I am sometimes asked if I hold workshops or produce intructional videos, and unfortunately, the answer is that I don’t as I am usually busy painting (and blogging). There is so much already available on the internet that I don’t feel I can compete. Others have done it better already!
So I have put together, instead, a short list of tips and links for any one who is interested to help them develop. Please feel free to comment or suggest your own. There are no affliate links in this blog. I have included websites and video clips that I have found personally useful.
My Top TEN TIPS
Paint, paint and paint some more.The more you paint, the more your work will improve. Most artists keep a sketch book and sketch and paint in their spare moments. It is important to pratice without worrying too much about the expensive canvas you are painting. I used to work in oil pastels on paper when I was younger but now I try to paint in oils most days. I have also experimented with water colours and acrylics. It is only by doing and looking that you will develop as an artist
Look at Art. Decide what you like. Look at the works of many artists. Think about what they are doing and how they do it. You don’t have to copy them but you can be inspired by them.
I particularly like pre 1950s artists (especially post impressionists like Matisse, Marquet, Derain, Bevan, Gilman) for their use of colour and portayal of light.
There are many fascinating interviews with artists on Savy Painter that are well worth a listen!
It is important to see paintings “in the flesh too”. Van Gogh and Monet need to be seen in real life to appreciate their scale, and how they have used the paint. I once saw a Picasso in Swansea’a Glynn Vivian Museum, and its presence quite blew me away. It was very big. I got a powerful sense of an artist who knew what he wanted to achieve and knew exactly how to do it. If I had just looked at online I would got none of that. I save images of work I like on my pinterest account.
Paint – buy the best paint you can afford. Try out different brands. A paint may have the same name but look very different depending on the brand. Only buy Artist’s oil paints. The student version are cheaper and inferior. They are fine for underpainting only. They fade. My favourite brands include Lefranc and Bourgeois Extra Fine, Lukas 1862 Finest Artists’ Oil Colour, Sennelier Finest Artist’s Oli Colour, Talens Rembrandt Artists’ Oil Colour, Schmincke Norma Professional Artists’ Oil Colour, Michael Harding Artists’ Oil Colours. It took me a long time to really understand what colour opacity and the transparency of paint meant in terms of my painting. I am still learning how to use this knowlege.
Canvas– invest in good quality canvas. I love linen canvas as they are really strong and hard wearing. In my early days, I painted on cheap cotton canvases that years later would tear easily. It was quite heart breaking to realise that I had wasted my creative energy on an inferior product.
I particularly like the natural ones painted with clear gesso. If you buy the white ones, it’s helpful to paint the canvas with a coloured ground before you start painting. Here’s a excellent video on how to do it.
Composition – shapes and how they are arranged, lines and their direction.
I like looking at how photographers like Henri Cartier-Bresson, Vivian Maier, William Eggleston and Harry Gruyaert used light, colour and composition in their work.
“If the arrangement of the big shapes is strong and coherent, it’ll carry the painting. You are 90 percent of the way toward achieving a composition – and consequently a painting – that will work from “Mastering Composition“by Ian Roberts
6. Tonal value – The value of a color is how dark or how light that color is. It is easy to see value shifts looking to an image in black and white or in grayscale; it is a little trickier to see it in color.
Colour – warmth/coolness of colours and their intensity
Get a Colour Wheel
There is more than way to mix a particular colour. Sometimes its a matter of trial and error. Practice mixing colours and understand why some combinations (the three primary colours for example) result in mud. Mixing “warm” and “cool” colours doesn’t work either. See an explanation here. Remember that brands vary. I have found that not all “Vandyke Browns” are the the same.
8. Simplify, simplify, simplify. Yet don’t forget the details!
9. Using Source Material (photographs)
Don’t be afraid to change what is in the source photos you use, leave out things, simplify forms. Sometimes a really good photo doesn’t make a really good painting. I take photos with the express idea of using them for painting, that means they are not necessarily good photos but they have the information I need.
Peggi Kroll Roberts – demonstrates a “high key” painting, where values are kept at a narrow range, in the lighter shades of value.
10. Watch videos and save them – If you want to know how an artist does something, look it up. It might help, it might not. I have found that looking up a technique say “scumbling” is more useful that “how to paint clouds” because I have realised that I have to find my own way of doing something. I save links on my pinterest account.
Finally, find your own voice. Forget all of the above points and just create. Don’t copy. By all means steal good ideas. You have to have your own style, like you have a style of hand writing you have a style of painting. Let it develop. Good Luck.
I am very excited to have an article in today’s Irish Independent on Sunday about me and work by Niall McMonagle. Below is my expanded Q & A interview that was much edited to feature in Niall McMonagle’s What Lies Beneath feature . It’s interesting to see that the online version had a different […]
This is the second part of my expanded Q & A interview with Niall McMonagle of the Sunday Independent. Read part one here This section is more about how I work, my style and influences. Q: How do you choose your places to paint? And is there a particular time of year that […]
I am delighted to have another of my painting adapted for a novel cover by an Irish writer. This time my painting “Cottage on Bunbeg Harbour” (2019) has been used for the Spanish translation of Donal Ryan’s “Strange Flowers” or rather “Flores Extrañas”. I have started reading the original and I am thoroughly enjoying it. […]
New Work & Recent Sales
Washing Line, Arranmore _Emma Cownie
Inishcoo (To The Fore of Arranmore) – Emma Cownie
Kinnagoe Bay (Inishowen, Dongal)
Over Glenlough Bay, Donegal-Emma Cownie
Still, On Gola (Donegal)
An Port, Donegal_Emma Cownie
House on Ishcoo, Donegal-Emma Cownie
On Rutland Island, Donegal -Emma Cownie
Spring on THree Cliffs Bay, Gower_Emma Cownie
Sun on the Reeds (Glentornan, Donegal)-Emma Cownie
View from the Pier (Portnoo)-Emma Cownie
From Port to Glenlough (Donegal)
Fishing Boat at Port Donegal-Emma Cownie
Portnoo Pier, Donegal_Emma Cownie
Down to Rossbeg Pier, Donegal
Errigal reflection (Donegal) _Emma Cownie
Errigal from Cruit Island. Donegal _ Emma Cownie
Over to Fanad Lighhouse (Donegal) _Emma Cownie
Errigal painting – A Commission 2022
From Arranmore (Donegal)- Emma Cownie
Abanoned (Glentornan, Donegal) -Emma Cownie
Ferry Home (Arranmore, Donegal) by Emma Cownie
Summer Morning on Pobbles Bay
On the Way to Kinnagoe Bay (Drumaweer, Greencastle)
Down to Doagh Strand (Donegal)-Emma Cownie
Lambing Season at Fanad Head
Fanad Lighthouse (Donegal)
Down to the Rusty Nail
Carrickabraghy Castle, Inishowen
Upper Dreen_Emma Cownie
Portmór Beach, Malin Head, Donegal
Down to the Rusty Nail, Inishowen
The Walls of Derry
Painting of Derry City
Derry Walls by Emma Cownie
Shipquay Gate by Emma Cownie
Over to Owey Island (Keadue) Donegal
Lighting the way to Arranmore
Old Stone Cottage in front of Errigal (Donegal
Boat at the Pier, Gola
House on Inishbofin, with distant Seven Sisters (in studio)