So many of you showed interest in my Color series ebook. Don’t worry, I am working on it, and will keep you updated. 

Today we will continue our color series—the revolutionary Impressionists and how they changed the way we look at art. 

1: How traditional artists use colors

2: The rise of The Impressionism

3: Examples 

4: How to use Impressionist Techniques for Vibrant Paintings

1: How traditional artists use colors

Traditional artists since the Renaissance have primarily utilized local color in their paintings. 

Local color refers to the true color of an object as it appears under neutral white light. 

For example, in these two beautiful portraits made by 16 century Germain painter Hans Holbein the Younger, you can see even the background is vibrant blue, the artists didn’t paint any reflected blue light on the person’s skin. And the shadows are combinations of blacks and browns.

Hans Holbein the Younger (1497-1543) – Portrait d’Hermann von Wedigh III

Portrait of a Lady with a Squirrel and a Starling 

2. The rise of Impressionism

As the wheel of time turned to the 19th century, it brought the rise of the Impressionists to prominence. 

They propelled color to the forefront in the art world, revolutionizing the traditional artist’s approach to color. 

Few art movements have had as profound and lasting an impact as Impressionism. 

This movement was not just a stylistic departure but a radical rethinking of how art interacts with the natural world. 

At the heart of Impressionism is a focus on capturing the ephemeral moments of light and color, offering a fresh perspective that continues to inspire artists today.

Instead of seeing color as merely the object’s local tone, the Impressionists painted the colors as they perceived them with their eyes, understanding that light can dramatically alter colors. Under varying lighting conditions, skin tone is not just the pasty pinkish-yellow; it can appear blue, red, green, shadows are not just made of blacks and grey, but a mixture of colors like blues, purples, greens, etc

3. Examples:

Some of my favorite Impressionists are Claude Monet,Edgar Degas,Camille Pissarro, Berthe Morisot, and Mary Cassatt. 

Let’s take Degas’s famous ballerina paintings as an example: Notice that in each of these paintings, the ballerina’s skin tone takes on the color of the environment. This means that the skin tone includes many patches of greens, blues, and reds—colors that would never appear in traditional skin tones.

4: How to use Impressionist Techniques for Vibrant Paintings

To infuse your paintings with the vibrancy and light of Impressionism, consider adopting some of their revolutionary techniques:

1. Observe Light and Its Effects: Pay close attention to how light transforms colors and shapes in the natural world. This will help you understand how to replicate the dynamism of light in your work.

2. Experiment with Color Temperature: Use warm and cool colors to create contrast and depth. Placing them next to each other can make your paintings pop with life.

Camille Pissarro, The church and farm at erany

3. Break Down Objects into Color Patches: Rather than focusing on detailed outlines, try to see your subjects as a collection of color patches. This can help capture the fleeting impressions that the Impressionists so cherished.

Mary Cassatt, Mother and child

4. Use Complementary Colors for Shadows: Instead of traditional greys or blacks, experiment with complementary colors for shadows to add vibrancy to your paintings. 

Berthe Morisot, Young woman seated on a sofa

5. Embrace Plein Air Painting: Like many Impressionists, painting outdoors can provide you with a direct experience of light and color, enriching your work with authenticity and immediacy.

The Impressionists revolutionized the art world with their innovative use of color and light, offering a new way of seeing that transcends the boundaries of time. 

To know more about this movement, click this link: https://www.metmuseum.org/toah/hd/imml/hd_imml.htm

By adopting their techniques and embracing their spirit of experimentation, you can bring a piece of that revolutionary vibrancy into your own paintings. 

I am planning on using many of these tips I shared with you in my future paintings.

Let me know what you think about this post, or share with an artist friend !

The post Color series 9 – The Impressionists: appeared first on Ying McLane.

However, diving into custom pieces isn’t always a walk in the park. My top takeaway? Communication is absolutely critical.

I recently wrapped up a commission for a wonderful mother and her kids. The starting point was a photo of them in front of their house. We decided to switch up the backdrop to something more nature-inspired.

