Blog on Art Marketing and Selling Art


Don't miss our first podcast with The Messy Studio!

What is Unique About Abstraction?

The creative path is unique to every artist, but the goal is the same. How can the gap be bridged between the artist's intentions and the viewer's perception? All artists look to the same universal visual language of color, value, line, shape, form, texture, and the principles of design for their answers, and the possibilities inherent in these are infinite. [...]

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John Budicin's Plein Air in Tuscany's VAL D'ORCIA workshop in Italy

Special Edition International Workshops 2020 Newsletter

Special International Workshops Edition from February 1st - July 31st, 2020 [...]

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Many artists, myself included, will overcorrect when we realize improvement is needed in some aspect of our art.

Overcorrection

If you suffer from overcorrection, donít worry, it is part of the growth cycle and you will eventually find the middle ground. As you move back and forth from the right to left of your ideal, you will find that your swings or overcorrections become less severe each time. You are moving ever closer to the middle ground that you are seeking. [...]

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"The Fisherman"- Oil by Constant Troyon (1810-1865)

Advice for Creating and Critiquing Paintings - Part 2

"There is only one true way to acquire an art-knowledge of harmony, and that is to study the works of the great colorists with a determination to understand and appreciate them. This will educate the eye and teach you to note many beauties you do not see at first glance." [...]

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Paint Mentally While Observing Your Subject

Memory Exercises

We are often in the habit of glancing very quickly back and forth between viewing the subject and looking at our canvas. This enables us to judge how closely we captured what we see, but it hinders our ability to strengthen our memory. It also hinders our ability to filter the unnecessary out. We become dependent and as a result are more apt to simply replicate the scene rather than create an interpretation of the scene. [...]

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Jesse Lane's "Dramatic Portratis in Colored Pencil" workshop in Sedona, Arizona

Special Edition USA Workshops February 2020 Newsletter

Special USA Workshops Edition for February 2020 [...]

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Laura Robb's "Exploring Still Life in Oil" workshop in Puerto Vallarta, Mexico

Special Edition International Workshops 2020 Newsletter

Special International Workshops Edition from January 1st - June 30th, 2020 [...]

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If you create works that are authentic, you can find an audience.

Sage Covered Hills

The point of the article is that you should not worry about anyoneís voice but yours. Create what inspires you. Create authentic and honest work. Be true to yourself and your art. [...]

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William Adolphe Bouguereau - "Le Crabe" - 31.89" x 25.79" - Oil (1869)

Advice for Creating and Critiquing Paintings - Part 1

John C. Van Dyke goes on to say that the artist should be technically skilled in order to command one's attention to his ideas. Therefore, a critical examination begins with the foundation of painting...DRAWING. [...]

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Shana Levenson's "Painting to Portrait from Life" workshop in Texas

Special Edition USA Workshops January 2020 Newsletter

Special USA Workshops Edition from January 2020 [...]

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You need enough confidence to believe in yourself and know that you can express yourself through your work.

Confidence

You need enough confidence to believe in yourself and know that you can express yourself through your work. Yet, you need enough self-doubt to be humble and realize the need for constant improvement and learning. [...]

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Keiko Tanabe's "1-Day Plein Air Watercolor Workshop" in Tokyo

Special Edition International Workshops 2019 - 2020 Newsletter

Special International Workshops Edition from December 1st, 2019 - May 31st, 2020 [...]

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ďWe must all suffer one of two things: the pain of discipline or the pain of regret or disappointment.Ē

The Pain of Discipline

You really do only have 2 options. You can have the discipline to pursue your art - which requires sacrifices, or you can look back years later and wish that you had. You will have regret or disappointment in the dream you never dared pursue. [...]

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Meadow With Two Large Trees by Corot (1865-70)

Who Was Your Greatest Art Influence?

I've often wondered, "Why, Corot?" With a total lack of interest in and ignorance of all things related to the history of art, I've often wondered why I was so captivated by this one artist of all those studied. [...]

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Debra Keirce's "4 Steps to a Realistic Painting" workshop at in North Carolina

Special Edition USA Workshops December 2019 Newsletter

Special USA Workshops Edition from December 2019 [...]

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Ketih Bond discusses how important both passion and mastery are to your art

Recuerdos de la Alhambra and Your Art

Some artists think that pure expression and feeling is all you need to create great art. It isnít. Other artists spend years training and master technique, but fail to find their voice. A pity. [...]

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Luann Udell discusses how to embrace who you are, while still being open to change.

Old Dog, New Tricks

Sharing it with the world creates connection, between us and our audience, whether we choose to do that in person, in our studio, at shows, through a gallery, or with social media. [...]

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Ketih Bond shares some insight on how to keep your creativity fresh.

Safe, New and Risky

Maybe you arenít in a rut. Maybe you still find enjoyment with your subject, but you want to continue to explore and try new things to keep your creativity fresh and alive. [...]

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Keiko Tanabe's "Stage d'Aquarelle" workshop in Saint-Hilaire-de-Brethmas, France

Special Edition International Workshops 2019 - 2020 Newsletter

Special International Workshops Edition from November 1st, 2019 - April 30th, 2020 [...]

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Don't miss Keith Bond's advice on how to find your personal style

The Most Fulfilling Art

So, in short, find what your muse is telling you. Explore, experiment, try new things, but be honest with yourself. Create the works that give you the most fulfillment and satisfaction. Look at your work and see if you can identify your voice. Create the works that are you. Be you. [...]

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Ketih Bond shares some advice on how to express meaning in your painting.

