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Oil painting techniques for beginners • Anna Bregman Portraits

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Oil painting can seem intimidating to beginners, but with the right advice the process doesn’t need to be complicated.

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oil painting, painting in oil colours, a medium consisting of pigments suspended in drying oils. The outstanding facility with which fusion of tones or colour is achieved makes it unique among fluid painting mediums; at the same time, satisfactory linear treatment and crisp effects are easily obtained. Opaque, transparent, and translucent painting all lie within its range, and it is unsurpassed for textural variation.

Artists' oil colours are made by mixing dry powder pigments with selected refined linseed oil to a stiff paste consistency and grinding it by strong friction in steel roller mills. The consistency of the colour is important. The standard is a smooth, buttery paste, not stringy or long or tacky. When a more flowing or mobile quality is required by the artist, a liquid painting medium such as pure gum turpentine must be mixed with it. In order to accelerate drying, a siccative, or liquid drier, is sometimes used.

Top-grade brushes are made in two types: red sable (from various members of the weasel family) and bleached hog bristles. Both come in numbered sizes in each of four regular shapes: round (pointed), flat, bright (flat shape but shorter and less supple), and oval (flat but bluntly pointed). Red sable brushes are widely used for the smoother, less robust type of brushstroke. The painting knife-a finely tempered, thin, limber version of the artist's palette knife-is a convenient tool for applying oil colours in a robust manner.

The standard support for oil painting is a canvas made of pure European linen of strong close weave. This canvas is cut to the desired size and stretched over a frame, usually wooden, to which it is secured by tacks or, from the 20th century, by staples. To reduce the absorbency of the canvas fabric and to achieve a smooth surface, a primer or ground is applied and is allowed to dry before painting begins. The most commonly used primers have been gesso, rabbit-skin glue, and lead white. If rigidity and smoothness are preferred to springiness and texture, a wooden or processed paperboard panel, sized or primed, may be used. Many other supports, such as paper and various textiles and metals, have been tried.

A coat of picture varnish is usually given to a finished oil painting to protect it from atmospheric attacks, minor abrasions, and an injurious accumulation of dirt. This varnish film can be removed safely by experts using isopropyl alcohol and other common solvents. Varnishing also brings the surface to a uniform lustre and brings the tonal depth and colour intensity virtually to the levels originally created by the artist in wet paint. Some contemporary painters, especially those who do not favour deep, intense colouring, prefer a matte, or lustreless, finish in oil paintings.

Most oil paintings made before the 19th century were built up in layers. The first layer was a blank, uniform field of thinned paint called a ground. The ground subdued the glaring white of the primer and provided a base of gentle colour on which to build images. The shapes and objects in the painting were then roughly blocked in using shades of white, along with gray or neutral green, red, or brown. The resulting masses of monochromatic light and dark were called the underpainting. Forms were further defined using either solid paint or scumbles, which are irregular, thinly applied layers of opaque pigment that can impart a variety of pictorial effects. In the final stage, transparent layers of pure colour called glazes were used to impart luminosity, depth, and brilliance to the forms, and highlights were defined with thick, textured patches of paint called impastos.

The origins of oil painting, as was discovered in 2008, date to at least the 7th century ce, when anonymous artists used oil that may have been extracted from walnuts or poppies to decorate the ancient cave complex in Bamiyan, Afghanistan. But in Europe, oil as a painting medium is recorded only as early as the 11th century. The practice of easel painting with oil colours, however, stems directly from 15th-century tempera-painting techniques. Basic improvements in the refining of linseed oil and the availability of volatile solvents after 1400 coincided with a need for some other medium than pure egg-yolk tempera to meet the changing requirements of the Renaissance. At first, oil paints and varnishes were used to glaze tempera panels, painted with their traditional linear draftsmanship. The technically brilliant, jewel-like portraits of the 15th-century Flemish painter Jan van Eyck, for example, were done in this way.

In the 16th century, oil colour emerged as the basic painting material in Venice. By the end of the century, Venetian artists had become proficient in the exploitation of the basic characteristics of oil painting, particularly in their use of successive layers of glazes. Linen canvas, after a long period of development, replaced wooden panels as the most popular support.

One of the 17th-century masters of the oil technique was Diego Velázquez, a Spanish painter in the Venetian tradition, whose highly economical but informative brushstrokes have frequently been emulated, especially in portraiture. The Flemish painter Peter Paul Rubens influenced later painters in the manner in which he loaded his light colours, opaquely, in juxtaposition to thin, transparent darks and shadows. A third great 17th-century master of oil painting was the Dutch painter Rembrandt van Rijn. In his work a single brushstroke can effectively depict form; cumulative strokes give great textural depth, combining the rough and the smooth, the thick and the thin. A system of loaded whites and transparent darks is further enhanced by glazed effects, blendings, and highly controlled impastos.

Other basic influences on the techniques of later easel painting are the smooth, thinly painted, deliberately planned, tight styles of painting. A great many admired works (e.g., those of Johannes Vermeer) were executed with smooth gradations and blends of tones to achieve subtly modeled forms and delicate colour variations.

The technical requirements of some schools of modern painting cannot be realized by traditional genres and techniques, however, and some abstract painters, and to some extent contemporary painters in traditional styles, have expressed a need for an entirely different plastic flow or viscosity that cannot be had with oil paint and its conventional additives. Some require a greater range of thick and thin applications and a more rapid rate of drying. Some artists have mixed coarsely grained materials with their colours to create new textures, some have used oil paints in much heavier thicknesses than before, and many have turned to the use of acrylic paints, which are more versatile and dry rapidly.

