When starting a painting, it is important that the first few values get put down on the canvas correctly before any other brushstrokes are recorded. When choosing a first value, the artist must have a standard to choose from. In other words, just any value won’t do. That […]
John Hughes sees learning to paint as a metaphor for life.
Snow scenes have a natural appeal, to artists and patrons alike. But as John Hughes explains in this month’s Hints ‘n’ Tips article, when working with snow, some artists see too much white.
John Hughes gives tips on painting architecture in plein air painting.
In the June 2011 edition of 15 Bytes John Hughes discusses the difference between painting things and painting the way things look.
Sometimes rules are meant to be broken. In this month’s Hints ‘n’ Tips column John Hughes explains why sometimes it’s not that bad for a plein air painter to chase the light. Read the article in the May 2011 edition of 15 Bytes. COMMENT BELOW. 15 Bytes
In our March 2011 edition John Hughes says studies are as important inside the studio as they are out in the field.
Plein Air Situations Dos and don’ts for beginners, and a painting-day travelogue by John Hughes This month I would like to talk about painting outdoors and two different types of situations for plein air artists to try. First of all, painting with a group of friends: it’s a […]
“Because of their ability to create beauty and form, the illusive character of shadows must be observed and understood by the successful landscape painter. Shadows, it could be said, are the essence of form. Without them a landscape is reduced to flat masses, lacking in much interest and […]
“Watching Colleen Howe set up her easel during the “wet paint” painting session is a defining moment. I get it. On the spot painting. I watch Colleen Howe squeezing tubes of oil onto her palette, squinting into the distance. She is soon immersed in her personal world. The […]
“Try this sometime (at first it will feel a little strange and a little unsettling, but the rewards of this approach to painting will pay big dividends in the long run): start by just looking at your subject in terms of colors, values and shapes . . .” […]
“. . .The alternative was to mount the canvas or panel on an easel, which would require the painter to bend down to the ground whenever a tube of paint or tool was needed. This situation was remedied by further innovation in the form of the Gloucester or […]