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Montana StreetArt Event!

Sponsored by Napa Valley Art Supplies

10 well known Street Artists will be gathering at Napa Valley Art Supplies, 3250 California Blvd at Trancas Blvd, in Napa between 11am - 5pm on Saturday, November 14th.  Come join the crowd to watch these fabulously talented street artists create amazing art and who will sell their completed works at the end of the event that same day.

Street artists are known for their explicit expression of ideas through the art form often known as tags and/or graffiti.  Street gangs will often “tag” their territories in urban areas by using street art techniques.  This type of street art is also called graffiti, and has been seen as a destructive nuisance rather than a creative cultural artistic expression.

Street artists will demonstrate how their artistic expression of “out of the box” ideas and imageries can be created through the use of Montana spray paints.  This is an inside look into the creation process of highly talented youths in our Napa Valley.

Please come and join in the festivities, enjoy the refreshments and BBQ and hang out with all those who are interested to watch this beautiful and highly creative art form.

This is not art
This is not art

This is not art

Author: Linda Dessau

Since I’ve been offering Artist Retreat Day programs, I’ve been hearing a lot about the concept of “permission”. Some artists who said yes to a retreat day shared that this was a much-needed structure to enable and empower them to FINALLY give themselves permission to take time for their creative work.

Others just couldn’t say yes, just couldn’t give themselves permission.

What does it mean to have permission to do something? My thesaurus tells me that other words related to permission are: consent, sanctioning and authorization.

Consent signifies agreement, validation that what you’re doing meets with specific expectations, criteria and guidelines. It sounds solemn and like someone has faith in you. Sanction is an even more formal declaration of acceptance and faith.

AUTHORIZED TO CREATE

Authorization well, that implies that you’re something special. That not just anyone is meant to be painting this painting, writing this song or designing that jewelry. You have been specially authorized to do it.

And why? Because you have the unique gifts that are necessary to bring that creative project into being. Who authorized you? The same power that granted you those gifts and skills whether you choose to think of that as God, the universe, Spirit, or another name. As we read in the Science of Getting Rich, we’re not given the desire to do something without also being given the skill to carry it out.

Why is it so difficult to authorize ourselves, grant ourselves permission and consent, to sanction our own creative work? Sometimes we seek this permission from others, unconsciously (or consciously) hoping they’ll deny it, so we won’t really have to venture into the scary world of living up to our potential.

A lot of these words symbolize that external permission is needed. And sometimes it is.

PERMISSION FROM OTHERS

Whether you want to attend an artist retreat day, meet a deadline or just develop a new idea that came to you overnight, you’ll sometimes need permission from the people you share your life with to take the time for your creative work.

It might mean delegating household work or child-care or rescheduling a date or planned event. All of you might also need a willingness to be flexible and to accept that sometimes things don’t get done right away. It also means ensuring an environment of support for your work.

Will others give you permission? Of course you can’t control what anyone else thinks, says or does, but consider this: our loved ones will take cues from us about how serious our creative work is to us. If we’re constantly putting it on the back burner, putting our work down, and letting it be the first thing to go when things get stressful or busy, we’re teaching others to treat it the same way.

If we don’t take our creative work seriously, why should they?

PERMISSION FROM SELF - ARTIST AT WORK

I think what’s even more important is the permission we give ourselves. There are so many reasons we deny ourselves permission to pursue our creative work. Fear tops the list. Fear of success, fear of failure, fear of what people will think of us, fear of being good, fear of being terrible, or fear we’ll let someone else down, to name a few examples.

Sometimes we hold on to earlier instances when we were denied permission, denied access, not sanctioned or authorized, or when our work was criticized or belittled. Some of us have even been told, directly, NOT to pursue our creative work (”don’t give up your day job”, “find another path”, “you have no business doing this work”), which hung a big UNAUTHORIZED ACCESS sign on the door of our creative hearts.

So hang a new sign on your creative heart one that reads “Artist at work”. And in fine print, “This work has been sanctioned by _______” (the name of your source of Power).