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Oil painting | Description, History, & Facts

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oil painting, painting in oil colours, a medium consisting of pigments suspended in drying oils. The outstanding facility with which fusion of tones or colour is achieved makes it unique among fluid painting mediums; at the same time, satisfactory linear treatment and crisp effects are easily obtained.

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Everything you need to know about acrylic painting

Acrylic paint is a versatile medium that allows artists to bring their artistic vision to life. It offers the flexibility to create detailed work, layering, and textured impasto techniques. Not only is acrylic paint less expensive than oil paint, but it also provides great value for your money. In this article, we will explore the basics of acrylic painting, including color selection, types of paint, painting surfaces, brushes, palettes, and the painting process.

When it comes to choosing colors for your acrylic palette, you don't need to buy a large number of colors. In fact, you can create almost any color you want with just a few pigments. I recommend starting with a yellow, a red, and a blue, along with white and black. With these primary colors, you can mix a wide range of hues.

It's important to note that there are different variations of each primary color available in the market. Each combination of different primary colors creates a nuanced and unique shade. If you're unsure where to start, I recommend using cadmium yellow light, cadmium red, ultramarine blue, titanium white, and Mars black. However, the use of black in art is a topic of debate. Some artists argue that it can muddy colors and create an unnatural look. Ultimately, the decision to use black is up to you and your artistic preference.

If you want to create your own deep, dark black alternative, my favorite combination is phthalo green plus cadmium red. This mixture creates a beautiful and rich black. However, be cautious when using phthalo green, as it is a strong color and can easily overpower other pigments.

Acrylic paint comes in different consistencies, including heavy body, medium or soft body, and fluid acrylics. Heavy body acrylics have a thick consistency and are ideal for palette knife work or creating textured effects. Medium or soft body acrylics have a medium consistency, providing a balance between heavy body and fluid acrylics. Fluid acrylics, as the name suggests, are very thin and are great for creating washes and glazes. Personally, I use heavy body acrylics for my paintings.

Student Grade vs. Artist Grade Paint

When shopping for acrylic paint, you may come across student grade and artist grade options. The main difference between the two is the amount of binder and pigment in the paint. Artist grade paint contains a higher concentration of pigment, resulting in better coverage and color intensity. I always recommend investing in artist grade paint whenever possible. However, if you're on a tight budget, make sure to at least get artist grade paint for titanium white and any yellow you use, as student grade cadmium yellow does not provide sufficient coverage.

Acrylic paint can adhere to a variety of surfaces, giving you plenty of options for your artwork. The most popular surface for acrylic painting is canvas, which is versatile and comes in various sizes and mounted options. Canvas panels are also a great option, as they are lightweight and easy to transport. If you prefer a smoother surface, you can paint on wood or MDF (medium-density fiberboard). Just make sure to apply a layer of gesso to prepare the surface for painting.

Gesso: The Acrylic Primer

Gesso is an acrylic primer that prepares your surface for painting. Most canvases bought from stores already have gesso applied, so you don't need to buy gesso unless you're painting on wood or MDF. Gesso creates a smooth and even surface for your paint to adhere to, ensuring better color vibrancy and longevity.

Brushes: Synthetic is the Way to Go

When it comes to brushes for acrylic painting, it's best to use synthetic brushes. Natural hair brushes, such as those made from hog bristle, are not suitable for acrylic paints. This is because natural hair brushes soak up water when cleaning, which can cause them to become misshapen and lose their effectiveness. Synthetic brushes, on the other hand, are designed to withstand the water used to clean off acrylic paint.

There are different types of brushes available, including flats, filberts, and rounds. The choice of brush type ultimately comes down to personal preference. I recommend buying a few brushes to start with and experimenting to see which ones you prefer. Princeton's Catalyst and Aspen series are both excellent options that offer high-quality synthetic brushes.

The Palette: Masterson Sta-Wet Palette

While you can use anything from a paper plate to glass as a palette, I highly recommend using the Masterson Sta-Wet Palette. This palette comes in different sizes and has a lid that can be sealed to keep your paints wet. It also comes with a special type of paper that soaks up water without deteriorating. Underneath the paper, there is a sponge that can be wet with water to keep your paints moist for a longer period of time.

For a detailed set-up guild for this palette, check out our article here

The Masterson Sta-Wet Palette allows you to mix and blend colors easily, giving you more time to create nuanced and harmonious paintings. When organizing your palette, it's helpful to think about color theory and how colors mix together. Place your primary colors (yellow, red, and blue) in the corners of your palette, and mix your secondary colors in between. Add black and double the amount of white in the corners, as white is often used in larger quantities when mixing with other colors.

When mixing colors, consider using complementary colors to create more grayish tones. For example, mixing red with green can result in beautiful grayish colors, especially when adding a touch of white. By organizing your palette in this way, you can easily go back to a specific color and figure out how you created it.

To learn how to mix colors effectively, create small charts by making as many combinations and mixtures of colors as possible. Write down the exact colors you're using and experiment with different sets of colors. This will help you understand how different colors work together and allow you to make informed choices when painting.

The Painting Process: A Five-Step Framework

To achieve a successful painting, it's important to plan and have a clear vision of what you want to create. The first step is to design your painting. Take a few minutes to do a thumbnail sketch and work on the overall composition and design. This will save you time and frustration later on.

The second step is to draw your design onto your canvas or painting surface. Ensure that your drawing is accurate before moving on to the next step.

