Best Art Books

I recently hosted an open house and studio visit for my students. At the end of the visit, someone commented on seeing art books around the house and asked for a list. It wasn't my first request for book recommendations so I thought I'd share a list on the blog of art books I've enjoyed from my collection. Art books can be found throughout our house. Maybe one day I'll get organized and put them all in one spot, but then again, to quote my student, ours is a "house dedicated to art."

I've read and enjoyed each of these books and they are the ones that have survived various book purges. Get those Christmas wish lists out!

Books on the nightstand.

I have separated them for you into How To, Art Theory and Inspiration, Books About Artists categories.

How To:

Classical Drawing Atelier, by Juliette Aristides (I recommend ALL of Juliette Aristides book. I learned so much from them and continue to refer to them.)

Lessons in Classical Drawing, by Juliette Aristides

Classical Painting Atelier, by Juliette Aristides

Lessons in Classical Painting, by Juliette Aristides

Oil Painting Secrets From a Master, by Linda Cateura- (One of the first books about oil painting that I ever bought, other than textbooks. It is written by a student of David Leffel and consists of ideas he presented in class. It was helpful in my journey to being a good oil painter, but not great if you are looking for a step-by-step)

Alla Prima II Everything I Know about Painting--and More, by Richard Schmidt (The first book was out of print so I was really happy when this one came out a few years ago. Expensive, but chock full of good info about oil painting)

The Artist's Complete Guide to Figure Drawing, by Anthony Ryder (so good)

The New Drawing on the Right Side of the Brain, by Betty Edwards (This was the text years ago when I taught as an adjunct at Brevard Community College in FL)

The Human Figure, by Vanderpoel (I've read this one multiple times and new things click every time)

Bridgman's Complete Guide to Drawing From Life, (left over from college days and I still refer to it)

Artistic Anatomy, by Dr. Paul Richer (anatomy reference, also left over from college)

Drawing the Head and Hands, by Andrew Loomis (if you look around this one is available as a free pdf for download)

The Practice and Science of Drawing, (Illustrated) by Harold Speed

Books in the studio.

Art Theory and Inspiration:

ART & FEAR, by David Bayles and Ted Orland

The Art Spirit, by Robert Henri

The Age of Insight, by Eric R Kandel, (this is a fascinating book about science, medicine, and art, and how the mind and brain relate to art)

The Story of Painting, by Sister Wendy Beckett

The Painted Word, by Tom Wolfe, (A short, but must read for contemporary realists)

The Object Stares Back, by James Elkins

What Painting Is, by James Elkins (this book changed the way I think about painting.)

The Art Instinct, Beauty, Pleasure and Human Evolution, by Denis Dutton

What Painting Is, by James Elkins

On Ugliness, by Umberto Eco

History of Beauty, by Umberto Eco

The Secret Language of Symbols, by Fontana

The Artist's Way- A Spiritual Path to Higher Creativity, by Julia Cameron (Still working my way through this one)

The Talent Code: Greatness Isn't Born. It's Grown. Here's How, by Holly Dewolf

Lean In: Women, Work, and the Will to Lead, by Sheryl Sandberg (not specifically about art, but about navigating the business world and the ever-changing role of women in our culture)

The Power of Vulnerability: Teachings on Authenticity, Connection, & Courage, by Brene Brown (Audible) Brene's work and research is a powerful force for reason, understanding, creativity, and love, and living a meaningful life, her other books are on my to-read list)

Becoming Wise: An Inquiry into the Mystery and Art of Living, by Krista Tippett (not specifically about art, but valuable for connecting with ourselves, the world, and people around us.)

Guns Germs and Steel: The Fates of Human Societies, by Jared Diamond (not specifically about art, but very thought-provoking about societal issues)

Manage Your Day-To-Day: Build Your Routine, Find Your Focus & Sharpen Your Creative Mind, by Jocelyn K. Glei (editor)

Books About Artists:

Leonardo Da Vinci, by Walter Isaacson (Still reading this one)

A Life, Sacred and Profane: Caravaggio, by Andrew Graham-Dixon

J. W. Waterhouse, by Peter Trippi

Essential Klimt, by Laura Payne

The Letters of Vincent Van Gogh, edited by Mark Roskill (this is an amazing insight into Vincent's mind and process)

The Passion of Artemisia: A Novel, by Susan Vreeland

Behind the Easel: The Unique Voices of 20 Contemporary Representational Painters, by Robert C. Jackson with Pamela Sienna

Many of these books are probably available used, in paperback, or the out of print ones might be available as downloadable PDFs. A few I have on audible, but if there are pictures I like to own a hard copy.