Being a big fan of vibrant blues, I whipped up a few backgrounds featuring blue-hued palm trees and flowers. I was quite pleased with the outcome. But when I shared it with my client, her reaction wasn’t as enthusiastic as mine. She responded by texting me a picture of a book cover adorned with cherry blossoms, showcasing a more subdued, gentle color palette.

That’s when it clicked—she’s more of a serene introvert, drawn to art that exudes a calm, soothing vibe.

I’m so glad I started off with a mockup. It really helped to nail down exactly what she was looking for.

It’s a common scenario where clients might not have a clear idea of what they want or struggle to articulate it. That’s where digging deeper or presenting mock-ups can make all the difference. Often, seeing is believing, helping them pinpoint their likes and dislikes.

Throughout the painting process, I made it a point to send her updates with progress shots, keeping the door open for any tweaks she desired.

She requested to be depicted without her glasses and for her children’s outfits to be changed, which I managed without a hitch. 

However, painting her son’s hand was a bit tricky—shifting from a short to a long sleeve meant rethinking the pose, ideally with his hand in his pocket. 

I made several attempts to paint from imagination, but something always didn’t feel right. 

Frustrated, I suddenly remembered that a couple of my own sons’s portraits hanging on our wall showed them with their hands in their pockets. 

So, I went back to my house and checked out these photos. One of the photos was exactly what I needed, allowing me to finish that part with satisfaction.

So here is Lesson two: Flexibility and resourcefulness are key in commissioned work. Sometimes, you’ve got to improvise to fulfill those expectations.

Lesson Three: Strive to Be an All-Around Artist

Don’t limit yourself to just one artistic category. 

For most artists, having multiple sources of income is crucial. Indeed, there are artists who solely display their work in galleries and consider their job done. However, based on my experience, even artists who are represented by multiple galleries often need additional revenue streams to sustain their business.

This is why being an all-around artist is not just advantageous for your artistic growth but also essential for maintaining a thriving art business. 

Currently, I am creating paintings that including both landscapes and portraits. I exhibit my work at various locations around town, offer private and group lessons from my home, and have developed several online courses to help my students accelerate their progress. 

Additionally, I am active on social media and am learning about marketing to increase the visibility of my art.

Yes, it requires a lot of effort, but I approach it with joy. After all, pursuing your passion is one of the most rewarding experiences in life!

Last, I’ve put together a quick video of the entire painting journey. Feel free to check it out on my Instagram. And hey, while you’re there, please click the follow button—I’ll hit you back with one, too!https://www.instagram.com/reel/C5BkS8VuHRv/?utm_source=ig_web_copy_link&igsh=MzRlODBiNWFlZA==

With warmest regards,

Ying

PS: remember, you are just one piece of art away from your next breakthrough! 

The post Three lessons for you from my recent commissioned artwork appeared first on Ying McLane.

1. Hue

Simply put, hue refers to the name we give to colors, such as yellow, red, blue, turquoise, magenta, and so on.

Hue describes color families, rather than specific shades. like red, not magenta or scarlet.

Each hue has a wide range of colors within it thanks to variations of values and chromas. 

2. Saturation (Also Known as Chroma)

Saturation, or chroma, indicates the intensity or purity of a color. It denotes how much gray is mixed with the hue. 

In the color wheel example below, you can see the saturation increases as you move toward the outer edge and decreases toward the center. Thus, a color becomes duller as more gray is mixed in, and conversely, a color appears more intense the purer it is.

Painting Tip: To achieve a duller, earthier color, you can either add gray or black to a color or introduce the complementary color, which is located on the opposite side of the color wheel.

3. Value

Value refers to the lightness or darkness of a color. 

On a color wheel, adding white increases a color’s value, making it lighter, while adding black decreases its value, making it darker. 

Value is a crucial concept in art, arguably even more important for beginners than color itself. Many contemporary artists alter the color of their subjects, such as in portraits, to create an interesting artistic style. As long as the values are accurate, the subject remains recognizable, contributing to a compelling piece of art.

4. Color Harmony

Now that you have a basic understanding of hue, saturation, and value, you’re equipped to create color harmony in your paintings, enhancing their aesthetic appeal and visual interest.

