Blog on Art Marketing and Selling Art

For many, North light has long been considered the gold standard for an artist to paint under--which arguably, it is. However, a ton of artists out there lack North light in their studios. As a result, the majority of art today is often created either in part, or wholly under artificial lighting. [...]

Here’s my take on why this looks so fabulous ... at least to me. Analogous colors are quite gorgeous in their own right. That’s one reason why a rainbow seems so glorious. Each color is directly related to, and harmonious with, the one directly beside it. [...]

In the world of edges, Halation and Pointing are loosely related, which is why I present them here together. They’re related in that they both use soft, lost or blurred edges to help achieve their effect. [...]

Correspondingly our last article took the virtually limitless array of Edges and compressed them down into just three categories—Hard, Soft & Lost. This time, we’ll try and provide several suggestions of just how we might apply those three basic variations ... the when & the where. [...]

The study of edges itself will always be a bit subjective (like edges themselves). However, exercises like those mentioned... should help jump-start the process for someone just starting out. [...]

Okay... the fact is these chromatic elements exist around us in nature. But as is so often the case in art, we sometimes need a little nudge to actually “see” what’s going on... to become more in tune with what’s happening optically, so we can put it to use in our own work. [...]

Some years ago a popular artist was quoted, “When it comes to rules regarding composition ... there are no rules”. I happen to agree. I agree largely because each of us should be actively exploring... experimenting... pushing artistic boundaries... without any limitations. [...]

One of my key objectives while creating a painting is to hold the attention of my audience—for as long as possible. Strong Patterns of Light & Dark help us with that, but there is more. [...]

Just as when we paint, there’s something about the reversed image a mirror provides us, that inexplicably reveals things we otherwise can’t see in our efforts. [...]

Though I often to see loving attention paid to “line” in many of today’s compositions; I’m beginning to see far less weight these days given to a painting’s tonal patterns. [...]