Painting in Oils - When a Good Painting Goes Bad, Is There a Cure?

What possible 'cure' might you find for a half-finished oil painting you realise is 'terminal'? Begun with such enthusiasm, it had you feeling on fire with inspiration. Now it hangs, dull and somehow lifeless on the easel and you wonder: 'what to do next?' In truth, the best answer is: 'dump it and start over.'

To destroy it after all the hope, the hours of work you've put in, is a gut-wrenching prospect.

• So, before you pull the last hairs from your scalp or resort to the whiskey bottle, you sink back in your 'thinking' chair - I do hope you have one in the studio - to consider the options:

1.You might move one element - a figure, a building or a tree - to a more prominent place in the picture, because you realise the painting lacks a strong focal point.

2.You might change the colouring of some element - the woman's dress to an eye-catching yellow, the roof of the house to a bright red, or the water in the river to vivid greens.

• No. You won't do any of that, because you already know the dangers of over-painting in oils.

3. You might de-mount the canvas and cut a bit off one side or another.

• It won't help. You already know enough about composition to realise such action would throw everything out of balance.

With that thought, you've reached the Eureka Moment. Your own mind threw up the clue. Composition.

The word stings its way around your brain as you check through the basic rules of composition, learned when you were a student.

1. In a landscape, the horizon must never cut the canvas in half but be placed one-third or two-thirds down from the top.

2. The horizon should never stretch in an unbroken line from edge to edge of the canvas.

3. The focal point, or most important feature of the painting, must always be placed off-centre.

• You followed the rules. So why does this painting look 'wrong?' Well, that flash of inspiration you had, that enthusiastic rush to get started on this painting is the most likely cause of your problems with it now. Sad to say, friend, you'd better face facts.

Be prepared to scrape right down to the primer or else get some trusted person to destroy the failed thing. When you've dried your eyes, please open your ears to an easy way to avoid feeling this anguish ever again.

• You know The Golden Rule but do you know the carpenters' rule? It goes like this: Measure Twice, Cut Once. You can apply the concept to every new, blank canvas you face in the future. Of course, you're not going to take a knife to that new canvas. You'll use a ruler and take some measurements.

On the new canvas, mark the centre with a piece of charcoal. Using a T-square and a ruler, draw horizontal, vertical, and diagonal lines, through the centre point to each edge of the canvas. You've now made what I call 'The Star.' So, how does it help?

• It reminds you not to place the focal point on any of its arms. For example, you'll avoid placing the eyes of the subject in a portrait, the head of the lead horse in a group, or the most interesting feature of a landscape on these lines. This way, the viewers' gaze is directed around the painting, always drawn back to your focal point, as planned.

Other artists will have their special 'cures' for a painting gone wrong but in the case of an oils-on-canvas painting, this is one I know to be reliable in avoiding problems before you start painting.

Dorothy Gauvin is an internationally acclaimed Australian painter in oils who specialises in an epic theme of Australia's pioneers. See images of her 'Life-Story' portraits, an ABC of homemade tools for painters with arthritis, plus tips and advice for aspiring artists and collectors on her website at http://www.artgallerygauvin.com/

Artists Thoughts on "Ocean's Symphony", a Seascape Fine Art Oil Painting

Daniel Chiriac: Creating a Life of Art by Painting Beauty

Daniel Cristian Chiriac, born 1972 in Romania, paints oil on canvas. His preferred styles are realism and surrealism. After a long period of abstractionism (before 2006), Chiriac rediscovered the beautiful paintings of the old masters. Being more and more interested in the old masters techniques, he slowly abandoned the abstract art style and turned to surrealism, fantastic realism and classical realism style. Most of his time is dedicated to his little daughters and wife and of course, creating art. Here today, he brings to us his story complete with perspicacity and personal anecdotes relating to his experience of life as an artist.

What is the story behind the works you wish to focus on "Till the end of time" and "The last love of Don Juan"?

Well, it's not so much the story behind them than the fact these two paintings are my favorites.

"Till the end of time" is a painted love poem to my sweet lady, Daniela. She is the sitting model for my painting.