Here are some basic color schemes:

Analogous: Utilizes colors next to each other on the color wheel, sharing similar hues (e.g., blue, blue-purple, purple). Landscape painters often employ this scheme for its ability to evoke peace and calm.

19th-century English painter George Turner’s paintings used analogous earth colors to describe the romantic landscapes of the English countryside. 

Complementary: Involves colors opposite each other on the color wheel to create drama and contrast (e.g., red vs. green, yellow vs. purple, blue vs. orange). This is currently my favorite scheme because it can quickly capture attention and generate strong visual interest. I used a complementary color scheme of orange and blue to paint this wave painting. 

Split Complementary: This scheme uses a color plus the two colors adjacent to its complementary color (e.g., blue, yellow-orange, and red-orange).

Paul Gauguin: “Vision After the Sermon”

Gauguin’s “Vision After the Sermon” exemplifies the split complementary color scheme. The painting contrasts reds with greens and a yellowish-green, offering a vibrant visual experience while maintaining a balance that is less intense than a direct complementary scheme.

This approach allows Gauguin to explore bold color contrasts that still achieve harmony and depth.

Triadic: Features colors that are equally spaced around the color wheel, such as red, yellow, and blue.

Piet Mondrian:“Broadway Boogie Woogie”

Mondrian’s “Broadway Boogie Woogie” perfectly illustrates a triadic color scheme, utilizing primary colors: red, yellow, and blue. This painting, inspired by the bustling streets of New York and jazz music, features a grid of white, black, and gray lines with blocks of the three primary colors. The triadic scheme creates a vibrant, rhythmic composition that mirrors the energy of the city and its music.

I hope this post has helped you grasp the basics of color theory. Feel free to ask any questions you may have!

The post Color series 7: Understanding the Differences Between Hue, Saturation, and Value appeared first on Ying McLane.

1. Opaque
2. Transparent
3. Translucent
4. Tinting strength 
5. Simple Exercise

1. Opaque Color

Just like the name suggests, opaque oil colors are thick and dense. This is because the pigments usually contain clays, iron, or heavy metals, resulting in great covering strength. Opaque colors are often used in direct painting methods, or as the final layer of a painting.

Commonly used opaque colors are:

• All Cadmium colors
• Yellow Ochre
• Naples Yellow
• Titanium White

2. Transparent Color

Transparent colors are a subset of paint pigments that, as the name suggests, allow light to pass through them. When applied in thin layers, they maintain their transparency, which is a valuable characteristic for artists. They typically come from colored liquids mixed with chalk or other substances to give body to the paint.

When brushed in a thin layer on a surface, you will see the colors are clear and show through the color underneath it. These colors are invaluable for creating subtle shifts in color, depth, and luminosity in a painting.

Typical transparent colors are:

• Quinacridone Red (also called Rose Red, Halo Red, or Permanent Rose)
• Ultramarine Blue
• Cerulean Blue
• Transparent Oxide Brown

Check this link for a detailed post about transparent color: https://yingmclane.com/how-transparent-colors-elevate-your-painting/

3. Translucent Color

Neither totally opaque nor totally transparent, translucent colors are in between. When brushed in a thin layer, a translucent color will appear cloudy. They work well when applied over another color, allowing the lower layer to show slightly through, creating an interesting layered effect.

Typical translucent colors are:

• Zinc White
• Green Earth colors

4. Tinting strength

Tinting strength means the ability of a color can affect other colors when mixed together. 

When use colors with high tinting strength, like when you use Cadmuim Red to mix with skin tone and add warmth to it, you only need to use a very tiny amount of it or it will over powering the mixture.

Colors with low tinting strength, on the other hand, is very easily overwhelmed by other colors when you mix them together. Naples Yellow is a typical low tinting strength color. 

5: Simple Exercises

Doing a simple color density test, or tint test, is a good way to identify and get familiar with colors. Grab a canvas or canvas pad, lay out the color you’d like to test, organizing them by groups like reds, yellows, blues.

