THE BRUSHWORK. Depending on the art movement and personal peculiarities of the artist, the brushwork can range from delicate and almost invisible to rough and plastic. Now, decide WHAT you want to paint. Very important...you do NOT need to know how to draw. That's the great thing about painting, you can create even if you've never had a lesson. Don't get me wrong, art school is great. But don't let the lack thereof deter you from creating. You do not have to have a teacher to tell you how to create. You do need to know a few basic techniques, but from there let your imagination fly! When deciding what to paint, go to some websites about artists or Google famous artists to get inspired. Again, do not let a lack of training deter you from painting! Many of the great artists of the past had no training either. Many can't draw stick figures, but they can paint because the colors give you amazing options of expression! You may also go to my websites mentioned below or Google me to see all the crazy work I've created. My personal preference has been to create a large variety of work to keep it interesting and versatile. I did not want to be that artist who only painted one thing over and over. To me that's boring, and it should be boring to you too. Any known artist of the past has a vast variety of work. You'll also find that it makes it more interesting to you while you're doing it, because you won't ever get bored, you'll always be wondering how it'll turn out. Colors that are equally removed from a reference color are triadic colors. Since these color schemes can become too intense, unless they are very toned down, they are very problematic to manage. This color combination works well in a child's room, and it can be used effectively in a kitchen.
Usually on exposed air ducts of galvanized metal a primer coat of zinc dust-zinc oxide paint is used, before the finish coat is applied. If a desired shade is not obtainable in custom-or ready-mixed paints, white paints may be tinted with colors-in-oil. To do this, mix the color-in-oil with a small amount of turpentine or mineral spirits and stir this into the white paint, a little at a time. If a blended color is desired, more than one color may be added, such as a chrome green and chrome yellow pigments to produce a lettuce green shade. Step six: once you get all the layers just like you like, let it dry thoroughly for several days. Now take black and apply the shadows with your clean brush in keeping with the laws of shadow and light like you've learned earlier. If you put too much, wipe it back with a Q-tip or a rag until it looks like a shadow. Make sure you're putting shadows on top of only dry under layers. Always clean your brushes in between colors to keep the colors isolated and pure too. You don't want blue in your shadows, for example. Study my paintings if you wish because I do a lot of distinct shadows and I light things like vases, leaves, birds, fruit, etc. in ways that I think will stand out to you. Like if I paint a vase the bottom of the vase is darker than the top. Just like in real life. This applies to any shape whether it be a face or an apple or a vase. Also look at my backgrounds, as I've done a lot of them. Notice how each background is a multitude of layers to give it a finished and complicated look. Glazes allow me to reach this end. When I started out I didn't know what I was doing and friends and family thought I was crazy. And the very same people act like they knew I'd make it now that I have. Oh well, it's the way of the world. But stick with it and you'll be enlightened and inspired over time! Flat, semigloss, and gloss interior paints and enamels vary in degree of gloss, hiding power, and other properties. Paints giving the best hiding power are normally paints of lowest gloss, although some modern high-gloss enamels also have good hiding power.