Painter of the Night - Crayon Shin-Chan

Painter of the Night: Special Art Work Collection

Byeonduck’s continuing manhwa, Painter of the Night, is written and illustrated by him. It was published by Lezhin Comics and was released in 2019. The first season contains chapters 1–44, the second season, which began on July 24, has chapters 45–76, and the third season contains chapters 77–102. The narrative takes place in Korea during the Goryeo or Joseon periods, with Hanyang serving as the capital of the Joseon kingdom (Seoul’s old name). Yoon Seungho, a nobleman, wants Baek Na-kyum to continue making sensual paintings despite his reluctance.

Painter of the Night: Manga Gist

Na-kyum is a talented young painter who specializes in painting sensual pictures of males. Despite having produced a few volumes under a pen name, he has decided to stop painting. Then a young nobleman named Seungho enters his life. Seungho, a hell-raiser known for his insatiable libido, pushes Na-kyum to become his personal painter. The evenings that await Na-kyum, on the other hand, are beyond anything he might have imagined.

Who is Yoon Seungho?

Yoon Seungho is the Yoon family’s eldest son. He seeks out Na-kyum after hearing about him and becomes interested in his paintings. He portrays himself as an impatient individual who can be quite aggressive in both temperament and with a sword. Seungho, aware of his image for promiscuity, informs Na-kyum that he would never hug a peasant. Seungho is close to Jihwa and wishes for Na-kyum to develop works including himself and others. Seungho takes a poem owned by Na-kyum and tells him he may have it back when he begins painting. His deception will extend to bringing someone Na-kyum knows, In-hun, to him in order to get him to agree with his demands.

Now You Can Purchase “Painter of the Night” Special Art at Our Shop!

We at Paintings Studio have prepared for you paintings related to the Painting of the Night manga. You are welcome to choose the painting and the style you connect with and order the paintings at the lowest price. If you are interested in us creating more paintings for you, you are welcome to contact us and send us pictures of what you want us to paint for you.

Here are some examples for you –

Gallery #1 (click on the photo to redirect for the purchasing page):

Gallery #2 (click on the photo to redirect for the purchasing page):

weed painting

Weed Paintings Collection to Impress Your Friends

Weed strains are often named after the colors they resemble. For example, Blueberry its a strain that has blue hues to it and tastes like blueberries. It’s not hard to find a picture of this strain on the internet. But what if you want to paint it? Weed paintings will impress your friends for sure!

weed paintings
An example of weed painting.

Why Weed Paintings Strains Instead of Just Taking a Picture of Them?

If you want to paint weed strains instead of taking pictures, there are some benefits that come with it. For example, if you paint your favorite strain and then sell the painting online, people will know exactly what it is and how much they should pay for it. Painting weed strains also allows for more creativity because you can use different colors and techniques in order to get an accurate representation of the strain’s color scheme and appearance.

History & Background on Weed Paintings Related Art

The idea of cannabis and art are deeply intertwined. Cannabis has been used in the arts for centuries, from the ancient Greeks to modern day artists. It brings a new perspective to art as well as a new way of viewing the world.

Picking the Right Weed Painting and Where to find them on the Internet

The internet is full of websites where you can find paintings. But picking the right painting can be a difficult task, especially if you are not an art connoisseur.

There are many factors that need to be considered before buying a painting so that it will fit your needs and expectations. The first one is the size of the painting. If you have a limited space, then smaller size paintings would be perfect for you. If you want to fill up your entire wall with a painting, then it’s better to go for large size paintings because they usually look more impressive than small ones.

Another factor is the subject of the painting. Different people have different tastes and preferences when it comes to art so there are no definite answers on what kind of painting someone might like or dislike because it.


We at paintings studio can create the most successful weed drawings or weed painting for you. You can see the sample, Swazi Gold strain, which we prepared for our previous client. So what are you waiting for? You are invited to order a painting from us today!

weed paintings
Another example of weed drawing.
grateful dead custom painting

A custom Painting of the Grateful Dead

A custom Painting of the Grateful Dead Is this something you’re looking for? You have come to the right place! We are here to make your dream come true! to make your dream come true!

If you are Deadhead and you are looking for a custom illustration drawing / physical painting of the love band then you have come to the right place! We at Paintings Studio will be happy to create for you a digital painting associated with the Grateful Dead band. It could be anything related to a band. Whether it’s a painting related to Jerry Garcia or Bob Weir. From the skull known as “Steal Your Face” to the “Dancing Bears“, or any resemblance to the Grateful Dead band’s songs.

And even more than that!
Once we make the digital painting you asked of us we can turn it into a real physical painting that you can hang on the wall. Isn’t this the ideal way to surround yourself with things you really love and that really do you good?

Imagine you are sitting in your peaceful home and on a wall looking at you Jerry Garcia in a painting which is done exactly as you wanted. Or maybe the “dancing bears” combined with your dear family in an original and charming way?

We at Paintings Studio can make your dream come true and create for you a custom painting of the Grateful Dead, or custom paintings of the dancing bears or anything else directly or comprehensively related to the Grateful Dead!