Now, put down a brush width of the color directly from the tube. Next, use a little linseed oil to mix with each of the samples and make a brush width of color under the original color. This is for testing the transparency of each color. Lastly, mix the original color with a little Titanium White, to test the tint of each color.

Now for each color, you will have three squares of color variation to test. Compare each variation and see the transparency and tint of each color. 

Since the colors straight from the tube could be deceptive to the eyes or they may appear the same in a color group. By making these tests, you can see the color’s true identity and have a better understanding of each color’s property.

Hope this post is helpful. Leave a comment or share with a friend!

The post Color Series 3: The Character of Color appeared first on Ying McLane.

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.

1: The Two Painting Stages You May Need Mediums

2: The Fat Over Lean Rule

3: How to Follow the Fat Over Lean Rule

4: An Important Rule to Remember

5: Some Other Popular Paint Mediums

1: The Two Painting Stages You May Need Mediums

There are two stages where you will likely need mediums when creating an oil painting:

A: At the beginning stages when you create a wash of colors, block the masses, or make a detailed underpainting.

B: During the painting process where you want to make your brushstrokes smooth and easy to glide on the canvas, making detailed paintings, or prolonging the drying time.

But before we start, we need to talk about a fundamental principle of oil painting: the Fat Over Lean rule.

2: The Fat Over Lean Rule

What is fat over lean? It means that the paint layers that are thinner (contain less oil) should be placed first on the canvas. The top layer on the top should be “fatter” (contain more oil) with each subsequent layer when you paint.

The reason is simple: oil paints are made of two components—binders and pigments. Binders play a crucial role in the composition of oil paints, affecting not just their consistency but also their durability and appearance on canvas. 

Because oil paint contains oil like linseed oil, walnut oil, or poppyseed oil, it expands and contracts slightly when it dries.

Because of this, if the paint layers on the bottom contain more oil than the layers on the top, then when oil paint dries, it will expand or contract at a slower speed than the top layer. The result is a cracking appearance on the canvas.

So, that’s why we need to follow the “fat over lean” rule when painting in oil.

(this picture above is why you need to follow the fat over lean rule)

3: How to Follow the Fat Over Lean Rule

We need to understand that there are two kinds of oil mediums:

A: The first one is thinning (breaking down) the oil paints. That’s what we generally call “paint thinner.” These products are what we use at the beginning stage of painting, like making washes, drawing masses, or making underpainting.

Mineral spirits and turpentine are the most commonly used thinners. Turpentine oil is a colorless fluid derived from the resin of certain tree species, including pine trees. Mineral spirits are made of 100-percent petroleum distillates and have no additives. Mineral spirits are a clean, clear product used for thinning oil-based paint.

I have been using this Gamblin odrless mineral spirits for years and loved it: https://amzn.to/3sEnsug ( note: if you puchase products through my amazon link, it will not add any extra cost to you. And I will get a very small commission from Amazon, so you will be able to contribute in supporting this blog.)

It’s important to remember that paint thinner describes the function of the product, not necessarily its makeup. So, paint thinner can essentially be anything that thins paint.

Another important role these products can play is cleaning your brushes. 

I usually give my paint brushes a wash in mineral spirits after I finish a session and then wash them clean with Master’s cleanser.

B: The second one is adding more oil (fat) to the paints to make it easy to slide on the canvas when you paint. This is what you will use in the middle stage of the painting.

Linseed oil is one of the most commonly used oil paint binders. Extracted from flax seeds, artists can manipulate its drying time. Linseed oil enhances the luminosity of colors and provides a glossy finish to paintings. 

This is the one I always have in hand: https://amzn.to/47Kj2kg 

Other popular mediums include walnut oil and poppyseed oil. If you are looking for prolonged drying time, check out walnut oil—with its pale color and slow drying time, and has a rich, clear finish. And poppyseed oil is known for its light color and subtle, silky texture—making it ideal for delicate brushwork.

4: An Important Rule to Remember

Use mediums only when needed. Because all mediums will more or less alter the density of the paint, thus affecting the temperature, vibrancy, and stability. Linseed oil and other mediums are known to darken the color with age. Since there are already oil binders in oil paints, in most paintings, there is really little need to add excessive muddiness.