If you have favorites, please put them in the comments section below, because books are great items to put on a Christmas list. And as artists, we are always looking for inspiration.

I have a book about my work, too The Incognito Project. If you have a book about your art feel free to leave a link in the comments. Happy Reading!

The Incognito Project

How to Paint Alla Prima Flowers

I've had these Amaryllis bulbs for years. They were at the house in Florida that we moved to three weeks before my son was born. Then they made the move to Alabama with us. They are a part of our late winter / early spring experience every year.

They have multiplied like crazy over the years and most of my gardener friends have some of their babies. I've never painted them. I guess because flower paintings aren't really my thing. Maybe I'm just being contrary. It seems like women are expected to paint flowers, so meh...I've just not been interested. Don't get me wrong I love other artist's paintings of flowers. And admire people that do them really well. 

But I wanted to do a figure painting featuring Amaryllis and realized I needed to do a couple studies. It turned out to be super fun. And you know if I had to pick a favorite color, it'd be red, so it wasn't like it was torture. So here's how it went.

Of course, I like a little dramatic lighting so I moved the flowers into the studio. 

I started working with Burnt Umber, Rembrandt, thinned a bit with Gamsol, odorless mineral spirits. I was working on a 20x16 RayMar panel. I used a large fan brush and a #2 filbert for some drawing. I did a rub out with a T-Shirt rag. 

I immediately, while everything was still wet, began laying in the colors. I worked from the background to the foreground and from darks to lights. It's important to work while everything is wet so you can get those really soft edges. 

Scarlet in Winter, 20x16, oil

Reds can be tricky to paint. Many people add white and then they have a pink flower. It's best to avoid white but change the pigments you are using. I used mostly Rembrandts like Scarlet, adding Permanent Madder Deep and other transparent dark colors like Ultramarine Blue Deep, Viridian, or Thalo Greens to darken and adding various Cadmium Reds in the light areas. There might also be some Pyrolene Reds too.

I was mostly using a large fan brush. I used a Ruby Satin Filbert at times on the edges where I wanted it even smoother like the flower stalks.

I used thinner paint in the shadows and heavier paint in the light. This really gives a sculptural quality to the painting. Also,  I was very careful to keep the values close and in a dark range in the shadow. That way they just fall away the right amount.

The next day, I came back and added a few of the more orange-red heavy paint details.

This painting is all dressed up for a new forever home. Email me at terrystr@terrystricklandart.com if you're interested in inviting her into your home. She is available for $1900, framed and free shipping in the continental US. 

Fall Sepia Oil Sketch Sale and How To Paint Your Own

Fall Sepia Oil Sketch Sale
$275 Framed - Free Shipping in the US, $20 international shipping. Sales tax applies in AL, USA - email me at terrystr@terrystricklandart.com for arrangements.

Add One to Your Collection!

Art Lesson Du Jour : (or how'd she do that?)

The method I've used in these little life-studies has more in common with sculpture or watercolor than with more traditional methods of oil painting. 

Here's why: I first block in the general shape of the figure in a fairly solid area of paint. I imagine it as a big chunk of marble. I'm looking for a pleasing composition and the correct general proportions of the figure. 

 
Kelsey on Tuesday, 14x11, oil on linen over panel

I then use a piece of soft T-shirt fabric to rub out the light areas, leaving the dark. It's this reductive method that is much like a sculpture carved from a block of stone, where bits of clay are chipped off, rather than an additive method where pieces of paint, or clay in sculpture, are added to the artwork to build up the form.

Anders on Tuesday, 14x11, oil on panel

The white of the canvas is utilized for the lighter values, rather than adding white to make the paint lighter. In that respect, this method is similar to watercolor where the white of the paper is reserved for lighter areas. Mid-tones are built by allowing more or less of the white of the canvas to shine through the paint. For that reason, I would only use a transparent or semi-transparent paint to do a rub-out. 

Claire Sits 14x11, oil on panel

Toward the end of the painting, I will add a few strokes of thinker paint for darker accents but only use the one color, burnt umber. At this point, I could add full color but I think these sepia studies are beautiful and sometimes choose to leave them as they are.