10 Signs That You’ve Given Yourself Permission To Be A Creative Artist

  1. The first words out of your mouth when someone asks “and what do you do?” are “I’m a songwriter/artist/sculptor/writer, etc.”.
  2. You work steadily at your craft, whether it’s working on or re-working pieces or promoting your work.
  3. You teach your loved ones to treat your art seriously.
  4. The materials and resources that you need to create with are part of your budget and are planned expenses every month.
  5. You’re committed to your learning, growth and development, participating in artists groups and discussion forums and seeking out mentorship and coaching.
  6. You don’t let mistakes or criticism stop you from taking your next steps.
  7. You’re building the resources you need to support yourself financially, emotionally and spiritually.
  8. You’re conscious of your physical lifestyle habits and choose the ones that won’t interfere with your creative work.
  9. You find opportunities to pass on your knowledge and support wherever possible, to someone who’s had less experience than you have.
  10. You consistently say no to requests for your time, energy and commitmentthat will take you away from your creative work.

It takes time and practice to consistently give yourself permission to create. Start today by improving just one of these ten creative practices.

C Linda Dessau, 2006.

Author: Nicholas Friend

What makes art sell? Why are some artists making millions of dollars while others struggling to afford paint brushes? While there are many factors involved in the prosperity of one artist to another, by far the most critical is the aesthetic appeal the artwork itself. Simply put, the more visually appealing a particular work of art is, the better it will sell. Whether art is being shown as originals or prints, in a gallery or at an art show, the consumer is primarily influenced by the visual appeal of their prospective purchase and subsequently, its perceived value.

Publishers, printmakers, framers, gallery owners, and of course the artists themselves all (directly or indirectly) profit from art sales. Collectively they share a common goal of selling art; while individually they strive to create a rich environment for art sales to take place, at the greatest possible rate. The artist creates the most visually appealing rendition of their art possible so consumers will be drawn to it, the publisher prints the best possible catalogue to increase exposure and prestige; framer matches the art with a frame that becomes an visual extension of the painting, and the printmaker produces the most vibrant, accurate, and sellable print possible through equipment selection, experience, and talent. While each of these players is involved in the overall sell-ability of art, the purpose of this article is to focus on the printmaker and his/her influence on the visual appeal of a fine art reproduction.

As a printmaker there are an overwhelming amount of variables involved in reproducing a sellable print. Aside from experience, knowledge, and raw talent, which are extremely important, a profitable printmaker learns to intelligently blend controllable variables with uncontrollable variables to reproduce the best possible prints. Controllable variables are aspects of the process that can be objectively defined in absolutes values. For example, a printmaker can determine the absolute highest black density (DMAX) or widest color gamut that a particular substrate or ink is able to achieve, thus creating the most visually appealing print. These data are measurable facts, not a matter of opinion. Uncontrollable variables are also a key contributing factor in creating the visual appeal and sale-ability of an art reproduction. Unlike the controllable variables, these rely primarily on subjective opinions such as media weight, thickness, white-point, texture, and substrate type. While many artists have preconceived preferences, the most successful printmakers are those who influence this process with personal experience and industry knowledge of market trends. Mark Leftoff, President of Gallery Street (www.gallerystreet.com) in Atlanta, GA provides some recommendation on how to add as some objectivity to this process.

“First, select a media type and finish that, based upon the history of successful art pieces, will best suit a particular image. We typically recommend canvas first because with a higher perceived value to the end consumer, it can be sold at a higher price or in greater volume which in turn creates more financial reward for our customers. If a customer prefers to use matte fine art paper, we may even print some small swatches on different media in order to find a fit for their image that we all believe will result in the most success. We encourage our customers to test market these samples by getting some opinions from a handful of their own customers who will be buying the art. We believe that by including more professionals in the process we can minimize risk and more accurately assess the marketability of every print. It is in this manner that we work alongside our customers and together make educated business decisions on how to select the best media for every print job.”

The most successful printmakers typically select a standard “in house” media based upon objective testing and industry experience. Most have chosen a smooth fine art paper, a velvet finish paper, a heavily textured paper, and a canvas or two. A couple of different weights and finish are usually offered as well. This enables them to accurately match the proper media type, texture and weight, with a particular image to maximize sell-ability. It is also important for the artist to offer a couple of different options to their prospective art buyers/gallery owners to determine the most sellable option. When selecting which brand of media to permanently offer to their artists, these decisions are based upon controllable variables or hard facts such as determining which substrate produces the best colors, the best blacks, shows the best detail, and will last the longest.

“By far the most important considerations in using any given fine art media on the market are color and longevity. This means that above all, our media must be measurably superior in achieving the widest color gamut and highest Dmax possible. In this business, color can make you or break you. This guarantees MFA Talon Graphics that the paper we are using produces the best color on our reproductions. Then we must consider how long the color will last without fading or yellowing. MFA Talon Graphics chooses fine art media from a ‘quality in, quality out’ perspective. This is how we continually deliver on our promise to our customers,” says Teddy Blah (Head Printmaker at MFA Talon Graphics of El Segundo, CA).