Before we close this post, I want to briefly introduce other paint mediums:

5: Some Other Popular Paint Mediums

Liquin fast drying medium 

If you want to paint fast, try liquin fast drying medium. it halves the drying time of oil colour and reduces brush stroke retention. Creates a smooth, gel-like paint film that is easier to work with. Liquin allows the paint to dry faster and makes working with multiple layers easier.

This is the one I use when I need to paint fast in time for a show: 

https://amzn.to/47znPpa

Galkyd: Accelerating Drying Time

For those who prefer a faster drying process, Galkyd is a valuable medium. It accelerates the drying time of oil paints while maintaining a smooth and glossy finish. Artists often use it in layers to build up their paintings efficiently.

Impasto Gel: Creating Texture

Impasto gel is the go-to medium for artists who wish to add texture and depth to their paintings. By mixing this gel with oil paint, you can create thick, expressive strokes that leap off the canvas. It’s a fantastic way to add drama and dimension to your artwork.

Cold Wax Medium: Matte Finish and Collage

Cold wax medium is a unique addition to the oil painter’s toolkit. It not only extends drying time but also yields a matte finish. Artists often use it for collage techniques, creating layers and adding complexity to their compositions.

Oil Sticks: Direct Application

Oil sticks are a delightful departure from traditional tubes of paint. These versatile tools allow artists to apply paint directly to the canvas, offering a tactile and expressive approach to oil painting. They are especially popular among artists who enjoy the immediacy of drawing with paint.

As you embark on your oil painting journey, consider experimenting with different mediums to unlock new possibilities and enhance your artistic voice. Each medium brings its own set of characteristics, allowing you to tailor your creative process and produce works of art that captivate and inspire.

If you like this post, comment, and share it with a friend! If you like to learn about how to mastering brushstrokes, check out this post: https://yingmclane.com/mastering-the-art-of-oil-painting-brush-strokes/

The post Oil Painting Mediums Demystified appeared first on Ying McLane.

One such technique that can significantly enhance your paintings is the use of transparent colors for glazing.  

I thoroughly enjoy to see a beautiful masterpiece that skillfully employed transparent colors. 

What are Transparent Colors?

Transparent colors are a subset of paint pigments that, as the name suggests, allow light to pass through them. When applied in thin layers, they maintain their transparency, which is a valuable characteristic for artists. These colors are invaluable for creating subtle shifts in color, depth, and luminosity in a painting.

Here are some famous classical and modern paintings used transparent colors for you to enjoy:

• “Primavera” by Sandro Botticelli: Botticelli’s “Primavera” features transparent colors that add to the radiant quality of the painting, particularly in the flowing robes of the figures and the softness of the landscape.

• “Portrait of Adele Bloch-Bauer I” by Gustav Klimt: Klimt’s iconic use of gold leaf and transparent colors in this portrait adds a sense of opulence and luminosity to the artwork.

• “Autumn Rhythm(Number 30)” by Jackson Pollock: Pollock’s drip painting technique involves transparent colors, creating a sense of energy and movement in this abstract expressionist masterpiece.

• “Four Darks in Red” by Mark Rothko: Rothko’s exploration of transparent colors creates a sense of depth and emotion in his abstract paintings.

The Magic of Glazing:

Glazing is a painting technique that involves layering transparent or translucent colors over a dry layer of paint. This method is used to achieve a myriad of effects, such as adjusting the overall color temperature, adding depth, and enhancing the luminosity of your artwork. Glazing can bring a sense of unity and harmony to a painting, making it an essential skill for artists.

(art story: French painter Vigée Le Brunone is of the most successful women artists (unusually so for her time), particularly noted for her portraits of women, especially portrait of Queen Marie-Antoinette. )

“Self-Portrait in a Straw Hat” by Élisabeth Louise Vigée Le Brun: Vigée Le Brun’s glazing techniques contribute to the glowing complexion and the exquisite detail of the hat and dress in this self-portrait.)