The picture is a symbol of time evanescence. Being so, all that counts in the end is love which must be preserved along the years.

This painting is also my first conscientious attempt to deal with the golden proportion. I never ever, before or after this have done so many calculi for a single composition! Who's that to tell that love isn't mathematics?! Well, my love is mathematics... Daniela is a math teacher.

As for the second painting, I was thinking about this subject for a couple of years before getting started painting it. I saw this title on the street. It was a theater play. The play is quite obscure and I didn't see it so my composition has nothing in common with it except for the title. All the inspiration came from that title around which I developed the story starting from this question:

- What if Don Juan didn't go to hell after his last "love"?

I looked over this question with an optimistic vision, somehow pre-raphaelistic, and not in a pessimistic, post-modern philosophical view ( If post-modern, I would have needed to think upon Don Juan's last love as the term itself says: last..so, the very last of Don Juan's loves. As if he knew it is the last one and then think what would have been his feelings about... well... I digress... let's go back to the main story...

So this is my story:

What if Don Juan had stopped flying from one flower to another? According to the legend of Don Juan, he didn't stop seducing women and his end was in hell... but, being myself a romantic type, I thought that, in certain circumstances, Don Juan could have also been seduced and so, to find "the only one" that was truly for him.

This is the subject of my "The last love of Don Juan"... well, I think that the title should be "The only love of Don Juan" because I think all his "activity" was only a performance not love because I do believe in true love comprised of devotion, respect and sacrifice (unfortunately, so depreciated in these days of exacerbated egoism)... and therefore this is my version of the legend of Don Juan ending: I think that Don Juan could have found his true love with divine help only.

The foreground sculptural element including the chalice, the hand and the pomegranate, represents the life of Don Juan as we knew it: full of lust, carnal pleasure, in a continuous hunt to feed the personal pleasure, all of these, under a demonic influence.

With divine help - which is represented by the dodecahedron which is a symbol of the heaven substance (according to Aristotle) - Don Juan found a woman who embodied all the meanings of a virgin (note the Virgo constellation on the dodecahedron). Only a perfect Virgo could "capture" the soul of Don Juan, I think.

After that, Don Juan realized that his previous life was just a mask and casts it off and then flew for his love on a silver string to the Moon. The Moon itself is at the first quarter which means that the new love is growing.

I don't know if what was in my mind is well transposed onto the canvas, but I hope I managed to do it at least a half of that.

Tell me which old masters influence you:

Actually, when is about influence, I can't give a particular name I very much like Caravaggio and he influenced me. Then there are various Old Dutch painters. But, the main influence in my realist art comes from contemporary realist artists who I think are better in depictions, yet, maybe not as good on the crafting-side of making a painting. I mean by that in regards to the use of techniques that ensure a very good and long preservation of paintings.

How long have you considered yourself an artist?

Maybe since I was 16 or 17... not sure exactly, but I'm sure I was thinking that I have artistic skills. This was also a time when even though I wasn't drawing a single line I considered I made art simply by walking on a street or talking to friends. My mind was way way too open to what art making is. Anyway, I became confident that I'm an artist when I began making a living through art.

Tell me about your first experience painting with oil:

Oh, that's so far in the past! I was a child... Was I 7 or 8? Not sure exactly what was my age when the family friend, who also is the one who initiated me in art, made me a gift box of oil color tubes. He gave it to me and nothing more. No instructions, no guidance... nothing! As you would give a chocolate to a kid and it's something obvious that kids know what to do with. Also, he didn't give me a canvas. So that I painted my first oil painting on paper. That kind of paper you can find for children's watercolors. Had no thinner either, so of course, my brushes were ruined.

I remember that the greatest surprise was to see how long oils take to dry! And also, how many things get dirty... I still remember the subject was a still life of a handcrafted vase having some roses applied on it like a high-relief sculpture. In the vase were roses, too. It was my "early masterpiece" a thing for my mother to praise to her friends long afterwards. Well, quite surprisingly for me, I liked that painting, too. It's a rule for me not liking my paintings more than a few weeks... well, with 2 - 3 exceptions.

What things inspire you to create art?