While many printmakers may wrestle with the decision of which media to stock, or learn through a process of trial and error, the most profitable and experienced printmakers understand one important fact – art sells based upon how it looks. Those who offer a wide range of high-performance substrates and have the industry knowledge and market experience to suggest which substrate is most suitable or sellable with a particular image will be the most profitable. By offering substandard media or selecting the wrong substrate for a particular image, not only are you devaluing your own quality and expertise as a printmaker, but also that of the artists themselves. This will inevitably result in the loss of printing business to a competitor. With the exponential growth of the printmaking industry, every competitive advantage must be pursued to ensure the prosperity of your small business. Therefore, the key to success as a fine art printmaker is to produce the most visually appealing, archival, and sellable prints possible.

About Breathing Color, Inc.
Breathing Color, Inc. is a leading designer and supplier of digital inkjet media and post-print protective coatings. Breathing Color is focused on the art and photographic markets with products that maximize color and longevity. Breathing Color’s customers benefit from the highest quality at competitive prices by buying direct. Breathing Color also supplies custom canon icc profiles for the Epson 9800 printer, Epson 7800 printer

Author: Carolyn McFann

Being a business takes a lot of hard work, to put it mildly, for the artist who has experience in creating beauty, but is less than knowledgeable in the world of business and self-employment. In my experience, after twentysomething years of working on marketing and promotion of my enterprise, life is pretty good. Still hectic, but that goes with having your own business. It pays to work hard, to avoid that horrible starving artist cliche. Who needs to starve? By spending a lot of time building a reputation and trust in clients, the business will grow all by itself. The trick is to think like a savvy businessperson, not a fine artist.

First of all, advertising is very important. Without it, nobody knows who you are and what you have to sell. Learn how to sell, read, and absorb as much marketing knowledge as possible. The internet is a wealth of information. Focus your study on basic business building and marketing concepts, and then grow that knowledge by adding more study on it, later.

Join many clubs and organizations. Think like a business not a hobby. Don’t go crazy with fees and big titles. Just get your name out there, and do it as cheaply as possible. Word travels fast if you’re good and have products that people like.

Be realistic. Don’t expect to take over the marketing world overnight. Build on your knowledge. It may take years but that’s ok, it’s to be expected unless you have an unlimited marketing budget or an MBA to move ahead quicker. I had a BFA and no marketing experience, had to learn it all via my father and trial by error.

Be professional. Copyright everything. Keep up with the legal side of everything. It pays to be professional and expect nothing but professionalism back from others you deal with. Customers will try to get something for nothing. Don’t take it personally but don’t cave in, be firm with what you think your items are worth, document everything and believe in yourself. Don’t let others control your business decisions unless you hire them to do so.

Put out a quality product. That goes without saying. Lousy product, no repeat customers, and your reputation suffers. Craftsmanship and professionalism. Don’t be late in delivering items, dress appropriately when meeting clients and be businesslike. Sloppy presentations will put you at a disadvantage. To stand out you must be a class act and so must your products.

Network, network, network. Attend functions, luncheons, fairs, whatever fits your niche in the world. Get to know others. Big executives do their networking on golf courses. You can network yourself anywhere. Keep business cards on hand and pass them out, don’t be shy.

Be picky about assignments. Don’t accept anything that comes along. This keeps your standard of work high and uncompromised. I stopped doing freebie projects for those who don’t want to pay years ago. If you don’t, you’ll be inundated with those who will tell you “I don’t have any money, but I can give you exposure if you just do ___ for me”. Nope. Get exposure on your own. You can bog yourself down with these kinds of projects and make nothing from it. If I want to donate work I will do it to charities or organizations, not fly-by-night book publishers who have no money. Be picky.

Have a budget and stick to it. Don’t get extravagant with spending or you’ll end up broke. The income of a freelance artist can be a windfall of cash one minute, and absolutely nothing, the next. Work towards more steady income without wild peaks and valleys. It pays to be sensible with money. Save a little money whenever possible, to be used for strictly business purposes in the future. It takes practise, I made many money mistakes in my past but the school of hard knocks taught me to be better with money in the end. Now I am not struggling because I do not buy things I don’t need.