Examples of Transparent Colors for Glazing:

• Alizarin Crimson: With its cool, transparent nature and bluish undertones, Alizarin Crimson is excellent for achieving beautiful, rich glazes, especially in portraiture and floral subjects.
• Cerulean Blue: This cool, transparent blue is a versatile choice for glazing, providing a sense of coolness and tranquility in your paintings.
• Viridian Green: A transparent green, perfect for creating subtle shifts in color and tone, particularly in landscape and foliage.
• Burnt Sienna: This warm, transparent brown is your go-to color for adding warmth and depth to your glazes, especially in earthy or natural settings.
• Raw Sienna: Similar to Burnt Sienna but with a more yellowish tone, Raw Sienna can be used for glazing to achieve a warm, golden quality in your artwork.
• Quinacridone Magenta: Known for its transparency and vivid color, Quinacridone Magenta is fantastic for glazing and can be used to create transparent pinks and purples.
• Transparent Oxide Brown: Specifically formulated for transparency, this color is perfect for creating deep, warm shadows in your glazes.

When using transparent colors for glazing, it’s important to remember that thin, controlled layers are key. 

Experiment with layering, and don’t hesitate to try different color combinations to achieve the desired effects in your paintings. 

Glazing with transparent colors is a subtle and nuanced technique that can elevate your art, providing depth, luminosity, and a sense of harmony that can truly bring your vision to life.

Remember that the degree of transparency can vary among different brands and even within the same brand’s range of colors, so it’s a good idea to test the specific paint you’re using for its glazing properties.

Additionally, it’s often recommended to use a painting medium like a glazing medium or a drying oil to enhance the transparency and flow of your glazes.

To learn about other painting brush techniques, check out this post: https://yingmclane.com/scumbling-painting-technique-what-you-should-know/

Let me know if post is helpful!

The post How Transparent Colors Elevate Your Painting appeared first on Ying McLane.

How brushstrokes can elevate your oil painting.

Nobody in art school ever really showed me the ropes on brushstrokes.

But after countless hours of putting paint on canvas, I’ve picked up some valuable insights into how oil painting brushstrokes can amp up a painting’s appeal. 

Nowadays, it’s almost second nature for me to grab different brushes and throw down a mix of strokes as my artwork takes shape.

Whether you’re a seasoned artist or just starting your creative journey, understanding the techniques behind brushwork can elevate your oil paintings to new heights. 

So I did a thought research on various brush strokes. I also added some famous paintings that utilize these strokes to create masterpieces to show you the big picture of oil painting brushstrokes. 

1. Alla Prima: Capturing the Moment

Alla prima, or “wet-on-wet,” is a technique where layers of wet paint are applied onto previous layers that are still wet. This method is perfect for capturing a moment’s fleeting light and atmosphere. 

Known contemporary American artist Richard Schmid is famous for this alla prima works. His painting always looks poetic and spontaneous with his supreme use of alla prima techniques. 

2. Scumbling: Adding Depth and Mystery

Scumbling is a technique that involves applying a thin, opaque layer of paint over an existing layer. This technique allows the underpainting to show through.

It is perfect for creating soft transitions, ethereal effects, and a sense of depth. 

An iconic example of scumbling can be found in Rembrandt’s “Self-Portrait with Two Circles.” The subtle blending and mysterious play of light on his face are achieved through the scumbling technique, adding depth to the portrait. 

3. Impasto: Creating Texture and Drama

Impasto involves applying thick layers of paint, often with a palette knife or a stiff brush, to create textured surfaces that stand out from the canvas. 

Vincent van Gogh was a master of this technique, as seen in his iconic work, “Wheat Field with Cypresses”, the impasto technique is used to give depth and three-dimensionality to the cypress trees, creating a sense of drama and vitality in the painting.

4. Glazing: Achieving Luminosity

Glazing involves layering translucent colors over a dry base layer to achieve luminous and vibrant effects. 

In “The Birth of Venus” by Sandro Botticelli, glazing is employed to create a captivating sense of luminosity and ethereal beauty. This iconic Renaissance masterpiece depicts the goddess Venus emerging from the sea. 