Things that I think are beautiful. And that can be everything. It depends by the artist's eye. After all, isn't the artist's job to identify beauty where the ordinary eyes see nothing but ordinary things and so, to bring them face-to-face with that beauty through the work of art?

I remember a funny situation about a thing that inspired me. Well, it's true that it was when I was abstractionist, so I've got excuses. So, being at toilet and having nothing, I saw some cracks in the walls with ceramic tiles and found that design interesting. I looked over them, canalized then and came to the conclusion there's a nice subject for a painting. If you look over my abstract gallery, you will see a polyptych painting (4 pieces), green colors predominant, few of reds and blues. That's the resulted artwork inspired by the crackled bathroom ceramic tiles.

What are you trying to convey through your art? What does it mean to you?

Well, I believe that an artist is to bring up to the worldview beauty, simply beauty as the main rule. The rest must be a rare exception. I think that what doesn't fall under this rule is not art. As I think that an artist's eye must be trained to see beauty, I don't try to convey nothing but beauty and this means the whole philosophy to me. No other philosophy, not any alembicated discourse like "spotted in light of art, anchored in the synergy of facts, the recourse to reality, do not elude the meanders of concrete space."

I'm walking at vegetable market and see a tasty sweet pepper for soup; I see a nice still life painting. Also, like the answer to the previous question, one may only see some cracks in the tiles, I may see a painting. So, my mission is to reveal the beauty there where no other eye sees it but the artist's eye does.

Tell me about your creative process, from the beginning of a work to its completion:

Day after day, night after night, I keep ideas on the first support I may find when the inspiration strike. Most of time, the only available support is my own memory... which, unfortunately, is not my best support for the purpose. So that way many ideas are lost for good. Although, I have stored a lot of ideas on written notes or fast sketches.

Funny thing is that, so often I don't use that pile of ideas to start a new painting but the most recent idea that struck me. This why an artist must be a monk if he want almost all his ideas transposed onto the canvas (or any other support... or else learn to paint much faster, not so slow like me. As I said before, ideas come from all over the place from the restroom or vegetable market, to the actual reality at dream reality.

When it is about realist paintings, I set down the model, I do the composition, and then I start painting. Quite simple. I don't make multiple compositions to choose from as I'm confident on my first impulse. Painting process itself is a love / hate activity for me. Until 2006, all of my life, even as a kid, despite suggestions of that early mentor who gave me the first oils and who really hated abstract art, I loved abstractionism and I created accordingly. Well, there was such a joy to paint so! On good days (OK, nights) I had been painting 2, 3 or even 4 paintings! The main problem was that that joy was short lasting... like an energy drink... There's only one painting from that period I still like - Solar Incandescence.

Since surrealism and realism, I almost hate painting process itself because it's so slow - 2 days for a small ACEO miniature (2.5 x 3.5 inches) to sometimes months for large paintings like "Till the end of time". The reward of this pain comes greatly when the painting is ready. Yes is true, the joy of picture I have done disappears eventually, but it lasts much longer and gives me much more satisfaction and gives me a complete feeling and confidence that I'm really an artist. I didn't see much difference between me and a carpet designer when I was abstractionist (forgive me carpet designers).

When it is about surrealism, an idea becomes sketch then sketch a preliminary composition drawing. Then I search for models of objects in my surreal composition. If human bodies, it's time for photo shooting session: me, my wife and my children. If objects of any kind, a photo shooting too. Of course, there's always need for hand drawings as well.

Then, to speed up the process, I use my computer to mock-up from photos and hand drawings into an image as close possible to the final painting picture. I may or not (most often, not) do some color studies. With that image on the display monitor, I start drawing on a paper at the same size of canvas. I make changes if I feel it is needed, I transfer it onto the canvas... and... again, the slow process of painting starts.

No matter realist or surrealist, when I get the painting ready, I hide it from my view for a day or two then, I hang it on the wall. If a week or so passed and nothing on the picture "scratched" my eyes, I then consider my job done and I sign it.

What exposure have you had?