Paying for a separate studio is great if you’re independently wealthy, if you aren’t, having one room of your living space for your art is best. For many years, my living room was my office, now the whole place is. Now, though, I live on a lake, in better surroundings. I take work seriously and so it is incorporated into my life as tastefully as possible. It pays off not to have an extra rent to pay for. It’s all about the profit at the end of each month.

Promote others, and they will in turn promote you. Spread the word about yourself and others, and it’s amazing how fast good news travels.

If you aren’t fully self-supporting, get a side job. It’s part of paying your dues. Learn from any part-time job you have, try to get something that will teach you something about marketing, art or whatever your business is about.

If I had to do it over again, I would’ve double majored in college in not only illustration, but marketing. But, I have managed to make a good living for myself even without this degree. The key is persistence and never to stop learning. If you’re an artist, it’s fun to do art you like doing, but also keep in mind, if you plan to sell what you do, you must appeal to your audience. Who is your audience? Target your work to them. You can still be yourself, you still call the shots. In art, whatever you do is your right. Artistic license. To be successful it is important to balance your uniqueness with being appealing to your customers. Make it work for you.

Author: Greg Katz

Everyone feels that the artist life is glamorous and easy, but that’s the furthest from the truth. The number of artists making their living from their art is small and those who do have a sustainable business work very hard splitting their lives between creativity and business.

If you want to create an “art business” the four pillars of success are: vision; challenge; perseverance and motivation. Developing actions surrounding the four pillars will give you a giant leap from “Starving Artist” to “Successful Artist”.

VisionAs artists we have over developed right hemispheres of our brain so creativity is not in short supply. The interesting thing is that we don’t use that creativity as it pertains to our business. Having a vision for your business will enable you to begin a different type of portfolio, a business portfolio.

Take the time to be specific about how you want your art to serve in your life. If your art is your bread and butter then you must treat it that way, with respect and lots of elbow grease. If your art is an avocation, then what do you want to accomplish and by when.

It’s important to develop the road map to success or you’ll wander aimlessly, you’ll become discouraged and you’ll put out the fire better known as your dream. Set an intention and once you’ve set the intention build upon that intention. Each action you take should support your vision, shoring up the first pillar of success.

ChallengeIf the business of art were easy then every artist would be successful. When we challenge ourselves creatively we are looking for new ways to express ourselves. The same is true in our business, the challenge is to show potential buyers that you wear more than one hat and you do it with conviction.

One of the key challenges for artists is not confidence in their work, but in how they present their work to the world. Artists are notorious for engaging in conversations from a one down position. We feel as if there is a caste system and we struggle to be taken seriously as an entrepreneur. Standing in the role of entrepreneur takes practice. It takes support from others and encouragement from peers. When you take yourself seriously as an “artrepreneur” others will follow suit.

PerseveranceI’ve heard it said that it takes three years to become an overnight sensation. I believe that to be true and I see it as I attend gallery openings, poetry readings and other venues of artistic expression. Those who have separated themselves from the pack have one thing in common, perseverance.

The successful artist has to be focused and find renewable sources of energy to keep moving forward on the journey. The primary factor that hinders perseverance is isolation. When artists have a support system they are more inclined to stay the course toward their vision. They are able to unload the emotional detours that arise from not getting selected for a show or not getting a call back for an audition. We gain strength by the cheerleading squad we’ve assembled in our lives. Create a success team to help you navigate your unchartered waters and you’ll be amazed at the results.

MotivationYou would think creating beautiful work would be enough motivation, but that is the external motivating factor. How do you keep the internal flames that propel you forward burning bright? Reward yourself! We all love rewards and by creating our own incentive program keeps us in the game.

Having mile markers along the way that show your success in measurable outcomes is essential for maintaining motivation. Ever wonder why nonprofit organizations or religious institutions create a huge thermometer during their fundraising drives? It’s to show the public the progression of their mission. As they get closer to the top it draws others who want to be a part of putting the organization over the top. Create your own gauge and make it visible so it stays in your consciousness. When you hit the top of the gauge be sure and shout it from the rooftops because you’ve shown that motivation yields results and that is evident by your success, both personal and professional.

Greg Katz is a national juried artist and the owner of the Artist Success Studio, a virtual artist community that transforms “Successful Artist’ from oxymoron to declarative fact.

Author: Ron McNeil

People who don’t want to take traditional photographs often decide to instead take art shots. These images are very artistic and quite fulfilling for the photographer to take. Most assume that art photography is only a hobby, and for some, it probably is best for it to be just a hobby. But you can make a lot of money when you sell prints online. In this article, we’ll be going over the very basics of selling art prints online - you’ll learn why to sell art prints online and tips for how to do it best.