Botticelli’s use of glazes allowed him to achieve the soft, radiant skin tones of Venus and the graceful, flowing quality of her hair and drapery. The translucent layers of glaze create a luminous and otherworldly quality that enhances the divine nature of the subject and the dreamlike atmosphere of the painting. 

This painting exemplifies the skill and mastery of the Renaissance artists in achieving a sense of timeless beauty and perfection in their works.

In another post, I will explain how to use the glazing technique.

5. Dry Brush: Adding Texture and Detail

The dry brush technique uses minimal paint on a nearly dry brush, allowing the texture of the canvas to show through. This technique is perfect for adding fine details and textures. 

In “The Fighting Temeraire” by J.M.W. Turner, the dry brush technique enhances the details of the ship’s rigging and the play of light on the water.

6. Sgraffito: Revealing Hidden Layers

The term sgraffito comes from the Italian word sgraffito which literally means “to scratch.” 

This technique involves scratching through a layer of still-wet paint to reveal what’s underneath, whether this is a dried layer of paint or white canvas/paper. It’s particularly useful in impasto paintings, providing another level of texture as well as contrasting colors.

to read more about this technique click here:

In “Composition VII” by Wassily Kandinsky, you can see how he used sgraffito to create intricate patterns and reveal hidden layers of color, adding depth and complexity to his abstract masterpiece.

Brush strokes are not merely technical aspects of painting; they are the language through which artists communicate their emotions and visions. 

Remember, every stroke of the brush tells a story, and as you practice and experiment with different techniques, you’ll discover your unique voice as an artist. 

Until next time, keep painting and exploring the world of oil painting brush strokes. Who knows what masterpieces you might create along the way? 

to learn more about oil painting, check out this post: https://yingmclane.com/three-rules-in-the-art-of-oil-painting/

 Leave a comment below if you find this post helpful! 

The post Mastering the Art of Oil Painting Brush Strokes appeared first on Ying McLane.

I paint a lot and I have many paintbrushes that have been with me for over 5 years! 

So I will show you how to properly clean and preserve your brushes as well as an introduction to paintbrushes. 

Here is a simple guide to different paintbrushes:

The Different Brush Shapes

The world of artist’s brushes is incredibly diverse. Brushes come in a multitude of shapes, sizes, and materials, each with its unique characteristics and applications. Here are just a few examples of the most commonly used artist paintbrushes:

• Round Brushes: These versatile brushes are a staple for artists. Their fine point is perfect for precise details, making them essential for intricate work like portraiture.
  
  
  
• Bright Brushes: Known for their broad, flat bristles, these brushes are great for creating sharp edges and covering large areas with bold strokes.
  
  
  
• Fan Brushes: I love fan brushes!  I use two types of pan brushes to achieve different effects: the ones that are flat and stiff could be used to quickly paint tree leaves or add small water drops in seascapes.   The second staple of fan brushes I use are soft and fluffy, perfect for blending skin tones and all other areas that need to be smooth and soft looking.
  
  
  
• Filbert Brushes: A hybrid of round and flat brushes, filbert brushes have a rounded tip that allows for both detailed work and broader strokes. It probably is the most versatile of all brushes.
  
  
  

The Brush Materials 

• Synthetic vs. Natural Bristles: Brushes can have either synthetic or natural bristles. Natural bristles, often made from animal hair, are prized for their ability to hold and release paint smoothly. Synthetic brushes are often cheaper, durable, and can be a cruelty-free alternative.

The Brush Sizes 

The size of a brush is determined by its width, with smaller brushes being ideal for intricate work and larger brushes for covering more substantial areas.

The size 0 is the smallest, great for painting hairs and the smallest details. 

The bigger the number is, the bigger the size of the brushes will be. 

I like to use a big Bright shaped brush to lay down the background and the first layer of thin and flat paint. Then progress to smaller brushes as I build up my painting.