Next, block in the main colors and values of your painting. This step helps establish the overall tone and mood of your artwork.

Once the main colors are blocked in, refine and adjust the values, shapes, and lighting. This is where you can add details and make any necessary corrections.

Finally, finish your painting by adding the final touches and refining any areas that need further attention. Take the time to evaluate each part of the painting along the way. If you notice any flaws or areas that need improvement, make the necessary corrections before moving on to the next step. By breaking up the painting process into these five steps, you can evaluate your progress and make adjustments as needed.

Out of all the steps in the painting process, I believe that the most important step is the first one: design. Having a strong and well-thought-out design sets the foundation for a successful painting. No matter how great your brush strokes or colors are, if the overall design is lacking, the painting will not be as impactful. Taking just five minutes at the beginning of your painting to work on the design and composition can save you hours of frustration later on.

As you embark on your creative journey, there are a few things that will greatly help you along the way. First, make a plan to paint and set aside dedicated time in your schedule for your artistic pursuits. Don't be ashamed to prioritize this time for yourself and your passion.

Second, find friends or a community to share your creative journey with. Painting is much more enjoyable when you have others to support and inspire you. Joining a group or finding like-minded individuals can provide valuable feedback and encouragement.

Third, never stop learning from others. Art is a continuous learning process, and there is always something new to discover. Be open to learning from other artists, whether through workshops, classes, or online resources. Embrace the role of a student, and you'll continue to grow and improve.

Fourth, don't be afraid to experiment and think outside the box. Try different techniques, tools, and approaches to push yourself beyond your comfort zone. Incorporate elements that you admire from other artists into your own work. This experimentation will lead to new discoveries and expand your artistic horizons.

Lastly, embrace mistakes and failures. They are an inevitable part of the creative process. Instead of being discouraged by mistakes, see them as opportunities for growth and learning. Set a goal to try new things and embrace the unexpected. By doing so, you'll open up new pathways of learning and discover new techniques and styles that you may love.

Above all, remember to have fun on your artistic journey. Painting is a creative and expressive outlet, and it should bring you joy and fulfillment. Embrace the process of growth and self-discovery as you explore your own unique artistic voice.

If you have any questions or need further guidance, feel free to email us at support@acrylicuniversity.com. Also, be sure to visit acrylicuniversity.com, where we provide resources and encouragement for artists like you.

Remember, you are loved and believed in. Happy painting!

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Everything You Need to Know About Acrylic Painting

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Acrylic University is your home for growth and flourishing in your art and creativity. Live classes, premium courses, mentoring, and the best art community ever.

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A Beginners Guide to Acrylic Painting - The Myth of Talent

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Keeping yourself on the sideline as a viewer? It doesn’t have to be. Painting is a skill that can be learnt, just like riding a bike.

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Learn how to paint with acrylics with the fun, easy, step-by-step art tutorials for beginners.

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A Simple Beginners Guide To Oil Painting

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How to...

A series of 'how to' articles and videos on some of the most common questions and simple video tutorials.

Varnishing & Isolation Coat

How do you varnish an acrylic painting? What is an isolation coat? And do you even need to varnish your oil painting at all?

Colour Mixing & Understanding Pigments

Inspiration, Travels, Exhibition Reviews & Art History

Exhibition reviews and painting travels looking at the exhibitions with an artist's eye

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A series of 'how to' articles and videos on some of the most common questions and simple video tutorials. How do you varnish an acrylic painting? What is an isolation coat? And do you even need to varnish your oil painting at all?

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Step By Step Painting - Acrylic Painting For The Absolute Beginner!

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Online acrylic painting tutorials in the form of pictures and videos! Learn to paint with acrylics from home for free!

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Painting with Watercolors for Beginners – The Postman’s Knock

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This blog post will give you a beginner’s overview of painting with watercolors. You’ll learn about shading/blending techniques, which set to buy, and more!

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Watercolor - The Metropolitan Museum of Art

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Prized for the luminosity of its transparent colors, watercolor is a water-based medium that is applied by brush typically to white paper.

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Watercolor Affair - Learn the Art and Techniques of Watercolor Painting

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​ Have you ever seen a beautiful piece of watercolor art and thought "I want to paint like that"? Many budding artists hold back because they just don't know how to start painting in watercolors. I think that's too bad. Because I believe the joy of creating with watercolors is within anybody's reach. Some people simply don't know where to begin. Others have fears and frustrations that prevent them from taking the leap.

My first steps in watercolor were far from perfect. I used to be very self conscious about my artwork and I was reticent to show people the results of my paintings. I would spend forever remaking a piece of art. Heck... Even today I sometimes have to start over a few times before I'm happy with my results. But the joy of painting in watercolor keeps you coming back again and again.

I'd like to help you overcome the reasons that are holding you back, and discover the first steps you need to get started with this wonderful art medium.

Watercolor painting is one of the most rewarding and approachable forms of art. Let's examine a few simple ideas and projects to get you going on your creative journey.

How to Start Learning Watercolor Painting

There are lots of reasons why we have difficulty starting something new like watercolor painting. Maybe you don't understand how to use watercolors to get the best out of them. Or you don't know which supplies to buy. Some people are worried about not doing the right things when they paint, and wonder what to practice in order to make progress? And then you have to find the time and the motivation to actually paint.

If you let any of these things prevent you from starting watercolors then you are quite simply missing out on one of the most satisfying and beautiful art practices around.

But it's not difficult to get over these obstacles.

