Painting with sponges is downright fun

PAINTING ORIGINAL ARTWORK on canvas is one of today's most popular and creative ways to enjoy our leisure time and to improve our artistic skills. No other painting technique puts such a unique and personal stamp on our surroundings, or brings such joy and satisfaction to both the artist and the viewer.

In the past, painting landscapes or floral still-fifes on canvas meant spending many hours in preparation, copying a pattern or drawing, assembling just the right brushes and paints, buying special equipment, painting with slow, deliberate strokes, repainting mistakes and starting over again....

No more! In this book you will discover a new and innovative way to paint quickly and easily using acrylic paints and common household sponges. No brushes needed! No experience required!

Painting with sponges is downright fun-and it frees you from the fear and frustration of making mistakes. Don't like what you've just painted? Spray the area with water and remove it with a clean sponge. It's that easy.

The sponges used to paint the projects in this book are the inexpensive cellulose ones you can find in any grocery, hardware or home improvement store. A natural sea sponge is also used to achieve some interesting effects, such as layers of colorful foliage on trees and bushes.

To tell this is now your business

To tell this is now your business; and the shape of the forehead, the form of the eyes, the line of the nose, and character of the mouth —each studied with care—will help to make the head a likeness, a personality.

But much besides the mere drawing of individual features contributes to this. The interior modeling, the high lights, half tones, and emphatic darks, the arch of the brow, the energetic or calm lines about the nose and mouth, the squareness or curve of the chin, are all elements in the interpretation of the likeness which must not escape the student. The color of the eyes, irrespective of the pupil, may be now indicated; also the depth of color in the mouth, which varies much with age or physical condition; do not suggest it any stronger in color than it appears under the conditions of the light in which the model is placed. In all that you do try to prove, by the result, that you have referred constantly to nature for the effects recorded. This, more than anything else, will be noted to your credit when you come to submit your work to the criticism of the expert, the painter whose own portrait work has gained him reputation Tor truth.

In the first painting turpentine should be used as a medium

In the first painting turpentine should be used as a medium, for it leaves the pigment good in texture and dull of surface—an excellent condition for receiving the second and ultimate paintings, when oil is employed.

Commence by rubbing in the background in its proper value and color. This done, the head may be attacked with a full brush, and with as close a reproduction of the effect it presents to your vision, both in general light and shade, as you are capable of making it. Do not look at first for the highest lights nor for the deepest darks. Half close the eyes, and endeavor to resolve this object to the simplest and most direct impression. Mark the tone of the hair in relation to the face and to the tone behind it. Everything should be reduced to the fact of a background with an object, a spot, of a certain form and color, in front of it. The contour and proportions will announce that it is a head; the subsequent paintings and the definition of the features will tell that it is an individual.

Observe now the most obvious effect of color

Observe now the most obvious effect of color presented by your subject in contrast to the tone that relieves it. State at first the fact of its being fair or dark, ruddy or pale. This is the first impression you will be likely to receive from it, and it is well to proceed with logical sequence. The result will be more potent, more telling—in fact, truer—than it would be if you allowed yourself at the beginning of your work to be attracted by charm of feature or expression. Construct the frame of the building well, and then the ornaments will be an added grace; begin with ornaments and the edifice will be likely to fall. After this first scrutiny, establishing the fact in your mind of the general color aspect of the head against its background, you are ready to paint. We now proceed to actual work.

This is done the worker is about ready to lay it in

The successful accomplishment of the above is by no means as short and easy a work as would appear from the rapid suggestions given. To get a head in good drawing—that is, all its component parts in the right place—requires much concentration and close observation; when, however, this is done the worker is about ready to lay it in.

In order to retain your drawing, and also to familiarize yourself with the forms of the shadows which you have blocked out in charcoal, go over these with a thin tone of burnt sienna and black diluted with turpentine. As this dries readily, the drawing is secured and ready to receive the color.

Place now, if you have not already done so, some drapery or some tone behind—it may only be the dark corner of the room against which you wish the head to be relieved; but all through your work retain the same effect, and study this object, under all circumstances, in its relation to this background.