How to Understand What You Want to Say

I have found that if I spend a few minutes trying to articulate on paper what I see and feel, then I gain greater clarity and understanding. Searching for words helps me understand what I am feeling. You will find that your understanding as well as your emotional response will deepen over time. You will begin to respond on multiple levels to your subject. You will begin to have a relationship with your subject. [...]

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Sarah Sedwick's "Los Gatos, CA: Painting the Dynamic Still Life" workshop at NUMU Atelier.

Special Edition USA Workshops November 2019 Newsletter

Special USA Workshops Edition from November 2019 [...]

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"Every Artist Was Once An Amateur" - Ralph Waldo Emerson

Thriving and Surviving Painting Workshops

There is no such thing as the artist who was magically bestowed with genius and talent. That's Hollywood. Even for the best it takes work and dedication. So don't compare yourself to anyone but yourself and you'll see the progress. Take those workshops and shorten your learning curve. [...]

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Keith Bond discusses whether you should purchase or prepare your own canvas.

Should You Stretch Your Own Canvas?

I often get questions regarding whether to purchase or prepare your own canvas. The truth is there are pros and cons of each. Even still, you will save a lot of money if you learn how to prepare your own canvas. [...]

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BoldBrush Sponsored Artist Vianna Szabo shares the many different ways to start a painting.

My One Rule for Starting a Painting

How do you choose what is easiest? The most important decisions are made before the brush touches the canvas. First, I consider the time. When I am plein air painting I know that the light will change quickly on so my focus goes to getting the correct color notes of the light with very little drawing... [...]

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Keiko Tanabe's "Watercolor Painting Workshop " in Siena, Italy

Special Edition International Workshops 2019 - 2020 Newsletter

Special International Workshops Edition from October 1st, 2019 - March 31st, 2020 [...]

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Chantel Lynn Barber's "Capturing Character in the Portrait With Chantel" workshop in Rogers, Arkansas

Special Edition USA Workshops October 2019 Newsletter

Special USA Workshops Edition from October 2019 [...]

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Julie Snyder's "Glorious Provence - Art Retreat" workshop in Provence, France

Special Edition International Workshops 2019 - 2020 Newsletter

Special International Workshops Edition from September 1st, 2019 - February 29th, 2020 [...]

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Carolyn Anderson shares some advice on 'edges' for your paintings

Do Your Paintings Look Stiff?

If your paintings look stiff, if your figures donít turn, and objects appear flat and look like paper cut-outs, then perhaps you need to reevaluate how you see, not just how you apply paint. [...]

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Don't miss William A. Schneider's discussion on "continuing education" for artists

Life Long Learning

Given that the quest for mastery is never-ending, itís probably a good idea to find the most efficient way to learn. [...]

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Liz Haywood-Sullivan's workshop in Pennsylvania

Special Edition USA Workshops September 2019 Newsletter

Special USA Workshops Edition from September 2019 [...]

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Keith Bond discusses the advantages and disadvantages of the "Sight-size Method"

Pros and (Mostly) Cons of Sight-size Method

The problem with sight-size is that if you have become dependent upon it, you may not have the confidence (or worse yet, the ability) to accurately draw something that isnít exactly as you see it. You become dependent upon copying. Creativity suffers. Works become technical craft and less about feeling, mood, and expression. [...]

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Keith Bond discusses keeping values simple and linking shapes into a larger abstract shape for a stronger composition

Shape Welding

So, the lesson for today is to see the values in your subject. Organize them into 3 to 5 values. And weld like value shapes together to create fewer shapes. Yet, within each shape, you can have all the color, texture, detail, interest that you want. Just donít lose the integrity of each shape Ė which lies in its value. [...]

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Keiko Tanabe's "Creating Mood with Color and Light" workshop in Ireland

Special Edition International Workshops 2019 - 2020 Newsletter

Special International Workshops Edition from August 1st, 2019 - January 31st, 2020 [...]

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Don't miss Luann Udell discussion on "What do I wish someone had told me in art classes?Ē

What I Wish Someone Had Told Me About Artists

Thereís More Than One Way to Be an Artist [...]

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Ketih Bond discusses changes or reworking in a painting

Everything is Subject to Change

Remember in your work this one important principle. Everything is subject to change if it will improve your work... [...]

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Kyle Stuckey's "2-Day: Painting the Figure" workshop in South Carolina

Special Edition USA Workshops August 2019 Newsletter

Special USA Workshops Edition from August 2019 [...]

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Tina Garrett shares some amazing tips on traveling with paints

How to Travel with Paints to Europe and Beyond!

There are lots of great art stores in Florence, Italy. It is the birth place of art after all. And since you cannot fly with solvent or mediums like linseed oil or walnut oil, don't pack them. Either order them online and have them shipped directly to your hotel or the studio or buy them when you get there. [...]

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Keith Bond discusses how each painting decision determines the next

Understanding the Why Informs the How

You are faced with many decisions as you approach a painting. First is what to paint. Second, and probably most important, why do you want to paint it? Once this second question is answered comes the many Ďhowí questions. These Ďhowí questions involve things like composition, value, color, drawing, edges, just to name a few. Each of these principles is interdependent and a change in one will affect each of the others. [...]

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Don't miss Keith Bond's discussion on the "center of interest" in a painting

The Center of Interest isnít Always Your Subject

It is the interaction between characters and the plot line that were composed that create the center of interest. Sometimes if you merely try to copy things just as you see them in front of you, you will have no center of interest, because you arenít composing a story. [...]

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