Lack of confidence

Fear of the unknown is a natural human response to anything new. You're not alone and it's not unusual. I wasn't 100% confident in my painting abilities when I first started. But as soon as you get over that fear you wonder what was preventing you! Watercolor painting is the same.

"But what if I make a mistake" I hear you say. So what? Nobody will know it's a mistake accept yourself. I'll let you into a secret. I'm a bit of a perfectionist! But I've learned to accept the imperfections of watercolor painting. In fact, it's one of the things that make watercolors so interesting!

You don't feel creative

As a child you drew without concern. The thing is, you've always been creative... You've just forgotten this part of yourself.

Every new painting is a step towards improving your skills and finding your creative voice.

I find the best way to overcome doubt is to take action. Practicing watercolors, just a little every day, is a great way to dissipate doubt.

And remember this is supposed to be fun!

Lack of time

Luckily for you, watercolors are highly accessible. Watercolors are very portable, so you can take them just about anywhere. A sketchbook and a portable watercolor palette take up very little space, so you can enjoy painting whenever you take a break from everyday life. In a café, on your lunch break, in the park, on your kitchen table...

The opportunities are there if you look for them.

Understanding watercolor paint

Beginners often don't know how to use watercolor paints and what to expect from this extraordinary art medium. Maybe you've already painted using another type of paint like acrylic. Or this could be the first time you pick up a brush.

Watercolor paint is endlessly rewarding. But it has a very playful nature. Pigment and water often do what they like. They blend together to produce gorgeous patterns of color. But watercolor is also transparent. And transparent paint leaves every brushstroke visible.

For these reasons watercolors have the reputation of being difficult to learn and control. I think that's a bit unfair. You might have an accident with your brush. But these happy accidents should be seen as an opportunity not a mistake. This way you'll get greater enjoyment from the painting process.

The fundamental thing to understand about watercolor is hidden in its name.

Water ...

The wetness and the flow of water, and the transparent characteristics this creates, are what determine the outcome of your paintings. The rule to remember is this. Water will always flow from wet to less wet. An area of wet paint will seek equilibrium and flow towards the area of lesser wetness. The water carries pigments from one place to another. And water evaporates and dries quickly. So your window of opportunity for playing with the paint is sometimes short (that's why I try to use plenty of water in my mixes and keep colored washes wet while working).

What you need to Start with Watercolors

You don't need much to start painting. The basics include a brush, watercolor paper, and a few paints. And you don't need a huge range of colors to get great results.

Basic color theory tells us that you can mix any color from just three primary colors: yellow, red, and blue. In reality you need more than just three primary colored paints to mix any desired hue. The smallest palette for the best range of color mixing consists of six colors.
A warm and cool yellow, a warm and cool blue, and a warm and cool red.

A great way to get started with artist quality watercolor paints at a reasonable price is the Daniel Smith Essentials introductory set. (Check the reviews for yourself on Amazon. I recommend you choose the best quality paint you can afford and this set includes fine quality watercolors of all the warm and cool primary hues).

Next you need a brush. Watercolor brushes are designed to work specifically well with water. They have a good pointed tip for accuracy, and they hold a lot of water (they have what is referred to as a good reservoir). The very best type of watercolor brushes are made of natural hair, because they have the best characteristics. But these can be expensive. The most affordable alternative is a mix of natural and synthetic bristles. The "Silver Brush" company make some good brushes of this kind.

Try to find a medium sized round brush to begin with. A size 8 round is a good option. Round brushes are the most versatile and allow a wide range of brushstrokes. And if your brush is too small you'll waste a lot of time picking up paint, and it will limit your brushwork.

Watercolor paper is a necessity, because any other kind of paper won't handle the wet paint very well. High quality 100% cotton paper can be pricey. But you can get perfectly good student grade paper which is sufficient to begin with. Just make sure the paper is reasonably thick. A good minimum weight is 140 lb / 300 gsm. This is the paper I use for sketching.

What to paint to get started?

This isn't a tutorial about every possible watercolor technique available. That would take a long time to explain. But the idea here is to get started with watercolor paints. Hopefully, you'll find the projects below are a good way to start exploring the nature of watercolors, and at the same time discover that it's possible to create appealing artwork with simple ideas.

You don't need to be a naturally talented artist to enjoy this art medium.

Watercolor Feathering Starter Tutorial

Set yourself up with your supplies and two jars of water. This isn't essential, but it's a good idea to have two sources of water: one for rinsing your brush, and one with clean water for mixing. You'll also need a mixing palette for preparing your colors. Some watercolor box sets have built-in palettes. Otherwise you can just use a white plate (white is best because otherwise you can't make out the colors properly).

Before you start painting you need to mix some paint. Choose any color you like. Begin by getting your brush nice and wet so that it soaks up plenty of liquid. Then load it with water and press it against you mixing palette to release a puddle of water. Make a nice big puddle.

If you're using tubes, squeeze out some paint onto the palette. Now stroke your moist brush across the paint and load it with pigment.

Gently mix the pigment into the puddle of water. Mix well to create a smooth blend. You can test the strength of your color on a spare sheet of paper. If it's too strong add more water. If it's too light, add more pigment (keep in mind that when watercolor paint dries it has a lighter toned appearance than when it's wet). Try to get a medium strength mixture, not too dark and not too light.

​Now clean your brush to remove all the colored paint. Begin the painting by loading your brush with clear water and paint 4 or 5 parallel lines onto the paper, leaving a gap between each line. You'll see why you're doing this in a minute. You don't want these lines to be soaking wet, but just damp (wait a minute if you think it's too moist).