I had no live exposure, I mean no show in brick and stones gallery. And this is because I never could keep the required number of paintings for a show. Internet is my gallery and place for competitions. Yet, I didn't apply to online paid competitions as I'm not a gambler. There are so many wonderful artists applying so that you must be lucky to win even when you're very good.

Yet, I have won 2 awards:

First place in a competition held by ArtJudge.com - oil painting contest

Honorable mention at "Genbaku Dome" art contest by Japanese Post

The most beautiful recognition for me is when my customers send me pictures of my paintings hanging on their home walls along with enthusiastic thanks.

What has been the most unexpected reaction your art?

It happened recently. Someone found my website last year (2012) and was amazed by an abstract expressionist triptych of 3 horses that I painted many years ago. She sent me a very surprising email according to which I'm quite a genius, at least at that moment of creation. I was very surprised by such a flattering feedback moreover finding her graduated from art academy. After this all, I had a commission. Even though I had stopped painting abstract long ago, I accepted her commission and I started painting it. She wanted me to paint for her something of same subject, same manner. I've told her it won't be a copy. Something looking like it at most.

I was very excited as I had rediscovered the joy of abstract painting. So excited than I didn't see my work in an objective manner... she told me to "go wild" onto the canvas... and so, thinking that the painting was finished, I sent her pictures of it. It wasn't the most pleasant reaction. It seemed it would be better if I had been done a copy... which I can't.

Well, I continued the work at the painting until it got a closer look to the old painting and I found it even better than the first one. Even so, the enthusiasm of my commissioner was lost for good. I found it so unexpected because of the huge difference between her first reaction and the last one. Now, you can see that commissioned painting here for sale:

Do you have any regrets in your life as an artist?

I may have... Not so sure... Because I don't know if my life would be the same now... and my life it is. So, if it be to call this a regret, this is the fact that I didn't go to art academy. When I finished up high school, I thought about what I wanted from my life and I decided I want to get rich. Soooo, I went to the Law school, where else to go in order to get rich without a dead rich relative. I was a good law student until the true calling emerged and made law study impossible for me. Hardly, I finished that school but I never practiced.

Even though I consider art school not something a painter must do, yet it offers an impulse for sustained work. You know, a natural gift is nothing without training and when nothing but your own will and self-determination put you to work, the chance to become lazy is quite big.

What plans do you have for the future of your art?

Plans... I want my realist art to be good enough to get short-listed at the artrenewal.com annual painting contest... well, and at the BP portraiture contest (UK). I also want to do a first one-man-show in a real gallery. I don't strive for that, but I want to take the only advantage therein of a regular job: sure and constant salary. Yes, I've got a job. Times are hard for making a living from art only.

Do you have any advice for emerging artists?

Keep hard at work always practicing and learning from any source. Promote your art as much as you can but keep watch on time spent on it. There are so many promoting a lot and creating less and so coming to a point when there is nothing new to promote. Be more artist than advertiser. Keep watching for artists you think make art better than yours. Don't strive for a "personal touch." Strive for a better technique first then that thing which makes your art unique, that cognoscible personal touch will appear naturally.

Share something interesting in your life that relates to your art:

As I told you above, I was student of Law school and during that period I barely picked up a pencil. So, my girlfriend, my lady today, didn't know about my artistic background. I didn't tell her a word about it. After almost an entire year since our coup de foudre, my change back to art resurfaced and I painted a couple of paintings. One day she visited my home and I showed her my work telling her my plan to make a life as an artist. A few seconds after, she was weeping silently... and this was not of joy... 5 years later I married her.

How do you show your art to the public?

Nearly all of my collectors are outside my country yet I do promote myself locally too in my small city. The local gallery curator still awaits my paintings for a show. I was close to achieving that 3 years ago, when I managed to keep all the necessary paintings less 4 or 5 more, when my first baby girl was born. This event needed money... so I had to sell all my available paintings and so the show was postponed.

I also have a Fine Art Gallery online with photos of completed works and my own YouTube channel where viewers may watch my creative process.

Read more from this author at Inspiration and Originality Underlined - a blog celebrating creativity.

Please visit the above link for all of Rebecca's art-related articles and artist interviews.

