of inspiration that fuel your creativity. These could be the works of other artists, nature, books, music, or personal experiences. Do you have a routine to nurture your creativity? Have you had an artist’s date with yourself lately?

10. Celebrate Achievements:

• Acknowledge and celebrate every artistic milestone, big or small. Rewarding yourself will motivate you to keep going. What’s your small win this week?

11. Seek Constructive Feedback:

• Who can provide you with honest and constructive feedback on your work? Reach out to mentors, peers, or art communities for guidance. Join my private Facebook group here: https://www.facebook.com/groups/1437940910025060

12. Examine your negative thoughts

• What negative thoughts or self-doubts hinder your artistic growth? Challenge these thoughts and replace them with positive affirmations.

13. Balance Creativity and Critique:

• Find a healthy balance between creating freely and self-critiquing. Avoid over-analyzing during the creative process. How often do you feel you have no inspiration? This could be a sign that you have been overanalyzing.

14. Connect with Your Audience:

• How can you connect your art with your intended audience? Consider ways to communicate your message effectively. Do you have a supportive local or online artist group?

15. Gratitude and Mindfulness:

• Practice gratitude for your artistic abilities and the opportunity to create. Stay present and mindful during the creative process. What are you grateful for today?

Remember, developing an artist mindset is a journey of self-discovery and growth. Be patient with yourself and keep nurturing your creativity with passion and dedication. Happy creating!

We want solutions, but what we really need are attitudes.
You don’t need abs, but rather an attitude of training. You don’t need the answer, but rather an attitude of curiosity. You don’t need an easier life, but rather an attitude of perseverance.

Attitude precedes outcome

James Clear

The post 15 Essential Artist Mindset appeared first on Ying McLane.

Edges are the hidden secrete between a good and a not-so-good painting.

When it comes to creating a visually engaging and dynamic painting, one often overlooked but crucial aspect is the management of edges. 

Edges refer to the transition between different shapes, values, or colors within a painting. 

It usually takes a trained eye to see the differences edges can make in a painting intentionally. When we were little kids, we always drew clear lines to define every single edge, right? 

There are three main functions of edges:

1: Creating Depth and Dimension:

By just differentiating between hard and soft edges, you can create a sense of depth and three-dimensionality. 

By manipulating the sharpness or softness of edges, you can suggest objects receding into space or coming forward toward the viewer. 

Generally, sharp or crisp edges tend to come forward, while softer or blurred edges recede. 

By consciously employing this technique, you can add depth to your paintings, making them more visually captivating.

See this randomly found landscape painting. For example, the foreground is clearly defined. And the further away in the distance, the more blurred edges are. Until the furthest mountain looks almost melted with the sky, thus creating a great sense of depth and interest in this painting. 

2: Establishing Focal Points:

By selectively sharpening or accentuating edges in certain areas, you can draw the viewer’s eye to specific elements or points of interest in your composition. 

Utilize crisp edges for your focal points while keeping the surrounding areas softer to maintain a sense of balance and harmony. This technique can help create a strong visual impact and guide the viewer’s exploration of your artwork.

See this Still Life With a White Mug by Jean Siméon Chardin, ca 1764—The sharp edge of the knife draws the viewer’s eyes right away. Then the mugs and fruits guide the viewer to explore the different colors and shapes of the objects until our glazes are lost in the soft edges in the background. 

3: Conveying Mood and Atmosphere:

Edges can also be utilized to convey the mood and atmosphere of a painting. Soft and diffused edges can create a dreamy, ethereal ambiance, while sharp and well-defined edges evoke precision and clarity. Experiment with different edge treatments to capture the desired emotional resonance of your subject matter. Whether it’s a serene landscape or an intense portrait, the edges you choose can significantly contribute to the overall atmosphere of your artwork.

One of the old masters of edges is Vermeer. You can see his mastery of edges in his most famous painting: the girl with pearl earrings.