​Once the paper has been wetted with linear brushstrokes, load your brush with colored paint. Now apply linear strokes at right angles to your damp lines. Repeatedly paint a pattern of lines, one under the other, leaving a space between each.

​As you paint the colored lines you'll see the pigments of your watercolors dispersing sideways into the wet paper lines, creating a feather-like texture.

​Notice how your paint lines have crisp, hard edges where you applied them to dry paper. Painting strokes in this way is known as a wet on dry technique. It's a method of painting in watercolor which gives you the most control over your brushwork.

Each time the wet paint stroke passes over the damper lines, the wet paint flows into the damp paper, producing a diffused effect (If you remember from the description above, water always flows from a wet wash towards a less wet wash). Because the clear water lines are damp, but not soaking wet, your juicy wet paint flows into the moist lines.

Simple watercolor flowers with layered paint

Make your colors quite diluted. Remember, watercolor paints are transparent, and you want to exploit this to your advantage. You'll see the effects of this transparency in this easy exercise (Some beginners mix very thick paint which defeats the purpose of using watercolor).

​Begin by painting a series of oval shapes. I'm alternating the orientation of my ovals just to add some variety. Now you need to wait for the oval washes to dry. This is important, because if you start painting over a previously laid wash too soon, the underlying paint will lift and smudge the first shape.

​Now paint a new series of oval shapes over the top of the first. Use different colors, and again you can alternate the orientation of the ovals so that they overlap the edges of the first shapes.

​Notice how the underlying oval shape remains visible. Also with each new layer of paint you increase the intensity of the color, and the two colors combine to create a new blended color. This is most noticeable when you overlap yellow on red, resulting in an orange appearance.

The painting technique you are using is called glazing, which basically means layering washes of paint on top of each other after they have dried.

​Let the paint dry again, then paint some new ovals into the existing shapes. Make them slightly smaller, and change the colors and orientation each time.

​Repeat the process again and again until you're happy with the result You'll end up with a pattern of abstract watercolor "flowers".

​Cool... Huh?

Beginners color mixing tutorial with warm & cool primary paints

In this simple painting you're going to discover why you need six primary colored paints to achieve a good range of color mixing.

Begin by drawing two squares on your paper. In the first square you're going to paint washes of cool colors, and in the second you will paint washes of warm colors. Prepare a good wet mixture of all six primary colors in your palette. The idea here is to work quickly, because you want to apply all three primary colors into each square before the first washes start to dry. This is a technique called wet on wet, and as you will see, it produces beautiful diffused blends of color.

​Start by wetting the square with clear water. You want the colors to blend together on the paper, and this is easier if the surface remains wet while you're working. This is a painting technique known as wet on wet.

​In the first square you will be combining cool yellow, cool blue, and cool red. It's a good idea to start with your lightest toned colors, which in general is yellow (this is because yellow gets easily contaminated with darker colors from your brush or on your palette). Fill in one corner of the square.

​Next add some cool blue on the other side of the square. Let the paints diffuse and mix together on the paper.

​Finally add some cool red to complete the square. You can encourage the paints to blend together by tilting the paper slightly, or by dabbing color into the wet wash to create mixes on the surface.

​Go through the same process with the other square, only this time you will use only Warm yellow, warm blue, and warm red.

​Notice the difference between the two squares. Even though we used primary colors for each, the color appearance is completely different. For example, cool yellow and cool blue blend to make a nice bright green. On the other hand, warm yellow and warm blue produce a more subdued olive green mixture. The resulting purples and oranges are also very different.

Color mixing is an important skill in watercolor painting, but as you can see, it's possible to produce a huge range of fabulous colors even with a limited paint palette. Just imagine all the color variations you can create!

I hope this gives you some insight into the wonderful world of watercolors. But keep in mind, the secret to watercolor painting is practice!

The more you paint, the more competent you become, and the faster you grow as an artist.

Go grab those brushes!

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How to Start Watercolor Painting - First Steps for Beginners - Watercolor Affair

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​Have you ever seen a beautiful piece of watercolor art and thought "I want to paint like that"? Many budding artists hold back because they just don't know how to start painting in watercolors. I think that's too bad. Because I believe the joy of creating with watercolors is within anybody's reach.

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Watercolor painting - Google Arts & Culture

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Watercolor or watercolour, also aquarelle, is a painting method in which the paints are made of pigments suspended in a water-based solution.

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Painting with pastel - Introduction - Nina Squire

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An introduction to painting with pastels using liquid and either alcohol or water and good quality soft pastels.

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Soft pastel is one of the most exciting and versatile painting mediums I know. It has a long history of varying popularity but pastel is here to stay. Pastel societies around the world have sprung up and remain popular. Professional and hobby artists enjoy soft pastel for its unique looks and application methods. But some may find painting with soft pastel difficult and messy. A few guidelines will help alleviate most problems. Painting with pastel need not be difficult but just like with any art medium, practice will make perfect.

Try different techniques

Pastel can be used on its tip, for line drawing or hatching, and on its side, for wider painterly marks. You can work lightly (see below) or you can apply a little more pressure and create completely different marks. You can blend with your fingers or tissue, or you can hatch, you can layer or you can mix. There are a huge number of ways to paint with pastel. Try them! Play around with various (simple) techniques and see what it does. Blending will soften and smoothen your colours. Hatching will create texture and colour depth, layering will allow you to mix colours, line drawings can give you detail and graphic qualities, while using the flat side will help you stay painterly and work with shape and planes. All techniques have their own usage and we all prefer some techniques over others. Don't follow the masses but try things out and see which ones are most exciting for you.