In the following article gives an example of how you too can get in a few days the perfect gift for you or for those dear to you!

So how exactly does this work?
First of all, you need to contact us and explain to us as accurately as possible how you want us to prepare the Grateful Dead illusion for you.

In the example we present in this article, John contacted us with the following request:
“I’m looking to commission a painting for my girlfriend. She’s a HUGE Deadhead, and her favorite tune is Bird Song. She used to sing it to her children to lull them to sleep, so I’d love to have a painting of her singing to her two kids, but instead of them represented as people, they’re all drawn as the marching Bears, with her two kids as smaller bears, in their beds, facing the viewer, and her as the Mama bear, with her back to us, singing to them, with the lyrics written above her “Sleep in the stars.” I’d also like to tastefully incorporate her parents ’names somehow, as they’ve passed on. Any thoughts are appreciated. Please let me know the cost as well. Thank you! Best, John”

Not everything was clear to us at 100%, for example, how many bears should be in the picture and how he sees it in his vision exactly, so we got back to him about the difficulties and he replied to us in another email and wrote:
“I’m thinking just three, with the bears representing the three of them – smaller bears as the kids (maybe with an “N” over the boy’s bed, and an “A” over the girl’s bed, facing us, and the bigger bear If you’ve seen the movie “Hook,” that’s the type of bedroom I had in mind, but maybe with the beds closer together. I’ve attached a screenshot (it would need to be a bit brighter as that’s a very dark image) but, you’re the artist, so feel free to send me any ideas you come up with. Thanks so much Best, John”

This is the reference your John has for us so we know how he imagines the children’s room.

This is the reference your John has for us so we know how he imagines the children’s room.

We went back to John with a quote and told him that first thing we would do was prepare a sketch for him to confirm. If he wants us to change something he has to tell us and we will do it according to his will. Here is the sketch we prepared for him:

grateful dead custom painting - sketch
The sketch for John’s Grateful Dead illustration.

John came back to us and wrote:
“Hey there! Wow. You did a great job. You did exactly what I asked, and now part of me thinks we should see the mama bear’s face a little bit. Is there a way to do that where it does not look like she’s looking at one child over the other? If not, let’s leave it. But I figured I’d ask. Also, will there be some sort of pattern on the walls? Lastly, the text can be a little smaller, and in white (I understand why it’s black on this version, as there’s a white background).
Really, really happy with the work. You’re terrific!”

We wrote him that we understood his requests and started working on the digital illustration. And this is what came out:

grateful dead custom painting - first version
The first version for John’s Grateful Dead illustration.

John came back to us and wrote:
You’re very talented – thanks for sending! Is this where I’m allowed to request changes? If so, here are my edits:

  • can we switch the colors of the baby bears? N is for Noah, and A is for Avery (a girl), so I figure the girl should be pink and Noah can be green.
  • the text – is it typed out, or is that written? I presumed it was typed when you sent it, and was just a placeholder. Can it be hand written out?
  • the color of the walls / floor / doors – is there a way to make them have a bit more color, but muted, as it’s night time? Almost like “Goodnight Moon,” but a little darker. I’ve attached a reference photo for what I’m thinking. Basically, I just lowered the brightness and desaturated the whole image.
    Thanks so much – great job !!
    All my best,”
Reference sent by John to let us to know know how he imagine the colors of the room.

This is the reference your John has for us so we know how he imagines the colors of the room.
We told John that we understood his requests and that we would get back to him in two or three days with the changes. And here they are presented to you:

grateful dead custom painting - final version
The second (final) version for John’s Grateful Dead illustration.

John really liked the illustration we made for him and asked us to make a mural for him in acrylic paints including a frame. Here it is presented to you in John’s living room:

grateful dead custom painting -John's Living Room
John’s living room with the physical acrylic painting we made for him.

So what are you waiting for?
If you too want a custom painting of the Grateful Dead, or even just an illustration work, all you have left to do is contact us and we will make sure you make your dream come true!

Creative Painting Ideas for Kids (But Not Only for Kids!)

Amazing Creative Painting Ideas for Kids

Creative Painting Ideas for Kids are important. Painting can be both fun and educational for children who want to learn while having fun at the same time. It can be messy, yet it enables kids to think outside of the box and explore their creativity while also improving their hand eye coordination skills.

Most children are fascinated with colors, while others are enthusiastic about numbers, patterns, and shapes. That’s why parents are interested in enrolling kids in art workshops or painting classes for them to learn something while also expressing themselves. 

Whether your kid loves painting, drawing, or sketching out his ideas on paper, one of these creative painting ideas will surely make him happy and unleash their inner artist. This will also help to overcome depression and anxiety

Painting Old Bottles

This activity requires some preparation time as you need to find some old bottles around the house, such as milk and soda bottles. Take off the labels and make sure that they are thoroughly cleaned before using them. It would be great if these containers had different shapes and sizes so your kids can experiment with various paint effects depending on where they will initially pour the paints.

Finger Painting

Toddlers and preschoolers love this type of painting. It is easy, and they only need to dip their fingers on the paint then apply it to a sheet of paper.