Should I Sell Art Prints Online?

The answer to this is an unquestionable yes! You should sell prints online. But it’s not enough for us to just tell you to sell prints online, so we’ll tell you the reasons for doing it.

Reason #1: In Demand

Those who are looking for art prints used to find them by going to galleries or other places. Nowadays, they go online. They’ll go to stock art print websites and browse through the many listings of photos. For them, it’s a highly convenient way of finding the prints they need for their magazines, books, articles etc. Because of how well-used the internet is, and because of the demand for art prints, prints are quite in demand on the internet.

Reason #2: Exposure

When you put something online, you are exposing it to millions of people. These people can then choose to ignore what you’ve put up, or they can take an interest in it. Online stock photography sites are frequented by people who are looking for good stock photography, including art prints.

By choosing to sell prints online, you’re opening your products up to a huge base of people - people who may just buy the prints, if they’re impressed by them. This is the kind of exposure you could get on the TV or in newspapers, but instead of paying for advertising, all you need to do is get your art prints online on a reputable stock photography site.

Reason #3: Convenience

Going through the process of submitting art prints to regular stock photography companies can be a bit tiresome - not to mention, time-consuming. What happens if the prints are reject? Then you’ve wasted your time. Wasted time translates to lost money. You don’t want to do that, particularly if you’re trying to make a living as a photographer. If you sell art prints online, you’ll go through a very quick submission process that doesn’t take up a lot of time.

Reason #4: More Money

Online stock photography web sites tend to offer the best profits to those who sell their photos there. That’s because of the competitiveness of the stock photography market. You literally cannot be cheated by an online web site when it comes to the amount of money you make from each purchase made by customers. You’ll make more money than you would by using conventional methods. This is a great reason for why to sell art prints online.

Tips to Sell Art Prints Online

1. Unique Art Prints Sell. Those who are using art photos for their books and magazines want something that is unique. They don’t want something that can basically be found in a hundred other places. When you take art photos, make sure they are original and are not like any other photos. That way, you’ll be able to successfully sell art prints online because they are unique and people will want to buy them.

2. Quality. A huge mistake among photographers who have just begun to sell art prints online is that their photos aren’t of a high quality. We’re not talking artistically, but rather resolution-wise. Photographers take art photos with a lower end camera and it shows in the photo. People who use these images for books demand a high quality image. You must deliver by using a good quality camera to take your images.

3. Directions. To make the photo submission process easy, most stock photography web sites have submission guidelines. If the guidelines aren’t followed, photos won’t be accepted, no matter how good they are. A very important thing for those who wish to sell art prints online to do is to simply follow the directions. This will make it much more likely that your photos get posted and earn you money.

If you follow the above tips, you should have no trouble at all in becoming successful when you sell art prints online. Good luck!

Author: Linda Dessau

Ouch! Whether it’s feedback we’ve asked for, an unsolicited remark called out from the audience or a simple “no” result of an audition or submission process, criticism and rejection are a huge part of our lives as creative artists.

Sometimes we’re so fearful of being criticized or rejected that we keep our creativity bottled up and don’t let it out.

Other times we constantly adapt what we create, focusing only on the “market” and what they seem to be liking or disliking this week. Then we end up feeling like we’re not truly expressing our creative impulses.

10 Tools for Dealing with Criticism and Rejection

1. Be Open. You may be hoping for a specific reaction or response to your work, or a specific result of an audition, gallery submission, performance or contest entry. If you’ve done your best and you’re rejected or criticized, you might feel that you’ve “failed”, and it’s probably hard to see anything positive about the situation. Try to be open to the possibility that this “failure” is actually leading you to something else, usually better than what you thought you wanted. As I read once in Cheryl Richardson’s newsletter, “Any rejection is God’s protection”.

2. Be Consistent. Keep going, doing the little things every day that keep you creative and that keep you connected to other artists and to your customers. The dramatic moments and big wins and losses will come and go. Have a steady routine you can keep coming back to, and this will help to place any criticism or rejection into perspective. Today is a new day, another day you get to be an artist.

3. Be Focused. Keep your end goal in mind, and always be mindful of why you’re doing what you’re doing. That will help you focus on the big picture and not get tripped up by each bump in the road along the way.

4. Be Resilient. Remember that your sense of self-worth comes from inside of you. When you’re able to be confident in yourself regardless of the feedback you get from external sources, you’re able to bounce back much more easily from any negative feedback that you may get.