Tickle the paper

One of the hardest things about painting with soft pastel is that at some stage the tooth of your paper is full and you will not be able to add anymore pastel to your painting. If you keep on painting after this stage, you are bound to end up with muddy, dirty looking, blotchy paintings. This is why pastel is so incredibly suitable for quick and fast sketching. If you only spend a few hours or less on a painting you are not going to run into a full tooth. But if you want to spend more time on your painting, or you want to work in layers then having a toothy paper and a light touch is vital. The lighter your touch, the more layers you can add. At first it might seem odd to just 'tickle the paper' as you will not be able to make much of a mark. But you will see that if you work with a light touch you will leave yourself lots of (tooth) space to fix mistakes, increase depth and mix unique colours. By tickling the paper you are giving yourself a break. So slow down, work lightly and many problems will be averted.

Try various brands, types and papers

Soft pastel comes in various degrees of hardness. Hard pastel (still considered part of the soft pastel family) are easier to handle, don't crumble, and make less dust. They are great for fine lines, details and layering. Medium-soft pastels are a great allrounder and therefore a great place to start for beginners. They have the best of both worlds: enough hardness to be able to create fine lines, details and layering, yet they are soft enough to provide expressive and colour-rich marks too. The softest pastels are usually the most expensive, the highest pigmented and the most expressive in use. They are lush, buttery and beautiful, but they will also fill up the tooth of your paper very quickly and so won't layer very well. Because they make thicker marks they are less suitable for fine detail. They are great for finishing touches, deep and rich colour, impressionist mark making and simplifying shape.

Not only does pastel come in a variety of hardness, the difference between the various brands is often huge. A Schmincke is super soft and quite different from a (slightly harder) Unison. A (medium hard) Rembrandt has a different feel than a (hard) Pitt Pastel. Colours, softness, grittiness, and overal handling varies enormously.

There is a large amount of pastel papers to choose from. Popular brands are Pastelmat, Uart, Canson Mi-Teintes, Art Spectrum and Fabriano for example. Some are lightweight drawing papers, which are mostly suitable for quick sketches and light drawings. Other papers are heavier in weight and have a sanded texture. These are suitable for heavy applications and multi-layered techniques. Most of these sanded papers each have their own unique characteristics and many pastel artists swear by one or the other.

Because of the large variety in pastel types, brands and papers it really pays off to experiment and try things out. It is part of the charm of soft pastel that there are so many paths to choose from. Oil paint differs from brand to brand as well, but for soft pastels the difference really make a difference. Many artists use lots of different brands and types, and use some pastels for detail, and other pastels for backgrounds, etc.

If you can afford it, try out as many pastel types, brands and papers. Many shops have ​ sample packs for papers and pastel. Use these to your advantage. Don't buy huge sets of a single brand unless you are sure you will love that brand. Enjoy experimenting and finding your own personal path.

Layer your colours

Although pastel is very suitable for quick sketches and light drawings, pastel really comes into its own when you layer (and thereby mix) your colours. There is no need to own a million colours because the true quality in pastel comes forward in its layering qualities. Make a mark with some yellow pastel and layer a blue mark over it. You'll get a lovely green. It can be as simple as this, but the range of effects you can create by layering is fantastic. Using the side of your pastel sticks you can apply broad marks and layer other marks over it, creating third colours and depth. Using the tip of your pastel you can hatch and stipple, layering in (or over) a secondary colour and thereby visually creating a new colour. If you work lightly and use a good toothy paper, you can apply many layers of pastel on top of each other, leaving you an enormous amount of space to overpaint mistakes, mix colours, create depth (similar to glazing or scumbling effects in oil painting) and create variety.

Go careful with lights and darks

Soft pastel is always 'wet'. When you touch a pastel painting, the paint comes off on your finger. So when you layer a colour over another colour the two will mix. You do not have the option to wait for a layer to dry, like you have when working with oils or acrylics. This causes many frustrations for beginning pastel painters. If your colour is not quite right, it is only natural to try and go over it with a better colour. This layering can be used very effectively once you get the hang of it. But initially you will see that the two colours will mix. To put it in extremes: if you paint something black and decide it needs to go white later, you will struggle because the colours will mix. You are going to need a very toothy paper to allow you to keep the layers separate and properly overpaint the offending black. This is one of the reasons I would always recommend using a good toothy heavy-weight pastel paper. It will give you the option to overpaint much better than a paper with no or low tooth.

Still, avoiding these situations is always best. So it pays off to work lightly (tickle the paper!) and keep your darkest darks, your lightest lights and your richest colours for later stages. Start off with a low contrast painting and build up your darks and lights slowly. Only when you are sure about everything and your painting is really building up nicely, add those darks, those highlights and that deep colour. Because if you add it first, and it turns out it's in the wrong place, it will be much harder to get rid off!

Don't over mix!

The joy of pastel is its ability to layer, blend and mix colours. You really don't need lots and lots of pastel sticks (although you might want to as they look so yummy) as you can mix, blend and layer every colour in the rainbow. But go carefully. Just like with all painting techniques, the more colour you add, the greater the chance of the infamous mud. Like I said before: pastel is always 'wet': there is never a time when the paint won't smudge, give off, or mix with other colours. Keep your colours to a minimum and take your time to choose the right mixes. If a colour doesn't look right, don't just endlessly add more paint to it without knowing why you are doing it. Work with intent. Don't spend time filling up the tooth randomly pastelling away in the blind hope that things will improve. You cannot paint on forever with pastel. You have to stop and think.