Painting Using Unconventional Materials


Sponges can be a good tool for painting. The children would need to dip the sponges in paint then press them on a paper. Parents can also use low-sudsing detergent to mix with paint and water and create more paint textures and patterns.


Instead of using sponges to make paintings, why not try using toothbrushes instead? The bristles act like tiny brushes, which works great in creating interesting shapes and patterns.

Shaving Cream Painting

Toddlers and preschoolers love to use their hands in creating art, and this is precisely the reason why parents can give shaving cream painting a try. The cream can be wiped off easily after each session. It might even serve as a fun bath time activity once the children are done with the painting project. Just make sure to do it in an area covered by newspapers or sheets of paper for an easier cleanup.


Pointillism, also known as dot painting, is a painting style in which tiny, distinct dots of color are put in patterns to create a picture. Dot painting is a fun activity that is not only interesting for kids but for adults as well. Beginners would only need to paint dots of different sizes and colors on a sheet of paper to create an exciting masterpiece.

Paint Pouring

Paint pouring shouts freedom and encourages creativity. All the kid needs to do is pour different colors of paint from various heights and areas of the paper or canvas to create a unique painting pattern on a sheet of paper.


There are many amazing creative painting ideas for kids to explore and encourage their natural sense of artistry. Parents need not worry if their paintings end up in some mess as these activities are meant to be both child and environmentally friendly at the same time. 

If you are thinking of bringing art to your area while making a profit at the same time, you can get an art franchise. By this, you will not only get to share your talent in art with others but also generate income for yourself.

We are at Paintings Studio hope that you enjoyed the article!


Composition and Meaning of Paintings in the Uffizi Gallery in Florence

Uffizi Gallery in Florence

There are few things in the world that I have dreamed of doing in my lifetime and one of those was to visit the remarkable Uffizi Gallery in Florence…these paintings demonstrate why it was well worth the visit.

The Uffizi gallery in Florence, the world-renowned Florentine museum, is filled with pictures selected from the very best of Italian painting. Its walls are hung with works by Giotto, Raphael, Tintoretto, and all the other great names associated with Renaissance artwork. But with such an abundance of high caliber art surrounding a visitor to the Uffizi, it is easy to become overwhelmed, unable to appreciate the virtuosity of each piece’s composition or the meaning being conveyed by the painter. It is necessary to linger a little longer than usual, to fully absorb the work’s visual impact and to look for specific parts which may point to its deeper significance. This essay is written for precisely that purpose. The five paintings I have chosen to discuss are The Coronation of the Virgin by Lorenzo Monaco, The Birth of Venus by Sandro Botticelli, The Annunciation by Leonardo da Vinci, Lucrezia Panciatichi by Agnolo Bronzino, and Flora by Titian.

Perhaps the first piece I wished to note from the Uffizi Gallery in Florence was Monaco’s large altarpiece that depicts the intense moment just before Christ places a crown on the Virgin Mary’s head. Three golden arches form the main frame of the painting, dividing the human figures into three distinct sets: the holy pair, flanked by two groups of saintly onlookers. Within the picture, a blue rainbow curves across the bottom and a canopy frames the throne. Also dividing Jesus and His mother from Heaven’s other inhabitants are the armrests and over a dozen angels who stand about the throne, their backs to the saints around them. Monaco has made his backdrop a flat gold, typical of the period and representing the majesty of God. Other than the blue semi-circle on the floor and the canopy, the one architectural feature in the entire painting, there is little detail in the scenery. But despite this formalist approach to the backdrop, the figures’ realistic proportions and the use of perspective demonstrate that the artist wishes to create a convincing portrayal of Mary’s coronation.

Faces are rounded and even have lines and creases, while the rainbow gives some shape to the room and the canopy tapers back to show depth. In addition, Monaco’s light source seems to come from above and creates shadows beneath people’s chins, in the folds of the robes, and on the underside of the canopy. However, no one casts a shadow on the ground – either an unrealistic omission or an intentional symbol of divinity and immortality.

Bright, vibrant colors fill the Coronation, with the patron’s wealth on display in the gold and lapis lazuli used throughout the composition. Mary wears pure white with green and gold accents, while Christ’s clothing is the blue, red, and gold of royalty. All the saints are in festive array for this occasion. Even John the Baptist, usually restricted to dirty brown animal skins, has donned a red robe. These colors set the tone and give hints as to the painting’s theme, as do the relationships between the figures. Mary bows her head in gentle, dignified acceptance before Christ, and the angels focus piously on the throne. Monaco communicates respect for the Virgin and for her Son, scattering stars at their feet and using the rainbow as a symbol of divine faithfulness, but he does not box in the saints, whether above or below. The audience in Heaven’s throne room does not mechanically turn toward the throne and remain there like a group of inanimate statues: instead, the saints talk among themselves and even seem to be asking one another’s opinion of the event. While Monaco’s depiction of the coronation is beautifully reverent, he also inserts humanity into the picture and encourages questioning and discussion among his viewers, in this case all those who enter the church.