Very few of the edges in this painting are clearly defined. Even the reflection of the earrings, which is a highlight, and high light usually painted with clear edges, was intentionally blurred a little. The emotional effect:  evoke a soft, tender, and dreamy mood in every person who ever saw this masterpiece. 

Two important things to remember:

1: Avoiding Excessive Detail at the Edges:

While it may be tempting to paint every edge with intricate detail, it is essential to exercise restraint and avoid excessive busyness along the edges. Too much detail can distract the viewer’s eye and create visual clutter. Instead, focus on defining the edges critical to the composition and the story you wish to convey. Leave some edges soft and suggestive, allowing the viewer’s imagination to fill in the gaps and engage with the painting on a deeper level.

This randomly found the image on the internet clearly shows us what NOT to do: please do not paint every detail of a person’s face with hard edges. 

2: Alternating Soft and Hard Edges:

A well-balanced painting often incorporates a mix of soft and hard edges. Smooth edges provide a sense of atmosphere, depth, and transition, while hard edges offer definition and clarity. Experiment with both types of edges to create variety and visual interest within your artwork. Use soft edges to blend and connect different elements, and employ hard edges strategically to accentuate specific areas or objects.

I hope this post is helpful! Please leave a comment if you have any thoughts or questions!

The post Edges in paintings appeared first on Ying McLane.

As a portrait artist, I faithfully followed my teachers’ instruction: do a complete pencil or charcoal drawing on paper first, then transfer the drawing onto canvas, then paint.

But ever since I discovered that you could directly sketch on canvas, my painting life has been so much easier!

There are only three steps:
1: Priming the canvas with gesso. It helps achieve an even texture and enhances the durability of the artwork.

2: Use a graphite pencil or charcoal directly sketch on canvas. I like to use charcoal because pencil marks are more challenging to see on a canvas than on paper. Also, I can smudge charcoal to make different shades instantly. See my before and after photos of my newest painting at the end of this post.

You can do a full-value range drawing or simply do an outline. But you must take time to ensure the drawing is correct because you skipped the drawing on paper stage. Below is a drawing I directly sketched on canvas.

3: After you are totally satisfied with your drawing, use a spray sealer to protect your drawing, so it won’t get smudged when you paint over it.


You must take your painting outside for the spray, and hold your breath when you spray.

How to spray: seal the can first, then spray circular motions about two to four inches from the canvas.
After that, I will leave the canvas outside to dry for about 30 minutes.

This approach allows for preserving initial sketch details while adding richness and depth by applying oil paints.

Of course, regular practice of drawing is important. This post is meant to give you another option when you paint under time constrain or want to explore a new method.

Below is the final painting from the drawing on canvas.

I hope this post is helpful!

Cheering you on!

Ying

The post How to directly sketch on canvas appeared first on Ying McLane.

I share two ways to tell your story through your art in this post.

1: Tell the background and inspiration behind your art:

Behind every brushstroke lies a story waiting to be told. As an artist, it is essential to share the background and inspiration that fuels your creative process. 

By revealing the narrative behind your artwork, you invite viewers to understand the context and connect with the deeper layers of your expression. Whether it’s a personal experience, a social issue, or the beauty of nature, articulate the story that sparked your artistic journey. This allows your audience to engage with your art on a more profound and meaningful level.

2: Communicate the mood and spirit through your art:

If you don’t have a story behind your art, you can express your mood and your emotions through your art. Colors, shapes, and textures all contribute to the mood and spirit of a painting. As you create, consider the emotions you want to evoke in your viewers. Are you aiming for tranquility, excitement, or contemplation? By consciously selecting colors and employing various techniques, you can convey specific feelings and atmospheres—experiment with warm tones for passion, cool hues for calmness, or vibrant splashes for energy. Use brushstrokes to create movement or stillness, and let the composition speak volumes. Remember, the mood you infuse into your artwork will resonate with your audience and help them connect with your story.

Here is an example of my new painting series, “ Blue Symphony.” Do you feel a sense of calmness and lightness in these paintings?

Last, while it is essential to provide some background and convey the intended mood, it’s equally important to let your art speak for itself. 

