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Inspiration and Reflections

ADDING COLOUR FROM A LIMITED PALETTE

ADDING COLOUR FROM A LIMITED PALETTE

Artist Bob Booth explains the thought processes he uses to add colour to a painting. If you are following our lesson you will no doubt find this information useful when you begin to add colour in stage 3. Your main concern is the integrity of the painting and its composition.

“The difficulty with adding colour is, there aren't any rules to it and it's very hard to know if you're getting it right.” Artist Bob Booth explains...

How to Critique Art on Facebook

How to Critique Art on Facebook

  How to write a short critique for Facebook artists Do your best to understand what the artist is trying to achieve, so your comments can move th...

WHY LOOKING AT GOOD ART HELPS US PAINT BETTER

WHY LOOKING AT GOOD ART HELPS US PAINT BETTER

When we are able to see how the light catches a leaf or a shadow falls across the ground we are able to give life to these moments through paint.

5 PAINTING TECHNIQUES THAT WILL CHANGE YOUR ART FOREVER

5 PAINTING TECHNIQUES THAT WILL CHANGE YOUR ART FOREVER

There are ways to change your painting technique to allow for a more creative process...

 

WHAT MUSIC DOES TO OUR PAINTING

WHAT MUSIC DOES TO OUR PAINTING

Music has a profound affect on people, it has the power to move people to tears of pain or joy. So it’s no surprise that people claim it affects their artwork. Both are sensory mediums that tap into our emotions but how much does one affect the other?

WHY WOULD MATISSE PICK UP A VERY LONG PAINTBRUSH?

WHY WOULD MATISSE PICK UP A VERY LONG PAINTBRUSH?

Perhaps painting with a long brush offers artists more than just an extension of their arm. Although we can’t probe Matisse for answers on why he used such a ridiculously long brush we do have an artist today  who uses a long paintbrush, artist Bob Booth.

 

AN ORIGINAL APPROACH TO PAINTING FOR A THEMED ART COMPETITION

AN ORIGINAL APPROACH TO PAINTING FOR A THEMED ART COMPETITION

You need to be able to return to the painting and see it as though it is not your work otherwise the likely outcome will be to follow the same dead-ends as before. 

JONAH AND THE WHALE

JONAH AND THE WHALE

This particular painting has been through a process where the main theme and composition was established in a small oil sketch. From there it was developed...

THE LAST OF THE NOMADS

THE LAST OF THE NOMADS

"Perhaps it is partly this that drives us to be creative: the sense that what could be made is more than we can make, and more than we can think of."

 

I AM YOUR NEIGHBOUR

I AM YOUR NEIGHBOUR

The ‘The Good Samaritan’ may not have been a story made up out of nothing, but possibly some experience transfigured by an exciting hope of goodness...

HEROD AND SALOME

HEROD AND SALOME

Once in my studio, the question was ‘what kind of brush strokes will admit to guilt and regret’...

THE SPOILING OF JOSEPH

THE SPOILING OF JOSEPH

Painting is about thinking and being. It is part of that process whereby we re-form our experiences into significant images.