The subject of Botticelli’s visual masterpiece is startlingly different from the Coronation. In The Birth of Venus, the nude goddess arrives on a fertile island shore, blown by anthropomorphic breezes and riding on a scallop shell. The painting’s central figures are framed by the wings of Zephyrus and Aura, a spray of cattails in the lower left corner, and the gold-flecked meadow and trees. Venus herself stands in a triangular frame made up of the zephyrs, her shell, and a cloak held out by a graceful young woman on shore. A calm sea, cloudless sky, and detailed sylvan landscape form the background for the action, which is depicted with admirable realism. Botticelli’s human figures are well proportioned and on the whole anatomically correct. Besides the narrowing to a distant focal point, depth is created by light coming from the top left and the resultant shadows.

As for color, Venus and the girl on shore (who may be one of the three Graces) both have rich golden hair and the luxurious white skin associated with wealth. Gold is also used to accent wings, grass, and trees, but the predominant color scheme is the natural beauty of spring. The ocean which carries Venus to the dark island is a verdant blue-green; the cloak being offered to her ripples out in flowered pink folds. Roses fall from the sky, both a continuation of the springtime theme and a symbol of love. Venus is herself an emblem of love, and the winds which eagerly push her ashore sport angelic wings, perhaps a symbol of the heavenly power which drives them. Zephyrus and Aura appear to have been affected by the goddess’ power and embrace affectionately, and the Grace who waits on the island seems very glad to welcome this personification of love and beauty. Botticelli is a Florentine who can probably see parallels to his own city in the Greek myth of Venus. The goddess could conceivably represent Florence, a center of cultural rebirth as Italy emerged from its dark ages. With the artistic Renaissance in full swing, Botticelli may have chosen to depict Florence as a herald of enlightenment, sent by the divine will to illuminate everything around her.

Da Vinci’s Annunciation is a return to religious subject matter. The angel Gabriel has come to tell Mary about Jesus’ birth, and he kneels before her with his hand outstretched in blessing. She is not noticeably distraught or even surprised at his announcement. This may have something to do with the book lying open before her, for if she had been reading the Scriptures just prior to his arrival, her exalted state of mind would allow her to receive the news with serenity. The lectern serves as a frame for Mary, as do the gray blocks of stone which stand out against the blackness of the rest of the house. In the background, dark trees jut upwards into the bare sky. Flowers only bloom where Gabriel and Mary are, and even they do not add much to the stark backdrop. Da Vinci is known for his chiaroscuro work, and the lighting in the Annunciation is certainly no exception. Gabriel has arrived with the sun, the dawning of a new day, and the morning light produces sharp contrasts among the figures and their shadows. Besides emphasizing important areas like Mary’s face, this style of lighting adds to the depth of the picture. Objects are round and realistic, fabric folds are deep and soft, and the landscape tapers back to make a painting of perfect proportions.

Gabriel’s clothing is bright red, green, and white. Mary’s red tunic and pale complexion emerge from the dark folds of her heavy robe in a display of pure beauty, all the more important because da Vinci has chosen to omit supernatural depictions of glowing divinity. In fact, the entire painting has a realistic tone, without an overabundance of gold finery or a showy portrayal of the Spirit’s descent (although halos are evident). Mary is quite naturally surprised and even wears an expression of mild puzzlement, but the event seems like a rather everyday occurrence in comparison to some of the more dramatic pictures by da Vinci’s colleagues.

Bronzino’s Lucrezia Panciatichi focuses on one woman’s character rather than portraying several people within a specific narrative. As Lucrezia sits for her portrait, she appears very alert and interested in her surroundings. Her head is framed by a regal coronet of hair twisted with gold, while the nondescript chair beneath her is a mere convention and does not draw attention to itself. The architectural details in the backdrop, a column running up the left side and an arch over the woman’s head, are similarly cast into darkness. Nothing seems worthy of notice in contrast to Lucrezia, and the black background is only a foil to her brilliant gown and smooth skin. Bronzino has placed the light source in the top left corner, which emphasizes Lucrezia’s face, jeweled medallion, and open book. Shadows help to create roundness in her figure, a theme carried on by the chair’s curve and the faint spiral design at the top of the pillar.

The portrait’s color scheme is one of golden undertones, which permeate everything from Lucrezia’s jewelry to her fine complexion. Her sumptuous red dress coordinates with the pearls and precious metals she wears, and the rich vitality of the shade mirrors the intense expression in her eyes. Tapering down to wine-colored burgundy, the sleeves then accentuate her genteelly white hands. Bronzino hints at Lucrezia’s upright, unswerving personality by including the motto “Amour Dure Sans Fin” (Love Lasts Without End) on her necklace and selecting The Book of Daily Offices, full of prayers dedicated to the Virgin, for her to hold. A chair is not a resting place for this energetic, confident woman – if anything, it is a springboard. Though jewelry is necessary to show her prominent social position, Lucrezia’s natural poise and beauty relegates the golden chains around her neck to mere secondary ornaments. There are no artificial mannerisms in this portrait: as demonstrated in the realism of Lucrezia’s figure and the natural placement of her fingers, Bronzino is concerned with depicting the woman’s true character rather than a formalized version of her appearance.