The following suggestions are made for the painting of a simple head

Some portrait painters are constantly making studies of heads in color merely for the facility they thus acquire in overcoming technical difficulties when painting a portrait. Before starting on the actual work of portraiture, therefore, the following suggestions are made for the painting of a simple head:

Place the subject in an effective position for light and shade, and begin by drawing it in with charcoal. Look first for the character of the mass. Observe if it be oblong or square, round or oval. This should be the first fact to strike you in regard to its drawing; for at present you have nothing to do with features or character—only with bulk. When this is determined the features come next in importance. Do they fill the mass of the face, or are they contracted, placed near together, leaving considerable area of cheek, forehead, and chin? Fix this impression well before attempting to define the forms of these features. This already will stamp the head with a certain personal character, that the definition of each feature, as you proceed, will only emphasize more strongly.

After drawing with care the eyes, nose, and mouth, in their respective spaces, already indicated, you are ready to begin to paint.

The human face presents an area for the study of form and color

The human face presents an area for the study of form and color in the most condensed and most varied combination. The student has here before him tones of elusive subtlety, as well as those of utmost vigor; forms of exquisite outline, and others of rugged strength. The knowledge acquired by a close study of these various qualities, the possibility of becoming acquainted with the resources of the palette under the quiet conditions that indoor work affords, and the attention to outline and modeling which the deliberation of the studio encourages, tend to give one a control of his materials which the distractions of study out of doors will not at first permit.

A glow as subtle as the sky at dawn mantles the young girl's cheek, while for energy of coloring no autumnal tint possesses more vigor than the ruddy flush of health in youth or the bronzed countenance of the traveler in many lands. Catch them on your brush, you who would paint landscape! The portrait painter, pure and simple, has no more need of them than you have yourself. For these, and other reasons which might be given, it is desirable that the student should begin with the study of the head and figure.

It is the intention in this book to be practical, to speak as simply as possible of the technical side of painting; for it is assumed that the reader has already some knowledge of drawing.

What is the fact that the representation of the human figure?

The fact that the representation of the human figure is generally regarded as the most advanced step in the painter's art seems to invest it with unusual fascination for the beginner. Certainly the number of persons who deliberately choose a course of training that prepares them for painting from life is constantly increasing. These may not all succeed as figure painters, but the advantage of having worked from life will be felt in whatever direction their taste may eventually lead them; so that not only those who contemplate devoting their energies to this particular branch, but anyone who intends to take it up professionally, will do well to begin by entering on the course of study which, while absolutely necessary for portrait and figure painting, will also be found most advantageous in other branches of art. This system is indeed recommended at the best schools abroad, whether the ultimate object be landscape or figure work.

The reason is obvious. The French school—whose influence predominates strongly in America—regards both drawing and construction as essentials to the study of all the graphic arts; and these are perhaps more readily acquired through regular academic training, in the case of the landscape painter, than by confining his practice entirely to outdoor work. From this standpoint, then, these chapters on portrait and figure painting should be of value to all students; and it will be the aim of the writer to make them so. Further, it will be well to insist on the value of this kind of preparation for all who desire to become painters.

DEFINITIONS OF ART TERMS -- Part 7

STUDIO - (Ital.) The working-room of an artist.
STUMP - A prepared roll of soft leather, or paper, cut to a point and used in drawing to soften or blend the strokes of charcoal or crayon.
SURFACE LIGHT - Distinct from high light. A soft effect of light falling athwart the surface of an object, by which its texture is indicated.
TONE - This must not be confused with color, but may be defined broadly as a result of the harmonious combination of colors.
TORSO - (Ital.) The trunk of the body, generally applied to a dismembered statue.
TRANSPARENT - The reverse of opaque. A shadow is transparent when the tone is in just relation with its light.
SCUMBLE - This process, while somewhat similar, is the opposite of glazing, and consists of the application of a thin wash of opaque color diluted by oil, to the surface of a painting. Its effect is to change the general tone, and render less distinct the objects in the picture. The painting must be dry before the scumble is applied.
VEHICLE - See Medium.
VALUE - The term "value" in art signifies the comparative relation of tones irrespective of color.
WASH - In water-color painting, the flow of the transparent color upon the paper.