5. Be Positive. Focus your attention on the positive and you’ll attract more of it. This is the premise of the “law of attraction”, and I’ve certainly seen it work in my own life. Hear the positive feedback you receive and replay it over in your mind whenever you need to.

6. Be Clear. Approach constructive feedback with an accurate perspective, not muddled with thoughts from your own inner critic. Take it as a helpful tool for your own growth and remember that ultimately the only opinion that matters is your own - because you need to be happy with what you’re producing.

7. Be Grateful. Be gracious to your critics, accept all of the feedback you receive, sit quietly and let it sink in. Be grateful to be actively creating - to have gotten past the fear and other roadblocks. Be grateful for the opportunity to have your work seen and heard. Some never get the chance.

8. Be Responsive. Decide consciously what to do with feedback before responding, instead of reacting with the first thought or words that come to mind.

9. Be Selective. Once you’ve decided what to do the feedback you’ve received, be selective and willing to let go of the hurtful feedback. This usually doesn’t have anything to do with you anyway; it’s a reflection of that person’s own happiness, state of mind and comfort with themselves.

10. Be Loving. Be loving of your critic and ESPECIALLY of yourself. Plan some self-care treats for the day of the audition or submission. Regardless of the outcome, you deserve it!

Success is the ability to go from one failure to another with no loss of enthusiasm.
Sir Winston Churchill (1874 - 1965)

© Linda Dessau, 2006

Author: Saatchi Gallery

Promoting a work of art is not an easy process as one might consider. It is a crucial one. There are various factors that can mean the difference between accepting or rejecting your work from an art event. However, if you consider some of the effective steps in formatting an art portfolio it maximizes the chance of noticing your work.

The artists must have fundamental concepts about the events or gallery. They should have proper information about the theme of the fairs. Artists have to submit work that is related to the theme of the event or it is a wasted of your time and also of the curators. Every art festival provides instructions and terms related to submission of work. So, it is always mandatory and helpful to read and follow the specific rules. If you intend not to abide the mentioned conditions then strong chances exist of declining the work. Many renowned galleries have adopted the online art portfolio with the objective of creating interest among the young artist and students.

The art portfolio should reflect professionalism. To give a professional look weave subject matter those are vital in a concise and rational manner. Artist should try to avoid circumstances or topic that might create confusions on the judge or audience mind. A detailed cover letter describing yourself as an artist and the subject matter might be indeed helpful. Such heading helps to evaluate the mind and the skill of putting the ideas on a paper. Art portfolios reflect the artist vision.

Another worthwhile step of promoting your art portfolio is by creating a web site. The website empowers the work of the artist to reach innumerable number of art lovers. On the website you can create your own blog where you can highlight the work and impart information and express the ideas.

Author: vijay

Oil Painting is all about harmony. Harmony in an oil painting is when the pact of colors and objects are pleasant to the viewer’s eyes. If a painting is too muddled you might scare the viewer away. On the other hand, if a painting lacks something, it might be perceived as boring, and your viewer would not be engaged, so it’s important to have proper balance in your color arrangements.

There has been many research and experiment done on oil painting colors in relation with how it can affect a person’s mood and behavior. Some colors could calm a person, while other could even arouse cheerfulness. This article would talk about some of the well-known oil painting color scheme you can choose for your next painting. The tips and technique in this article could be applied to any painting medium.

Monochromatic Color Scheme

This color scheme is most likely the easiest for starters to work with. The monochromatic color scheme uses differences in value and strength of only one color. Beginners like this color scheme as they only require creating a value plan using one color that makes things a lot easier. Your painting would not be as thrilling as other schemes, which utilize more than one color, but your painting would produce a passive and soothing effect.

Triadic Color Scheme

The triadic color scheme uses three colors, which are consistently spaced or equidistant from one another on the color wheel. This scheme offers strong disparity but still hold on to harmony. This color mixture is more challenging for starters. You could get carried away by making all three colors too strong thereby destroying the balance in your painting. You should permit one color to rule and use the two other colors to accent the rest of the painting.

Split-complimentary Color Scheme

The split-complimentary color scheme uses three colors and is a twist on the admiring color scheme. Instead of using the colors compliment, you would use the two colors closest to its compliment on the color wheel. Don’t let color theory threaten or depress you. Working with color in your paintings especially oil painting reproduction takes some getting used to. With time and practice you would begin to develop the eye of a good painter.

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