The last painting I have chosen to admire from the Uffizi Gallery in Florence is Titian’s Flora, is another portrait. However, it differs widely from Bronzino’s work in its portrayal of a bashful bride reminiscent of the ancient goddess of fertility. In contrast to Lucrezia Panciatichi’s decided mouth and erect posture, Flora has an almost wistful look on her face and tilts her head to gaze away from the viewer. She is not fully contained by any border, except maybe by her own golden cascade of hair. The backdrop is a soft grey shadow, without any inanimate objects or architectural details to distract one’s attention from Flora’s exquisite figure. This is presented with consummate realism, the delicate shading on her flesh denoting depth and shape without any unnatural elongation or stiffness. The young woman’s rounded features are illuminated by light which comes from the left and emphasizes all points of interest, but not with the harsh brightness which would clash with Flora’s gentle, guileless manner. In accordance with the mythology underlying the portrait, Titian uses flower-like shades to bring Flora to life. Her ivory skin and pure white gown stand out against the mauve robe over her shoulder, not brilliant colors but subdued and radiantly lovely. The springtime blooms in Flora’s hand are symbols for her delicacy, fertility, and youthful promise.

Merely glancing at a picture does not require any mental effort, but neither does it give any reward to the viewer. To understand the greatness of a painting in the Uffizi gallery in Florence, one must take the time to ponder its composition and try to deduce its meaning. The five pieces I have discussed in this essay have much to say if they are only given a chance. As part of the Renaissance revolution, they all should be thoughtfully considered, closely examined to find what message the artist is sending through his work.

Thank you for reading this article about the majestic Uffizi Gallery in Florence! If you have any further questions about this topic please contact us.

I also hope it will inspire you to plan your trip to the Uffizi Gallery in Florence.

Antique Painting

8 Tips and Techniques for Antique Painting Projects

antique painting

Technique Tip #1: You can perform these techniques on any paintable surface as long as you prepare that surface properly. Practice on a small item before tackling large projects or experiment with different base coats, colors and antique painting techniques on a small unnoticeable section of a larger project before you go forward.

Technique Tip #2: Start by assembling all your tools and materials before you start your antique painting project. You will need a paint tray, latex or alkyd paints depending upon the technique, paintbrushes, a base coat and a sealant, sandpaper, and protective safety gear.

Technique Tip #3: Your costs for the paints, paint brushes, sealants, measuring tools and other items will cost between $50 and $100 depending upon the type of antique painting techniques you employ.

Technique Tip #4: Set aside a weekend to finish your project. This will leave you enough time to prepare everything properly and allow the different layers of paint to dry sufficiently in between each step.

Technique Tip #5: Once you gather all your tools and materials, lay out all the pieces of your project that you will be painting. If you are using antique painting techniques on a piece of furniture, take it apart as much as possible before you begin, especially if there are hard to reach spots or if there are sections that you won’t be antique painting.

Technique Tip #6: If you are antique painting a large area like an armoire or a wall, you can use a power paint sprayer to get even coverage. Don’t forget to wear safety goggles and protective wear!

Technique Tip #7: Before you apply your base coat, make sure to apply a high quality primer to the surface. Latex or alkyd primers may be more appropriate depending upon the surface you are using. Make sure that you allow it to dry completely before moving onto the next antique painting step.

Technique Tip #8: These techniques are not usually about precision. Have fun with it. Allow the paint to be thicker in some places than in others. Use random applications and unique tools to apply the paint layers, like sponges or rags for special effects. Have fun with it and allow your creativity to show through with the colors and the patterns you choose.

Thank you for reading this article! If you have any further questions about this topic please contact us.


Easy Antiquing Techniques

Faux Finish Painting: Antique Painting Tips

Paint brushes

Everything You Need to Know About Paint Brushes

paint brush

The number and length of the bristles on paint brushes are what primarily determine it’s quality and spreadability. If a brush is dipped 1/3 to 1/4 of it’s length into a can of paint, a good brush will ideally pick up the perfect amount of paint and spread it on a surface in a film that is smooth and uniform and absent of any drips, dips, or brush marks.

Professional painters and contractors are very particular about using a quality brush and therefore look for certain characteristics when selecting one. A good painter will require a brush that has lots of “body” and reasonably long bristles that are capable of picking up a good load of paint and spreading it uniformly across a surface without dripping or running out.

Paint brushes typically come in two forms, synthetic, and natural. Synthetic brushes are usually made from products such as nylon, while natural refers to bristles from an animal source. A good quality brush of either type will exhibit “flagged” ends, or split ends, occurring naturally in animal source bristles, and being created in the artificial ones.

If you are applying a watery, or free flowing product the best brush to use would be one that is softer and has less spring. Brushes in this category are usually trimmed to a wedge shape end known as a chisel edge and can be made from a variety of animal pelts or artificial fibers. The chisel edge allows the applicator the ability to lay a line of paint with precision without pulling a bead of product along. Another feature of the chisel edge is it’s ability to allow the painter to perform one single stroke without the need to brush-out or re- work the paint in a single, one directional brush stroke.