DEFINITIONS OF ART TERMS -- Part 6

PLANES - The constructive surfaces of an object. In the head, for example, the temple is one plane, the forehead another.
QUALITY - The harmonious clement of tone and color which pervades a picture, but which is almost too subtle and intangible to be defined opposed to crudeness.
QUANTITY - The elements of weight and space in a composition.
RELIEF - The quality which gives the impression to an object of being a corporeal substance with the corporeal attributes of surface and projection.
REFLECTED LIGHT - A light received by an object from a secondary source, and not from direct illumination.
STUDY - A close and faithful transcription from nature, as a means of training, but not necessarily of much esthetic quality.
SKETCH - A word of many meanings. A delineation of a subject in color or black and white, without the care of a study, but with the mere vigor of an impression. A preparatory painting on a small scale of a subject to be treated much larger, and used by the artist to experiment upon in order to establish his effects.
SUBJECT - The theme represented by a painting.
STIPPLING - A method of working by little touches like dots, sometimes resorted to in water-color painting and frequently employed in miniature work.

DEFINITIONS OF ART TERMS -- Part 5

MEDIUM - Any vehicle used to facilitate the union or mixing of colors.
MONOCHROME - Any graphic production executed in one color only.
MODEL - To interpret form by light and shade; also to mold in clay.
MANNERISM - Any marked manner or peculiarity adopted by a painter and constantly repeated in his work.
NUDE - Although the same word as naked, there is a shade of difference in its association with art which makes it preferable to the latter word. "The Nude" in art, refers merely to undraped figures.
OILING-OUT - The application of oil to a painting when dry, for the purpose of restoring its brilliancy of tone, and also to soften the surface so as to receive fresh color.
PASTICIIE - (Fr.) A term denoting an imitation or plagiarism of another's stele.
PIGMENT - The actual substance of which color is composed. The paint itself.
PORTE-CRAYON - Crayon-holder.
PRIMARY Col.oRs - Red, yellow and blue. These colors are those from which other colors may be made, but which no combination of other colors can produce. The colors directly produced from mixing these primary colors are called secondary colors.

DEFINITIONS OF ART TERMS -- Part 4

HANDLING - The mechanical manner of interpreting objects. The manual act of painting, brush work.
HARD - A rigidity of technique-the reverse of suavity of touch. As applied to a whole picture it signifies an unsympathetic and mechanical execution.
HATCHING - The laying on of strokes of brush or pencil in parallel lines, which are crossed and recrossed in the deeper shadows. This is most frequently used in crayon, pen-and-ink drawing, fresco work, and miniature painting.
HIGH LIGHT - The lightest parts of a picture, caused by the direct light falling upon objects.
IMPASTO - (Ital.) The manner of laying on the color in a picture with a view to the respective textures to be represented, but irrespective of light, shade, or color. Also refers to the thickness of the paint.
LABORED - When the effort by which a painting is produced is too evident, it is said to be labored.
LOCAL - The local color of an object is the nominal tint by which it is known, uninfluenced by any accidental conditions.
LAY-IN - The first application of pigment to a canvas is called the lay-in. A preparation for painting.
MASSES - In regarding an object in broad effects of light and shade without the introduction of any detail whatever, it is said to be seen in masses.

DEFINITIONS OF ART TERMS -- Part 3

EXECUflON - The technical method of producing a work of art.
FINISH - This is a term, generally accepted as signifying a mere elaboration of the details of a picture, which is sometimes irrespective of consistent results. Finish, in a fuller sense, is the just and harmonious completion of a picture.
Foxy - When an excess of reddish-brown is observable in a picture it is said to be foxy.
FRESCO - The practice of painting on walls, while they are still fresh. (Fresco, Ital.)
FLAT - The lack of modeling and relief, in painting.
FROTTÉ - (Fr.) The first preparation of a picture in one tone of thin color as a groundwork. Derived from the French word, signifying to rub.
Fix - To attach the particles of charcoal, crayon or pencil to the paper in a drawing so that it shall not rub, or become defaced.
GLAZE - The application of transparent color thinned with oil, to parts or the whole of a picture in order to modify the tone or color. The paint must be dry before glazing can be employed.
GENRE - (Fr.) A French word meaning literally sort or kind, but used in art to express a representation of domestic life, or a subject telling a story of ordinary existence.
GRANDEUR - The quality of a lofty style or nobility of conception in art.
HALF-TINT - An intermediate tone in painting.

