Landscape may be something else that a gallery chooses to specialise in. This is all about how an artist interprets the visual world. The romantic period saw people venture out into landscapes that were once considered dangerous and not very interesting. Now artists wanted to capture the visceral beauty of landscape in all its glory. These paintings are still exceptionally popular.

People who are attracted to more modern forms of art may find landscape boring. These people prefer an edgier approach and contemporary practitioners are more than willing to provide it. Conceptual art in particular has made the headlines for being controversial. Animal body parts have been used in art, soiled bed sheets and other personal belongings of the artist have been put on public display.

Traditionalists are frequently enraged by such activities. Art critics will argue that this work is just about sensation and little else. They claim that this kind of work does not require much skill and talent, and that anyone could put it together. Contemporary artists have found novel ways of answering these arguments. They suggest that time will be the judge of their talent.

The popularity of contemporary art with an intrigued public seems to keep growing even if some people suggest that this kind of art will not last in the way that older forms have. They suggest it will not be enjoyed as much in future centuries. Smaller local galleries rarely feature this kind of art. Often they are interested in promoting local artists who can gain a strong local or regional following. Artists who paint aspects of an area that is frequented by tourists also tend to do well and galleries are keen to support their work. This art is sometimes scorned by elitist artists and art critics but it brings enjoyment to countless people.

What Picasso says about understanding art is very relevant to how we approach abstract paintings. Many people think that abstract paintings must have a specific meaning of some sort, which could be clearly understood and articulated if only they knew how. This misconception is not helped by the endless supply of people prepared to spout nonsense about what they think the artist was trying to say. The almost inevitable consequence of this situation is that people can either feel as though they are being excluded from sharing in some secret knowledge, or alternatively conclude that abstract painting is in fact all a sham. Either way, the result is that many people do not feel well-disposed towards modern art or abstract paintings.

I certainly identify with Picasso’s remark as far as my own paintings are concerned. If I had a specific message or a meaning that I could articulate in words, then I would articulate it in words – the painting would have no purpose. The whole point of creating an abstract painting is that it embodies something that only it can, in a way that cannot be put into words. It is not an essay it is a painting – it encompasses and expresses things in a language that is unique to the medium of paint. That is why we should not try to ‘understand’ abstract paintings in the way people sometimes feel they ought to be able to.

The viewer should not look for a clear narrative in an abstract painting – it is not going to tell a story, or refer to an external ‘subject’ in the same way that a figurative painting will. But that does not mean there is no meaning or no subject, or that abstract paintings cannot communicate with and move people. When asked about subject matter, the Abstract Expressionist artist Jackson Pollock said, “I am the subject”. Pollock’s statement is not just true, it is inevitable.

The experiences, personality, memories and mood of the abstract artist cannot help but be fed into the painting if the artist approaches the work in an open and honest way. I do not need an external subject or idea before I can create a painting – I simply begin. The fact that I am me and no-one else is what makes my work different to anyone else’s, and the same is true of all artists. The colours I choose, the marks a make, the accidents I choose to leave, or to obliterate, these are all things that I choose because of who I am.

If you were to present several different artists with the same basic design on a canvas and ask them to pick up a brush and develop the painting, the differences in what they would choose to do would be enormous. I have watched other abstract artists at work on paintings and thought “I would never in a million years have chosen that colour and put it there.” Not because I think it is wrong or bad, but because they are who they are and (to quote that other leading artist, Morrisey!) “only I am I”.

If at all possible, I highly recommend you paint your portraits using a live model as opposed to a photograph. There is simply no substitution for painting from life.

Painting a successful portrait is all about how you observe the subject. You want to study the subject as a whole. Study the bone structure and try to see shapes and planes. Do not try and paint every little detail exactly as you see it.

For beginners, it is probably best to start out with a lighting effect where light and shadow are in high contrast. This will make for a much easier painting.

Focus on one section at a time. Finish each section before moving on to the next.

Keep the darks of your portrait at a thin consistency while your lights should be painted on thickly.

Many beginners struggle with mixing flesh tones. I know I did when I first started painting. Remember that skin comes in a variety of colors & textures, so there is no specific formula for mixing flesh tones in portrait painting. You will have to experiment and practice, until you find the right color mixtures for any particular subject. Never purchase any pre-mixed flesh colors. When mixing your colors be careful not to over mix, which can deaden a color.

Try and repeat the colors and values in your painting to create balance.

When painting hair, don’t try and paint every individual strand of hair. Look at the hair as one object and then paint the lights and darks. Paint the hair in the direction of the shape of the head.

The muzzle area of the face (the space between the nose and mouth) is generally the same color as the flesh but cooler.

When painting backgrounds, don’t make them too detailed or busy. If you do, you will draw focus away from your portrait.

Add bits of color where the shadow meets the light in your portraits.

Fleshier parts of the face are generally warm and bonier parts of the face, like the chin for instance, are generally cool in color.

The white in the eye is not white. To get an accurate color for the white in the eye you can take the subjects basic flesh color and then lighten it with a gray made from black and white.

I hope these portrait painting tips & techniques have helped. Portrait painting can be difficult, possibly even frustrating in the beginning. Never give up and keep practicing. You will get the hang of it.