A simple and easy way to determine the quality of paint brushes is by spreading the bristles in a fan like fashion with your fingers and thumbs. This test will determine density and body of the bristles and whether they are inserted in the brush base/block in three or two rows. Once the bristles have been parted they should bounce back into place upon release. The majority of bristles should return to their original place. If the odd strand is loose or astray that is OK. Generally the best quality brushes have three rows of bristles anchored in the body or block of the paint brush.

When you are finished with your paint brush it is very important to clean it immediately and not allow any materials to dry on the bristles as this will spoil the characteristics of the brush. Be sure to clean the correct brush with the correct solvent or cleaner which can be determined at the store that you purchase your paint supplies at.

Some brushes are intended to only be used once and then thrown away, however for the more expensive brush you will want to take some steps to prolong it’s life when it comes time to store it. The first step is to ensure that it has been thoroughly cleaned and even brushed out with a wire brush, then it should be wrapped tightly in glossy newspaper or even a plastic bag in a manner that ensures that all bristles are laying flat and that as much air as possible is removed.

Thank you for reading this article! If you have any further questions about this topic please contact us.

How to Paint: Techniques

how to paint

Welcome to the fifth article in the series “How To Paint,” on techniques of oil painting. The other posts hopefully have laid some groundwork for the actual painting process, and now we finally get to the whole point: painting! You can read the Intro,Materials,Subject and Composition, and Color posts to get an idea of what we’ve gone over so far in order to get ready for putting brush to canvas.

Let me say that while these posts have been pretty long and I go into as much detail without writing a book, the whole painting process itself doesn’t have to take that long. Once you have your materials and supplies ready the next thing to do is just do it. Put on some music and let the painting flow. Some masterpieces took years to paint. Most of my paintings I completed in one sitting (maybe it shows). Of course those sittings can be anywhere from a couple hours to eight, but the point is it doesn’t have to be a big deal.

I explained some of the points on composition and color earlier but I must say you don’t have to follow anyone’s instructions to the t, just do what feels right. Painting can be whatever you want it to be. Perhaps you get out what you put in but it’s all a matter of perspective. You’re only going to learn by doing, but at the same time try to absorb as much information as you can about the subject. So let’s get on with it, shall we?

General Pointers

All this might be very difficult to explain so I’ve included some pictures of the techniques taken from my little camera. Be forewarned that this camera does not have a macro setting, and I never claimed to be a photographer. So take it or leave it!

Let’s re-hash on the materials. You’ve got your

  • Paints- paint tubes of at least the primaries, white, and some browns
  • Canvas- got to paint on something, right?
  • Easel- got to hold that something somehow, right?
  • Brushes- got to- yeah you get the picture
  • Turpentine, or turpentine substitute, a paint thinner with rag
  • Palette- disposable or not
  • Desire- I have to be cliché some time!

So that’s all you really need to get started, and all you’ll ever need really. But you can always get more into and get a “mahl” stick to steady your hand, a “graticola” or other perspective finders, pencils or crayons for the sketching, extra mediums and solvents (though turpentine works fine for a thinner), and maybe a few more things.

I don’t go along with the idea of putting all the paints in a row on your palette before you paint for good reasons. I did this probably the first time I painted and haven’t since. I put my paints on the palette as I need them so I don’t waste any paint. If you put all that paint on your palette, who’s to say your going to use every color? So although you’ll see many artists do this, I don’t do it and don’t recommend it. But I do always put white and raw umber, because there will never be a painting that I don’t use white to mix, or raw umber to darken.

Now let me point out some properties of the paint you’re going to be using. This whole tutorial is centered around oil painting, and I probably should have said this earlier but much of these techniques can be used with acrylics as well. Acrylics are cheaper and possibly easier to use (thin and clean up with water, etc.), but I’ll concentrate on oils specifically.

As I said oil paints are very versatile and a lot can be done with them. You can manipulate in all kinds of ways. Use brush strokes to your advantage. Pile up thick impasto to give texture. Once on the canvas, you can mix it, push it around, scrape it away, wipe it away, whatever you want with it. You definitely want to get full use out of the oils, and apply the correct amount of paint. Spread out too thin and dry and you’re not getting full use of the paint. You want your paint to be the consistency of soft butter, and as you paint you’ll want to load up your brush.Dragging the paint too thin and dry will not produce the desired results.

Let’s say I wanted to turn a red spot into orange. I can mix the color right on the canvas by adding a dab of yellow. Normally you should add the darker, dominant color into the lighter color , but by placing the yellow next to the red, I can slowly pull bits of the red into the yellow until I have the color I want.

And once I have these two colors, I can blend them together. I take a dry brush and with small circular motions go from the yellow side to the red side, bit by bit working the two together as I go.

If I decide the orange is way too bright, and I wanted a much duller, grayer color, I add some of orange’s complement blue. With a dab of cerulean blue on a clean brush I work the paint into the orange until I have a much more neutral color than the bright orange we had before. This can be done to any spot of paint already painted with the particular color’s complement, or the grayer color can be mixed on the palette.