DEFINITIONS OF ART TERMS -- Part 2

COLORIST - The term which designates an artist who excels in coloring.
CONNOISSEUR - One who understands a work of art, a judge, literally, a knower.
Copy - A reproduction made by hand from some painting or other work of art.
CRUDE - A raw or immature condition of work in a picture.
COMPARATIVE MEASUREMENT - The opposite of actual measurement; measuring by comparative proportions of given objects, selecting one as a standard with which others are compared to ascertain their relative proportions.
DRY - A flat and unsympathetic manner of painting. A lack of technical freedom and address.
DETAIL - Literally opposed to mass. The parts in a picture demanding and receiving careful attention and finish.
EFFECT - The impression produced by a work of art. This may be secured by a studied or unstudied effort, but whatever strikes the beholder's senses as a dominant feature in a picture or sculpture, be it color, light and shade, or mere force of grouping, may be spoken of as its ejfect.

DEFINITIONS OF ART TERMS -- Part 1

AQUAREL - A water-color painting.
AMATEUR - A lover of art. One also who practices art in an unprofessional way.
ALLEGORY - A painting possessed of a significance removed from the actual. Allegorical painting is somewhat literary in its character, an artistic interpretation of a parable, as it were.
ACCESSORIES - The natural and secondary objects introduced into a picture with an artistic purpose.
ACCENT - Any emphasis of light or dark in a picture.
BREADTH - The result attained in presenting an aspect of nature in a large and simple manner.
BALANCE - The proper disposition of quantities in a composition. See Quantity.
BLOOM - The cloudiness which affects certain colors and varnishes, and which is the result of damp.
BUST - The head and shoulders, including the breasts.
COMPOSITION - The disposition and arrangement of whatever objects and effects of light and shade go to make up the picture.
CARTOON - Derived from the Italian word cartone, signifying a heavy paper or cardboard upon which painters frequently made their first drawings or compositions before transferring them to the canvas or wall for which they were ultimately intended. A preparatory drawing on paper.

In the shadows add raw umber and burnt sienna

In the shadows add raw umber and burnt sienna. The branches are rather gray than brown in their general aspect, and may be painted with raw umber, ivory black, white, cobalt, and light red; adding yellow ochre in the lighter tones if needed, and substituting burnt sienna for light red. Draw the stems and branches carefully, using flat pointed sable brushes for the small dark accents and touches of light.
Flowers are peculiarly applicable for decorative purposes, and arc also used in various conventionalized forms with excellent effect.

Instead of copying the designs of others, endeavor to compose them for yourself.

In doing this, always make the studies directly from Nature first, and then arrange and compose as you wish, keeping the original study as a guide, and making all compositions and designs upon a separate canvas. This is excellent practice, and should any special talent for designing be developed, it is well to encourage it, as original designs have a practical value.

Patience and persevering practice are the only means by which any thing real can be accomplished in Art. Our design has been, by practical hints and timely. suggestions, to lead the student in the right way, thus teaching him to study nature and observe for himself.

Bright warm greens are made with Antwerp blue

For the different shades of green seen in the leaves of plants we can only give general directions, as the variety and subtlety of these tones can only be expressed by combining, in their proper proportions, certain colors.

It will of course be of service to those without experience to know what these colors are. Just how much of each is needed can only be learned by practice.

Bright warm greens are made with Antwerp blue, cadmium and white, qualified by ivory black and light red, or vermilion. The shadows are painted with the same colors, with the addition of raw umber, and substituting burnt sienna for light red.

Cool, bluish greens are made with permanent blue instead of Antwerp blue, and combined with the same colors given above, except that madder lake is used in place of vermilion or light red.  A great deal of black is used with these greens, and very little cadmium.  For very light warm yellow greens, use light zinober green, white with light cadmium, vermilion and ivory-black.