Sketchozine.com Masters | Alexandra Manukyan | Brilliant Surrealist Fine Arts Painter

Floral Art Paintings: Take the Beauty of Nature to Your Living Room

It is always important to stay intimate with nature. In the new era, people find it quite impractical to take daily walks in the park or jungles nearby, owing to their busy schedules. The next best and often-suggested alternative to tie one's soul with the charm of nature is to bring it to your living room through some kind of artworks, say floral art paintings or nature art paintings.

A painting that depicts flowers can do great wonders to your soul and spirit. A flower may appear as an innocuous little thing. But it can convey emotions and happiness in a brilliant and effortless way. So, when you steal a passing glance at such a painting hanging in your wall, your eyes automatically earn pleasure and enhance your mood.

Flower paintings have been popular amongst the artists since time immemorial. A number of renowned artists have used floral paintings to manifest a bouquet of emotions and even tell stories in a silent and subtle way. While hanging a painting of a flower in your living room, you can make certain choices.

For instance, if you have recently tied the knot and aspire to spread an ambience of love in your home, then you can opt for a painting which shows one or more red roses. In case you need something to elicit smile on your face, then a yellow daffodil will also be a great choice.

Flowers have this happy personality which can brush on to you very easily. So when you put up a picture of a floral art in your rooms, then you can expect a revival of spirits. We often get bowed down by the daily rigors of life. Returning home with a stupendous artwork waiting there smilingly can be a great stress-reliever for you and everybody.

Well, floral artworks can be of an eclectic kind. Some are pretty straightforward, while some can be abstract and even profound in their meaning. If there are many members in your family, then you can also opt for a painting which will contain a basket of different flowers. Each flower with its own hue and kind can convey a different set of emotion.

Each will appeal to a different member of the family and can thus instil a harmonious atmosphere in the house. So, it is said, and rightly so, that a floral painting can help family live together in great harmony and without any malice or acrimony which is so common in today's times!

Floral paintings and artworks of your preference can be easily bought online at very nominal prices. The best place for you to get the best floral and nature artworks is FabuArt, just clicking here at http://fabuart.com/art-painting-s/floral

FZD Graduation Show - Students' Portfolio

Simple Card Making Ideas For Kids

Irrespective of whether it is a thank you card, anniversary wishes or birthday greetings, homemade greeting cards are an excellent craft that will be cherished by kids. Sometimes, this skill can act as the base for developing many other skills in your child like writing, painting, drawing, etc. It can also bring about an improvement in their concentration power as they will be too much focused when they are made to participate in an activity that impresses them a lot.

There are art journaling workshops conducted by some studios for teaching this skill not only for kids, but also for adults as well. This practice will develop the communication skill in your child to express their feeling in a non-verbal way. You can teach your child that the simplest cards can be made just with a chart, pen, pencil and glittering pens and so you need not worry as to whether your child will make his room shabby by spraying and dropping color paints on the wall and on the floor.

Here are some simple card making ideas that will be of great help to children to make not only themselves, but also their parents, friends and even teachers happy by presenting them with greeting cards for different occasions that are made with their little hands:

As compared to paper card stock can be used and this will ensure that there will not be any crease or bend. Another benefit about this product as against the paper is that when colors are used, they will not be visible on the other side. Even there are thick papers available in the market and they can also be used in the process.

You can ask your kid to draw a picture of his interest and if he is intending to present it to his friend on his birthday, you can teach him to write some birthday messages on the reverse side. On the front side, let his drawing be present and on the reverse side let the message be written.

Children generally love stickers of their favorite superheroes like Spiderman, Batman, etc. So, you can also get the stickers of these popular personalities in stock in your home. This will be helpful for your child to make use of them as and when needed. Even though, this is one of the popularly known card making ideas for children, it is worthy.

So, start inquiring about art journaling workshops that are conducted either online or near your home and enroll your kid for developing his creativity.

Are you looking for creative and unique card making ideas, then Saranaumann.com is the right place for you. It is the best online source to get new collection of collage work and handmade cards. To explore more details about art journaling workshop, please Click Here.