And if I wanted to lighten this new color, all I do is is add white straight to it and mix it around a little until I get what I want.

Fat Over Lean

It’s important to remember one simple rule when painting over top other paint. This rule is called “Fat Over Lean” and involves the amount of oil in your paint layers and how they dry. The paint straight from your tube is made up of two things: a.) the pigment, or ground up color, and b.) the vehicle- the oil, usually linseed oil. “Fat Over Lean” states that you should paint the thinner, or leaner layer underneath with paint that doesn’t have as much oil in it, and the thicker or fat paint, with more oil in it last.

This may sound confusing when you’re not used to painting, but when as you go along it makes more sense. When you thin the paint with thinners or turpentine, the paint has less oil than paint straight from the tube. If you tried to paint a very thin paint over thick, it won’t even stick. So when there are several layers, the darker thinner layer is applied first, with the thicker paint coming next, and the very thickest as highlights.

The reason being oil paints dry at different rates. The more oil in the paint, the longer the drying time. If you have thicker paint under thin paint, the top layers dry first and cracks while the underlying thick paint is drying. Fat over lean sees to it that the first layers dry first and the last layers dry last, keeping the paint firm and stable in the long run.

Wet In Wet

Adding wet paint into paint that isn’t dry yet is called “Wet in wet,” or “Wet on Wet” painting. The painter Bob Ross was a proponent of this technique and taught it religiously. You can purchase his videos along with painting kits with everything you need at your art supply store or on the internet. As I’ve said before you can’t get more creative following tutorials such as his where you basically have to copy what he’s doing, but they certainly have value in teaching you techniques. Especially if you’re planning on doing some landscapes, or even if you’re just starting out, his videos will be a great help to you.

Bob Ross’s technique involved wetting the entire canvas with a thin “Liquid White” underpainting, so every bit of paint from your brush mixes right in. This can help psychologically when there is something to paint or add into. A plain dry canvas can be very intimidating.

One of the great things about oil paints as opposed to acrylics is the drying time. It takes days before the paint even begins to dry, so painting wet in wet is very easy to do. Parts of the painting can be constantly changed and added to, or subtracted from. Acrylics, on the hand take minutes before they dry and are hard to alter once you’ve painted.

Ways To Paint

Now you know the basics and how to work the oils around to your advantage. You know to paint thin layers first no matter what the subject, and add paint on top with less turpentine or more oil depending on how you look at it. You can use the Wet in Wet painting technique, using a thin under painting of white, or you can purchase Bob Ross Liquid White or Liquid Clear from your supply store. Here are some specific techniques you can use to achieve your masterpiece:

1. Scumbling- This goes hand in hand with painting fat over lean and basically calls for a very thin and dark first layer, and dragging a brush loaded with thick paint over it, to get a choppy scumbled look.

2. Impasto- Painting with impasto is using very thick gobs of paint being built up. This is good for quick or expressive paintings. The Impressionists generally used impasto.

3. Impressionist- By giving the viewer impressions of the light off of objects, the Impressionists allowed your eyes to blend small patches of color.

4. Pointillism- The Pointillists were Impressionists who believed tiny spots of colors placed side by side can be blended in the viewer’s eye.

5. Painting with the knife- Painting knives can be sued for more than just mixing paint- you can paint entire paintings with them. Here you apply large patches of color if you don’t want the brush strokes to show.

6. Or use the knife for detailing.

7. Glazing- Glazing is applying layer after layer of thin paint to produce your desired colors. It’s difficult to show here because if requires the layers to dry before adding another layer. But here I show the thin layer of yellow added to the thin red to create the appearance of orange:

Now these are a few of the basics of oil painting, and like I said before you can’t learn by just watching. So try it out for yourself and see what you can come up with. Coming up I will do a step by step presentation of painting. Until then…

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Painter William Utermohlen: Artist’s Final Works Chronicled The Effects of Alzheimer’s Disease

William Utermohlen

William Utermohlen was Born in 1933 on the south side of Philadelphia, trained at the Pennsylvania Academy of Fine Arts, graduating in 1957. The GI Bill allowed him to study further in Europe, and throughout his travels to France, Italy and Spain, he was notably influenced by classical painters Giotto and Diego Velazquez.

William Utermohlen then enrolled at London’s Ruskin Academy, and he would ultimately make London his home base following his 1962 marriage to art historian Patricia Utermohlen. His diverse work throughout the next decades would reflect a range of influences such as London street life, Dante Alighieri‘s Inferno, the Vietnam War and a fascinating series of paintings based on the Mummers of Philadelphia. The Mummers are a minstrel-type group dating back centuries. The colorful, carnival-like antics of their Philadelphia chapter’s annual New Year’s Day Broad Street parade are legendary — especially as captured by Utermohlen.

