1. Don't outline everything 2. Use a range of Values 3. Get your proportions right, 4.Pay attention to perspective, 5.Mix your own colours 6. Pretend you are an alion, 7.Fake confidence 8.Draw and paint the world around you, 9. Don't forget the shadows, 10. Plan your composition. These are so precious lessons to help anyone to understand art,we all do art ,but knowing some important things can improve our perspective and the way of looking things, You know we all have eyes,we all have mind,we all have hands, But a teacher tells how to use them for better results, Thank you so much Leslie for your teaching, Have a great day 🍀😊🍀
Thank you Leslie fot this Magic List 😉👍 As a beginner I use to struggle with a lot of things,and because of you I have the best advices 🙏💪 Merci et bises 👍🙏😘
Number 5 is not even used by professional artists!!!!! Jane Blundell even made a blog post (or several) about how a limited palette is not for her. Sure, it helps if beginners learn colour theory and how to mix colours from primaries, but when you start to get a little better, you realise there is a LOT MORE to colours and pigments than just primaries. Some pigments granulate beautifully, some pigments (and colours) mix the most exciting greys, and really, having just 2 sets of primaries and 2 earth tones is a crime, as far as I'm concerned. You'll tear burnt sienna, mars brown, phthalo green, red ochre, aquarius grey and even mars black out of my dead, cold hands. Also, having a bright pink and/or purple is a MUST for floral artists. (Possibly a single-pigment orange, too.) Sure, as a beginner working with a limited palette is a must, but as a little more advanced painter... I am very much against it.
Alternatively you can make several limited palettes filled with relevant colours, for example one set for floral painting, one set for urban paintings, one set for landscapes - and that way you can have a semi-limited palette with a single triad, and a few extra colours. My urban palette for example has an earthier triad: French Ultramarine, Mars Bordeaux and Transparent Yellow (PY 150) And it also has Burnt Sienna, Aquarius Grey (a single white pigment colour amazing for concrete), but I also have a green (phthalo green) and a black, because I often use black to darken colours without taking away from the vividness. I also have a pink in it, because I live in a country with colourful buildings, so mixing nice purples is a must. So altogether 8, but I do leave space for a few extras, because you don't really want to spend all of your time colour mixing when you are out in the middle of the street, painting.
