Positive painting requires positive thinking – and this generally develops through confidence. If you’re a beginner, improvements often come if you simply draw or paint more. However, as you progress, it is natural to want to tackle more challenging subject matter, pursue your own style, or seek approval from others, all of which can test your fragile confidence levels. I want to begin by sharing some of the ways in which I have developed confidence and a more positive attitude to painting.
1. Stay productive
Firstly, contrary to popular belief, you should feel happy about attempting to create any type of art. The idea of the suffering artist is a romantic one. Try to stay productive. Judgements over whether a painting is “good” or “bad” should be secondary to the habit of producing art, as you will learn far more through practical experience.
That said, don’t shy away from criticism entirely. Public opinion may be a driving force in your work or you may choose to ignore it completely, but critique is important. Ultimately, art has little to do with definitive answers so remember that you have the final word on the art you produce.
2. Be prepared
Before you start, set out the brushes and paint you need. Turn your phone off, as unnecessary interruptions will disrupt your concentration. The early stages of a painting are when I’m most liberated with marks and colours so it is important to make quick in-roads into a painting. This provides a greater sense of accomplishment and drives the momentum forward.
3. Know your medium
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Denne historien er fra September 2021-utgaven av Artists & Illustrators.
Start din 7-dagers gratis prøveperiode på Magzter GOLD for å få tilgang til tusenvis av utvalgte premiumhistorier og 9000+ magasiner og aviser.
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Still life IN 3 HOURS
Former BP Portrait Award runner-up FELICIA FORTE guides you through a simple, structured approach to painting alla prima that tackles dark, average and light colours in turn
Movement in composition
Through an analysis of three masterworks, landscape painter and noted author MITCHELL ALBALA shows how you can animate landscape composition with movement
Shane Berkery
The Irish-Japanese artist talks to REBECCA BRADBURY about the innovative concepts and original colour combinations he brings to his figurative oil paintings from his Dublin garden studio
The Working Artist
Something old, something new... Our columnist LAURA BOSWELL has expert advice for balancing fresh ideas with completing half-finished work
Washes AND GLAZES
Art Academy’s ROB PEPPER introduces an in-depth guide to incorporating various techniques into your next masterpiece. Artwork by STAN MILLER, CHRIS ROBINSON and MICHELE ILLING
Hands
LAURA SMITH continues her new four-part series, which encourages you to draw elements of old master paintings, and this month’s focus is on capturing hands
Vincent van Gogh
To celebrate The Courtauld’s forthcoming landmark display of the troubled Dutch master’s self-portraits, STEVE PILL looks at the stories behind 10 of the most dramatic works on display
BRING THE drama
Join international watercolour maestro ALVARO CASTAGNET in London’s West End to paint a dramatic street scene
Serena Rowe
The Scottish painter tells STEVE PILL why time is precious, why emotional responses to colour are useful, and how she finds focus every day with the help of her studio wall
Bill Jacklin
Chatting over Zoom as he recovers from appendicitis, the Royal Academician tells STEVE PILL about classic scrapes in New York and his recent experiments with illustration