The Alzheimer Portraits

In 1995, Utermohlen learned that he was suffering from Alzheimer’s Disease — a devastating diagnosis for anyone, particularly a visual artist. Utermohlen, however, took it upon himself to keep working and began a series of self-portraits that would reflect the effects of Alzheimer’s on his abilities. Because Alzheimer’s is known for diminishing the power of the brain’s right parietal lobe, an area that controls visualization and perspective, Utermohlen’s art shows a drift from his prior expert use of line and detail. His strong love of color remained, however, and even with the Alzheimer’s — or perhaps because of it — often floated off into the realm of beautiful abstractions. In other works, there was a sense of understandable fear and anger toward his fate.

Utermohlen’s willingness to chronicle the changes Alzheimer’s would have upon his work not only show a sense of great artistic bravery, but are also helping researchers to track the neurological and physical effects of the disease. Throughout the course of creating his Alzheimer portraits, Utermohlen’s wife Patricia reports that her husband was clearly aware of frustrating developments and degenerative changes, but was willing to keep going nonetheless.


A traveling exhibit of Utermohlen’s pre and post-Alzheimer-influenced works, Portraits From the Mind: The Works of William Utermohlen – 1955 to 2000, has allowed viewers to connect directly and visually with Alzheimer’s, expanding public awareness of the disease and the search for a cure. The exhibit has brought an ironic fame to a generally overlooked yet talented painter, and Patricia Utermohlen hopes that her the brilliance of her husband’s earlier art will not be completely overshadowed by his later illness.

William Utermohlen died of Alzheimer’s Disease in 2007.

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Fine-Tuning Your Digitized Photo Painting in Photoshop

painting in photoshop

The last tutorial showed you how to set up your layers in Photoshop for transforming a photo into a “hand-drawn” style sketch painting. This tutorial will focus on how to take the layers you have and blend them into a cohesive, beautiful picture. In other words help you get better at painting in photoshop.

(Disclaimer: I’ve had people ask me complex questions about getting into the professional photography business. While I have friends in the profession and know that Photoshop is a necessary tool for the modern photographer, I’m not in the business, so I can’t answer related questions; I just have a knack for retouching the photos of friends and family and am familiar with the workings of the program.)

Let’s begin with the layer we labeled “hstroke”. Select it, then click on “Layer Mask” in the palette box. Next, hide every layer other than “hstroke” by clicking on the eye icon. Click on the “hstroke” layer’s mask to activate it.

Begin painting in photoshop by using the Brush Tool, make the foreground black. Black out any areas you want to cover up; conversely, use white to reveal a previously covered up spot. (In general, it’s always a good idea to set the foreground to black and the background to white so you can easily switch back and forth with X key. Whatever is painted with black will be hidden from view because of its low-scale opacity. Because white is its virtual opposite, it has a very high-scale opacity, which is why everything painted with it will be revealed. Using grey will produce half-scale opacity, which will be partially transparent. This is harder to control, so your best bet is to stick with black or white.

Okay, now shift the layer mask to your Layer Set by clicking “Layer Set”, then “Layer Mask”. You’ll be able to use the Layer Set’s mask in the same manner as the regular mask. Click on “Brush Tool” and select a big brush tip. Keeping the layer set’s mask in place, use black paint around the edge of your photo. For closer control you can always press “F” to switch to full screen. When you’re done, go to Filter/Artistic/Palette Knife to adjust the details of your stroke to satisfaction. To smooth it out, use a little Gaussian Blur.

Copy your layer set. In your “new” layer set, go to Layer/Merge Layer Set. Label the layer to “newsketch”. Go to Filter/Sketch/Chalk & Charcoal to adjust the Charcoal and Chalk area; also adjust the Stroke Layer to 2. Set your blending mode to “Multiply” close to 100%. Click on the “newsketch” mask. Call up the “curves” box and switch the black in the mask to grey; doing this will cause the area around the edges to be more visible.

If you’ve done all this and discover that your photo is still too dark, you’ll have to use the adjustment layer; this will adjust the colors you dictate across all layers without flattening them. The adjustment also acts as a fine tuner for the finished product by adjusting the contrast and saturation of your colors, allowing you greater control of the outcome. To use this option, select the top layer and click “Adjustment Layer” towards the bottom of the palette, then click “Curve”

You can change the curve by clicking and dragging the curve line. Your source point (or control point) will pop up when you click the middle of your curve, then just drag your mouse to adjust the curve the way you want it. When you’re done, click OK.

The adjustment layer also lets you modify your changes whenever you’d like by clicking it twice. To make it “hide” (disappear temporarily), click on the Eye icon; to get rid of it forever, drag it over to the “Trash” icon. If saturation is an issue, use the hue/saturation adjustment layer to fix any unwanted color problems. Just click “Create Adjustment Layer” , then “Hue/Saturation”. Moving the slidebar to the left will lessen the saturation effect, while sliding it to the right will have the opposite effect. If you only want to fix a certain color, click the Edit button and pick the color you want to concentrate on.

Now you’ve created all the layers necessary to make a perfect drawing/painting rendition of your photo. All that’s left is to create a final layer mask to blend everything together, and you should be all set. Enjoy your new digitized “painting”.

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