Blending kills

Blending is a very popular pastel painting technique, but it also gives many beginners a headache. Creating beautiful smooth areas of colour, subtle transitions and the right colour mixes is not always easy. Often things work better with certain pastel types, paper brands and blending techniques. But I would really recommend to not over blend. Do you really want to create this sugary barbie-doll style painting? Does everything have to be soft, fuzzy and soapy romantic? Use blending sparingly and it will open up a much larger range of possibilities. A blended soft area can stand out against a coarser or more expressive area. A non blended line can work very well to create focus and detail, while softer areas can help with pushing things into the distance. In portraiture skin tones will look much more natural if not blended into doll-like effects. Use blending sparingly, explore different techniques as well, and you will not be limited by a single technique but instead you will have a toolbox full of techniques to choose from.

Keep an eye on the dust

Soft pastel is basically (powdered) pigment and a little bit of binder so it can be rolled into a stick (and not fall apart). It is as simple as that. Cheaper brands often add more ingredients and more expensive pastels tend to contain a high percentage of pure pigment. And pigment is powdery. If you work with a light touch the pigment should adhere to your paper very well. If you push too hard, pastel dust will come off. In most cases it is difficult to avoid creating no dust at all. But there is plenty that can be done to keep it to a minimum!

Work vertically (use an easel) to make sure any pastel dust will fall down and not sit on your painting (creating a mess). Wipe up any pastel dust at the easel ledge regularly or use a vacuum cleaner with a good filter.

Don't put too much pressure on your pastel sticks but work lightly. If a lot of pastel dust comes off, you are definitely pushing too hard.

Some pastel brands are dustier than others, so if you find you have a lot of dust, try to change brands.

Generally speaking, pastel dust is not toxic and so no gloves or masks are required. If you are sensitive to dust in general, you might want to take your own precautions.

Overall, keep your workspace as clean as possible and clean up dust regularly.

Explore further: techniques, papers, brands, demos

If you are ready to dive further into pastel, then explore these articles on the best pastel papers, pastel brands, pastel techniques and check out this free pastel demonstration right here on the blog.

If you are really hooked then why not join The Pastel Place, a fantastic online course and community where we will go through lots of pastel techniques, painting fundamentals and practise pieces to really help you get this fantastic medium in your fingers. Barb, a happy student, said this about The Pastel Place: "This is the most unique online art course I have taken. The setup is unique and the contents takes a pastel newbie from pastel and paper types through mark making and beyond. Also Sophie is there every step of the way and I think that she is the most valuable resource in the course."

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Soft pastel is one of the most exciting and versatile painting mediums I know. It has a long history of varying popularity but pastel is here to stay. Pastel societies around the world have sprung ...

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Pastel is made from ground pigments, a white filler like calcium carbonate or kaolin, and a small amount of binder such as gum tragacanth.

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Everything You Need To Know About Painting With Ink - Cowling & Wilcox

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Inks have a number of properties which make it an excellent medium to work with. The intense colours and fluidity of ink makes it very similar to watercolour, yet used for various different applications. Inks are versatile, and should be a staple in every artist’s collection. If you’re looking to give the medium a go, […]

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A Guide to Ink | Ink Painting Guide | Jackson’s Art

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Explore our Guide to Ink. Learn everything you need to know about ink painting, including expert advice and tips, materials recommendations, and much more.

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Ink Magic Unveiled: Explore Top Tips for Painting with Ink in Your Artwork

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In this article I'm going to show you one of the painting techniques I use, combining alcohol based inks and coloured pencils.
Commercial Content & Affiliate Links: This post includes some promotion of my Society6 prints and products that I've illustrated. I naturally get artist royalty when you buy any Society6 items illustrated by me. Also, if you use my affiliate links in this post, I may earn an extra commission from your purchases on Society6, at no additional cost to you.

Going Wild with Marker Refills

Long ago I used to make illustrations with markers, but the medium wasn't really my thing after all, so I was left with a fairly large stock of partly used Copic Various Ink refills that I no longer needed. Some years later, during one of the Inktober challenges I participated, I suddenly felt an urge to try something completely different with ink. I remembered my leftover Copic inks and dediced to start experimenting with them.

Smooth Uncoated Drawing Paper

At first I just grabbed whichever drawing paper I happened to have at my studio at the time. Since then I've made experiments with various different papers, and each reacts a bit differently with alcohol ink. My favorites for this technique are uncoated fine grain drawing papers with smooth surface, around 200 gsm, give or take. One of the papers I use is Hahnemühle Nostalgie 190 gsm, for example. Alcohol based ink doesn't warp or bend the paper, so there's no need to attach the paper on a board with tape - it stays flat on its own.

Contrary to a popular assumption, I never use watercolour paper for my alcohol ink paintings - no water will be used in this technique. I don't use any of the coated/glossy/bleedproof/plastic papers either, which are often recommended for alcohol inks. I'm partial to smooth uncoated drawing papers because of the whimsical shapes and gritty, yet rich and soft textures the paper fibers create.

Painting Techniques

I start by simply dropping colour directly from the ink tube onto the paper. During the short time that the colour is wet, I try my best to guide the flow of the ink by holding the paper carefully from the edges and tilting it from side to side, following what the ink does.