Why You Should Avoid Mix Brushes Between Different Mediums

.Here are some key reasons why artists typically do not mix brushes between different mediums:

• Contamination: One of the primary concerns is contamination of the brush and the resulting impact on the artwork. Residue from one medium can remain on the brush even after cleaning, leading to unintended color mixing or undesirable effects when switching to another medium.
• Medium Compatibility: Brushes are designed and manufactured to work optimally with specific mediums. Watercolor brushes, for example, are typically made with soft bristles that hold water and pigment, making them unsuitable for use with thicker mediums like oil paint, which requires stiffer bristles to handle the consistency of oil paint.
• Medium-Specific Effects: Different mediums require brushes with specific characteristics to achieve desired effects. For instance, acrylic brushes often have synthetic bristles designed to withstand the harsh chemicals and fast-drying nature of acrylic paints, while oil brushes have natural bristles that work well with the slow-drying and viscous properties of oil paints
• Longevity and Durability: The compatibility between brushes and mediums also affects the longevity and durability of the brushes. Using a brush with a medium it’s not designed for can lead to premature wear and damage to the brush. And you will not want to ruin your favorite brush because of this reason!
• Artistic Precision: Artists often develop a familiarity and preference for specific brushes for their chosen medium and style. Mixing brushes between different mediums can disrupt this familiarity and make it challenging to achieve the level of precision and control they desire.

My Favorite Paintbrush Brand:

My favorite brands are Princeton, Silver Brush, and Rosemary Co. 

How to Properly Clean Paintbrushes

Properly cleaning brushes is essential to maintain their longevity and ensure they perform well in your artistic endeavors. Here’s a general guide on how to clean brushes effectively:

Materials Needed:

• Water: For water-based paints like watercolors or acrylics, you’ll need water for cleaning.
• Solvent or Paint Thinner: If you use oil-based paints like oil paints or alkyds, you’ll need an appropriate solvent or paint thinner. Common options include mineral spirits or odorless turpentine.
• Container for Cleaning: Use a container, such as a jar or a cleaning basin, to hold the cleaning solution.   I use a stainless steel cleaner with tight seals. There is also a removable trainer cup inside it so the residue from paints will filter to the bottom.  
  
  
  
• Paper Towels or Rags: These are handy for wiping excess paint and solvent from the brushes.

Cleaning Process:

• Remove Excess Paint: Before cleaning, gently wipe excess paint off the brush using a paper towel or rag. This step minimizes the amount of paint that needs to be cleaned in the solvent or water.
• For Water-Based Paints(Acrylics/Watercolors):
  • a. Rinse the brush under running water to remove any remaining paint.
  • b. Swirl the brush in a container of clean water, gently agitating the bristles to release the paint.
  • c. Repeat the process until the water runs clear and there’s no more paint coming off the brush.
  • d. Gently reshape the brush to its original form.
• For Oil-Based Paint
  • Although Oil paints need more elbow grease and steps to clean than acrylics, but with proper care, your brushes will last a very long time! 
  • First, swirl the brush in a container with the appropriate solvent or paint thinner. Use enough solvent to fully immerse the bristles without submerging the ferrule (the metal part that connects the bristles to the handle).
  • Second, Remove the brush and wipe it on a paper towel or rag to remove loosened paint.
  • Repeat the process with clean solvent until the brush is clean.
    
    
    Reshape and Dry: After cleaning, gently reshape the brush to its original form. Lay it flat to dry, ensuring the bristles are not bent or misshapen. Avoid leaving brushes standing in water or solvent, as this can damage the bristles and the handle.

Additional Tips:

• Avoid using excessive force or harsh chemicals to clean brushes, as this can damage the bristles over time.
• Cleaning your brushes immediately after use can make the process easier and more effective. A couple of times I forgot to clean some of my favorite brushes and left them in my studio overnight, ended up ruining them because they were made of delicate natural animal hair.  I hope you don’t repeat my mistakes.
• If you have neglected brushes with dried paint, you may need to soak them in the appropriate solvent or use a brush restorer product to revive them. Follow the manufacturer’s instructions for these products.

Proper brush care and cleaning are essential habits for any artist. By following these steps, you can help ensure your brushes remain in good condition for many years to come!

Let me know if this post is helpful and happy painting!

The post All about paintbrushes and the best way to clean brushes 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.