A good receptionist asked the necessary fact finding questions to determine what made the subject unique. When done properly, such
information was invaluable in the camera room. Simple words or phrases elicited genuine smiles and that all important sparkle in the eye. The person’s true self (soul) was then captured. With the aide of a proof book, each client enthusiastically engaged in the “show and tell” process proudly showing their images to friends and relatives. Word of mouth combined with the visual aspect of proof books was a sure way to build business. The subject’s enthusiasm blended well with the selling process. Portrait sitting averages were commonly high because wall portraits were usually ordered. That was the way it was.

Today, digital photography has created a new culture based on “speed” which has led to far too many “turn style” studios. As a result, those photographers in many cases may have lost sight of what portrait photography with emotion is all about. Low sitting averages are not always attributed to the economy. Missing the heart in the camera room can often lead to minimal orders, plus making the selling process very difficult.

Many times, relying on the “8×10 package” formula saves the day, but the profitable wall portrait and frame sale then becomes more of a rarity. In the end, each subject (senior) or family may become a clone of all other sessions: lacking in soul.

Also, when one is forced to become a technician and software specialist overnight, losing sight of the emotional aspects of good portraiture can easily happen to the best of photographers. A good photo lab can easily take on the “technology” burden to free up valuable time needed in the camera room where revenue is actually generated.

Ignoring the heart results in lost revenue. Losing sight of the fact that the lens must be “shooting for the heart” can be detrimental to the livelihood of any studio. Simply stated: A professional portrait photographer must connect with the subject whether an adult, senior or baby. The photographer’s persona and personality are also crucial and critical factors to a successful and profitable photo studio, but only when combined with the ability to elicit emotions from the subject. This combination will 9 out of 10 times produce more revenue. And this process can be totally natural and need not be staged. Emotions do matter when building or maintaining a successful studio. Good portraiture capturing the true essence of the human being is still in demand.

In contemporary times, decorative painting is used to refer to artistic works painted on surfaces other than the conventional canvas. Among these surfaces are fabric, wood, glass, plastic, ceramics, potteries, marbles, tiles, and the like. Like all forms of painting, decorative painting necessitates different types of paint, specialty brushes, and other materials used for stroking.

In the usual home décor and children’s art lessons, the use of acrylic-based paint products has been a tradition because these products dry very fast, clearly produce desired colors, safe, water-based, and economical. Among more experienced decorative painters though, various kinds of complex oil-based paint, gels, glazes, and extenders are used in order to come up with deeper and more complicated effects.

Techniques in decorative painting are diverse. They range from the most basic brushing styles like freehand stroking to the most complicated ones like stippling and pickling. Decorative Painting is an institutionalized field in the visual arts; many scholarly institutions worldwide offer decorative painting as undergraduate and graduate degrees. Students who finish these courses become professional decorative painters and top-notch artists.

Both sides of the world have produced amazingly gifted artists. In the Western hemisphere there are certain black men and women who paved the way for the African American artists of today. Horace Pippin is one of those men. After an injury in WWI, Pippin discovered his underlying talent for rich, historical painting. While he avoided the unpleasantness of life for a black man in the U.S. during that time period, he did produce black art paintings that spoke volumes to the viewer. His work was displayed in the Museum of Modern Art in 1938. A less known black artist that contributed to the black art movement in the United States is Walter Ellison. His most famous work is “Train Station” located in the Art Institute of Chicago. That painting is an honest look at the difficulties facing black families as they migrated north in the hope of a better future than the south could or would offer. These two exceptional black artists help give hope of recognition to the many gifted black artists that were to follow.

The scenario for artists from and living in Africa is different though. Despite the struggles with racial discrimination and inherent prejudice in the U.S., African artists are faced with even more difficult issues. Apartheid and censorship have long plagued this long suffering group of artists and painters. While expressing their views of the political unrest and unfair treatment, African artists have been subjected to severe punishment and censorship unheard of in the West. Thanks in part to the academic world’s growing interest in the work of the modern black artist, black art painting is receiving more attention and registering in the minds of museum curators and art galleries alike. Most of the credit belongs to the fortitude and artistic expression of the African artists themselves.

Select your tools wisely. Clean your hands before starting your drawing. The paper you use for your work should be of good quality. Low grade, off colored paper will make your drawing look pale. Your first sketch should be made with light lines and for finalizing you should use deep-colored and prominent lines-so choose your pencils carefully.

Many times beginners find drawing a smooth line difficult. Remember drawing smooth lines will be easier if you do not support your hand on your wrist like we are used to do while writing. Doodling and drawing some circular shapes just before you start will also help you to draw smoothly.

Learn to draw facial features and hand carefully. Hands are more difficult. Experts often judge a person’s drawing ability from how well he can draw human hands. So practice drawing hands with care.

Study about basic forms and proportions of human body. Learn about basics of human anatomy and various ratios of human figures. As a cartoon creator you will have certain liberties, you do not need to bind yourself with strict body proportions rules. You can draw four fingered hand that makes your work a bit easier. But one challenge you will face while drawing cartoons -cartoon characters needs to be more expressive and certainly you have to create this expressiveness with some lines drawn with your pencil.