THE BRUSHWORK. Depending on the art movement and personal peculiarities of the artist, the brushwork can range from delicate and almost invisible to rough and plastic.
Before you start painting, it is a good idea to keep an eye on the weather for rain or snow. You don't want to start painting only to stop abruptly because of the weather.
If paints have been allowed to stand and hard lumps or skin have formed, the skin or scum should be removed, after which the paint can be stirred and strained through screen wire or through one or two thicknesses of cheesecloth.
Blue Dogs and the Legend of Loup Garou. In 1992, George Rodrigue, a Cajun artist from New Iberia, Louisiana, painted a series of paintings called The Blue Dog Pictures which were made popular by an advertising campaign done by Absolute Vodka. The blue dog has popped up in numerous other venues since then, but it wasn't created for commercial purposes. Rodrigue based his paintings on the Cajun legend of Loup Garou, the werewolf that is said to haunt the swamplands surrounding Acadiana and New Orleans. Parents teach their children morality lessons using the character and the commercial use of the blue dog has softened its image, but both Cajun and ancient American Indians still declare there's a factual basis for the story. Is there a werewolf in the bayou?
Special paints have been innovated from different consumer insights and brilliant paint technology that allows specific paints for specific needs.
In conclusion, this article has really just been a "Painting 101" exercise. I'll be adding more articles on the subject once you get more advanced. It's so rewarding to those who stick with it. My work now sells around the world online. So I'm glad I'm glad I stuck with it. It's been infinitely good to me, I've met the most interesting people....including Madonna! And I am so glad I get to do what I want And ultimately it's so gratifying to leave expressions of myself behind forever. And if the owners then turn around and sell my paintings for a fortune later, then that's the cherry on top for me. I feel lucky to have found my calling. And I hope you find it too. And I hope that every single time you view one of my paintings it brings you a little bit of the amazing joy it brought me when I was creating it.
THE BACKROUND. Collect information on the artist and the historical background. To analyze "Guernica" by Picasso, you need to know that Guernica is a town demolished by the Nazi, and you have to read up on the essential features of cubism. To interpret the image of kissing people covered by a piece of cloth in Magritt's "The Lovers", whatever you guess by looking at the painting falls flat once you know that the artist's mother got drowned in the river, and when found, a piece of cloth was wrapped around her head. So, don't rely on your skills and taste too much, there are things you need to KNOW before you start making assumptions. The historical background of the paintings itself is important. Was the artist an innovator, did he start a new trend or movement, whose steps did he/she follow? What experiments was he involved with? How was the painting perceived by the contemporaries? Claude Monet started impressionism with the painting "Sunrise. Impressions". Malevych started suprematism as a development on abstractionism, laying out the new artistic theory of the color, the form and the composition of the painting. The rough lines and raw colors in the fauvist paintings may be traced back to Van Gogh. Do you think there is something new suggested in the painting you are looking at, or is there anything at all distinguishing about it?
Mickey Mouse was created as a replacement for Oswald the Lucky Rabbit, an earlier cartoon character created by the Disney studio for Charles Mintz, a film producer who distributed product through Universal Studios. In 1928, with the series going strong, Disney asked Mintz for an increase in the budget. But Mintz instead demanded that Walt take a 20 percent budget cut, and as leverage, he reminded Disney that Universal owned the character, and revealed that he had already signed most of Disney’s current employees to his new contract. Angrily, Disney refused the deal and returned to produce the final Oswald cartoons he contractually owed Mintz. Disney was dismayed at the betrayal by his staff but determined to restart from scratch. The new Disney Studio initially consisted of animator Ub Iwerks and a loyal apprentice artist, Les Clark, who together with Wilfred Jackson were among the few who remained loyal to Walt. One lesson Disney learned from the experience was to thereafter always make sure that he owned all rights to the characters produced by his company.