Creating a smooth wash requires pouring a fairly large amount of ink, rocking the paper back and forth so that the ink is distributed evenly before the alcohol evaporates. Applying more paint over a wet layer creates soft blends and gradients. For more defined shape and sharper colour contrast, I wait until the previous layer is dry.

Alcohol ink is absorbed in the uncoated paper and some of the ink bleeds right through. When working with a large amount of ink I ofen keep the paper detached from the table until the ink settles, and I sometimes use tissue to remove excess ink from the edges and backside of the paper. This means that things will get messy! I use a large recycled board on top of my working station in order to protect the table from getting permanently stained. I also keep several pieces of additional cardboard or scrap paper at hand, to make sure I can always place my painting on a dry, clean surface.

Watch my painting and drawing process of Heart on Vimeo →
The painting process is usually intuitive for me, with minimal pre-planning. I enjoy messing around with colours, following wherever they lead me. As the colour dries quickly and creates permanent stains, it requires fast reactions. Most of the decisions are made in a matter of seconds. In some cases I do have a vague idea of what I want to illustrate, which affects the painting process and my colour choices. But alcohol inks tend to be quite unpredictable and difficult to control, so I wouldn't choose this medium if I had to follow a specific inflexible plan.

Drawing Details with Coloured Pencils

Once I'm happy with the painting, I lay it on a clean surface and let it dry completely. At this stage the painting is still abstract. For me, the painting's colours, main shapes and textures are what set the mood and evoke my imagination, while the drawing part is what brings a sense of a story into the illustration.

My go-to pencils are from the Luminance 6901 series by Caran d'Ache. These are very soft permanent coloured pencils and rich in pigment. They're great for adding bright highlights over darker paintings. I just buy the individual colours that I like and need at the moment, only a few pencils at a time: fortunately my local art supply store offers a wide range of individual pencils from the series. The colours that I pick are usually from a similar palette as my inks, that way the end result turns out harmonius. Over the years my collection of pencils has grown: my favorites tend to be pastel shades and muted, greyish tones.

Watch my painting and drawing process of Blue Crown City on Vimeo →

Creative Process and Inspiration

I'm often asked if I plan the illustrations in detail before I start. It's complicated, in that I may sometimes have some ideas or moods in my mind that inspire me to paint or draw, but especially with this technique I like to go with the flow rather than replicate any specific picture in my head.

I usually create several paintings during one session, and then leave them to wait for further inspiration. Later on I return to my unfinished paintings and take my time looking at them, one by one, until one of the paintings starts speaking to me. The ideas come to me intuitively - I usually let the painting lead me, which feels much like following an unknown path in a thick forest. Some pieces are completed within an hour or two, others wait unfinished in the drawer for months - even a year, like the piece Heart:

When I start drawing I don't know exactly where the illustration will lead me - other than that it'll most likely be somewhere in the woods. Fortunately, coloured pencils as a medium is the opposite to the inks. With coloured pencils, you can take it slow, carefully considering each step.

Whenever I'm not entirely confident with an idea yet, I sketch the faintest of lines at first, tentatively, using a colour that nearly blends in with the background, so that I can easily change the course if I start feeling like I'm on the wrong track. Coloured pencils allow erasing small areas to some extent, although I don't usually use eraser unless I'm going to redraw on that area, because erasing may leave visible marks on the painting. Once the sketch feels right, I slowly build into it until shapes start to form.

I try not to force any premeditated ideas in the illustration - I just need to trust the process and lean into it. The paintings will tell me their stories and reveal hidden figures and landscapes, if I just listen patiently enough.

The Copic ink experiment was originally supposed to be a quick one-time trial, but I fell in love with the mysterious feel of these paintings, the chaotic process and unexpected results.

I also ended up making an entire book full of these ink paintings a few years ago: My Woodlands art book was published in 2018, and the second edition soon after. The book is unfortunately sold out at the moment, but perhaps there will be a third edition at some point in the future!

Many the illustrations from my book are available as individual art prints and other print products on Society6 (USA). Here's my affiliate link to the Society6 store ♥

Some other print products with my painted illustrations are also available in the home decor and stationary sections. Here's a few examples - these are also affiliate links to the Society6 store:

Don't Try This at Home

Finally, a disclaimer of some sorts: I don't know if I would recommend this technique to anyone! To be honest it's probably the most unpractical and expensive art technique that I've ever used. I wrote this post mainly because I've been asked hundreds of questions about this painting technique over the years, and figured it might be an interesting read to some, however it's not really intended as an actual tutorial.

Alcohol inks are difficult to control, and they're messy and stinky - the fumes sometimes give me headaches or make me feel weird and dizzy, even when the working station is properly ventilated. I definitely wouldn't use these paints in a bedroom space right before going to sleep.

Most notably, using Copic Various Inks extravagantly like this is expensive. The ink refills are not cheap, and several ink tubes may easily be spent during just one painting session. Please also keep in mind that alcohol inks are not lightfast. Using a frame with UV-filter may help a little, but I still wouldn't recommend exposing the piece to direct light sources - sunlight or fluorescent light are particularly troublesome.

It would probably be wiser to invest your money in some other medium instead. For example, pigmented calligraphy inks are available in various price ranges and will last in use much longer, allowing you to make experiments and mistakes more freely. They are somewhat different compared to alcohol inks, though - maybe a subject for another article, later on!

Text, artworks, photos and videos © Ulla Thynell

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Ulla Thynell Art Blog: Painting technique combining alcohol based inks and coloured pencils.