Paintings can communicate beyond words, sparking emotions and engaging the viewer’s imagination. Each stroke, color choice, and composition tells its own tale. As you create, trust in the language of your art, allowing it to convey your story without overpowering it with excessive explanation. This invites viewers to interpret and connect with your work in their own unique way, creating a more intimate and personal experience.

Art is a universal language that transcends boundaries, and by telling your story through your paintings, you invite others into your world. By sharing the background and inspiration behind your art, you provide a deeper understanding and connection for your audience. 

By deliberately infusing the mood and spirit into your artwork, you evoke emotions and create a lasting impact. Remember, your art has a voice of its own; allow it to speak and touch the hearts and minds of those who encounter it. So go ahead, let your creativity flow, and paint your story for the world to see. 

Tell me the story behind your art—that would make my day!!

The post How to tell your story through your art appeared first on Ying McLane.

When I took an oil portrait painting class in art school, my teacher told us to use at least two layers of white gesso to prime the canvas. So that’s how I did it over ten years. 

Only recently, I started to use colored acrylics as my primer and underpainting. 

The reason: it’s quick and more efficient. 

First of all, as long as you use at least two layers of acrylics before applying oil paint, your canvas will be ok.

Second, acrylics dry fast and flat. 

I use acrylics to lay out the large structures and primary colors of the painting to get a grip on how the picture will turn out. Then I paint oil over it.

Third, it’s simply time-saving.

 I use oil to do detailed areas like faces or skin. Or the areas need rich and nuanced colors. Oil is perfect for mixing and blending for that purpose.  But when it comes to places that I feel already look good, like some background areas,  I will leave it alone. So to save time, and my paintings will also shows the spontaneous and raw energy when I first lay down my brushes.

Acrylics is great, but I just love the richness of oil and the nuance of colors it can create. 

See my newest painting, the before oil and after oil pictures, below. 

Last, many artists have asked me how to improve their portrait painting skills. And I’ve seen so many of them making the mistake of taking course after course but still seeing little to no improvement in their quality of work.  And that’s just backward. 

So I am putting together a mini course for free to teach artists three simple steps to paint a portrait that would help them get a grip on the foundation of portrait painting. Would this be of interest to you? Please let me know. 

The post Why you should try to paint oil over acrylics appeared first on Ying McLane.

As an artist with a creative brain, I often find myself with ten ideas popping up at the same time, and each one seems irresistible at the moment. So sometimes, I catch myself going from one task to the next—in other words, I am easily distracted by my own genius. LOL. Do you have the same problem?

Yesterday, I heard a report that gave me an “Aha” moment: research has shown that multitasking comes with a steep price—a significant loss of productivity. Each time we switch from one task to another, our productivity drops by approximately 20%. This loss occurs due to the time it takes for our brains to disengage from one task and reorient themselves to a new one. For artists, there are two major factors that contribute to this loss:

1. Loss of Concentration and Flow: Art requires an undivided focus that allows us to immerse ourselves in the creative process. Multitasking divides our attention and prevents us from fully engaging with our artistic endeavors. When we attempt to juggle multiple tasks simultaneously, our concentration becomes fragmented, leading to a loss of the flow state—the magical zone where creativity thrives.
2. Quality vs. Quantity: As artists, we strive to create meaningful and impactful work. However, when we multitask, our attention is divided, which can compromise the quality of our creations. By focusing on one task at a time, we can dedicate our full energy, attention, and creative spirit to bring our vision to life. Remember, it is better to produce one exceptional artwork than several mediocre ones.

Of course, each individual is different. There are artists who can paint several paintings at the same time. This post is more about switching from one style of activity to the next, such as moving from painting a series to submitting to galleries to preparing an art business launch. I hope this post is helpful to you. Let me know what the biggest problem in your creative journey is right now by replying to this email.

Click this link to read more about creativity: https://yingmclane.com/5-ways-to-beat-creative-block/

Cheering you on!

Ying

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