I've been practicing these little sketches for years at a weekly life drawing group. They're so much fun, and I find they are great exercises for understanding the human form and values. I then apply that knowledge in my studio work, which also starts out with a burnt umber rub-out underpainting. So artist friends give this watercolor/sculpture painting method a try! 

The studies are framed in a wood frame painted in an espresso color.

 

If you're an artist in Birmingham, AL, consider joining us on Tuesday nights at Forstall Art Center, 6-9 pm for X's 8, ( pronounced Times 8) nude life drawing group. $10 per session or $35 for the month. 

How to Self-Critique Your Art

Art Lesson Du Jour

Spend Less Time on the Ropes to Make Better Work
(dedicated to my champion students)

Fact: It's a simple truth that every painting and drawing are a series of corrections. 

When taking a jab at art, each mark is our best guess in relationship to the other marks we've made. It's the best mark we can make right then, at that moment in time. We make it knowing full well that it is likely to change, and that's ok. Later in the process we will know better. 

Problem: Panic, strong emotions, and harsh self-criticism will defeat the creative process. 

I often see students in a knock-down, drag-out with themselves when things aren't going well in a drawing or painting. Their critique of the work becomes a criticism of self. It's easy to allow the critical voices of one's insecurities or the nasty voices of others into your head. I've been there and done that as well. Trust me, when you let those guys talk, no constructive critique is going on! 

When I see my students hitting below the belt I say, "Hey, don't talk to my student that way," "Would I say that to you?" or "Would you say that to anyone else in your life?" Of course the answer is always "No!"

Panic too can creep in during frustrating moments. We live a fast paced life with instant gratification and the sheer time required to look and see properly can make an artist feel panic. The brain is constantly yelling, "This is taking too long." We feel certain that everyone else is figuring this stuff out with more agility and speed than we are.

All this self-doubt and emotional thinking clog up the creative process, so that's why it's important to have a strategy in place. 

Your brain without a plan.

Solutions: Click READ MORE  below for answers. 

Alla Prima Still Life Workshop

I'm teaching a workshop Saturday, June 13, 2015 at Shelby County Arts Council in Columbiana Alabama. All skill levels are welcome. The workshop is almost full - just a couple spots left. You may register HERE. 

Alla Prima, quick sketch paintings done in a single session, is an art form unto itself. Here's a sneak peek at some in-progress pictures of the type of small,  jewel like paintings we'll be doing.

Basic block-in

See more pictures and information below the break.

Etiquette for Artists and Their Nude Models

I've been asked recently for some guidelines for appropriate artist's behavior when working with models in a life drawing group. This is what I came up with.

Rules for Artists:

1. DO NOT touch the model, NO exceptions. No touching is a cardinal rule, not to be broken, ever. This rule also applies to artists when working with models privately for life drawing or photography sessions.

2. DO NOT photograph the model and do not ask the model if you can take a picture. A model may feel obligated to say yes because you are paying them, so it's best to not even ask. Make a separate appointment for photography because when an artist's model does photographic modeling, they make at least two to four times as much per hour as live models. Photographers/artists should have a model release specifically stating the intended use of the photographs.

3. DO NOT chat with the model when he/she is modeling. Conversation is distracting for the model and your fellow artists.

4. DO NOT make comments about the model's body.

5. DO NOT invade the model's personal space.  This includes sitting on the model stand any time the model is on it, five feet away is a good starting point.

6. DO NOT ask the model personal questions such as their last name, where they live, etc.

7. DO NOT ask the model out on a date.

8. DO NOT remove your clothes when the model does. I bring this up because it happened in one of my drawing classes when I was a college student.

9. DO NOT allow non-artists to wander through the room. 

Terry Strickland Oil Painting Class

I have one spot open in my ongoing painting class at Forstall Art Center, here in Birmingham, AL.

Here is some basic info about the class:

WHEN: Tuesday mornings, 9:30-12:30. Forstall Art Center

FORMAT: My knowledge is your knowledge! I use a one room school house type class, where there are students of varying skill levels. This approach seems to work well, as everyone gains when hearing critiques from each others work. Those back to basics concepts that we continually revisit help strengthen everyone's work.

There will be demos and exercises working from still life or photographs, occasionally we have a model. These will focus on using oil paint to create the illusion of reality and in general every aspect of the drawing and painting process. It's amazing the things you can create when your "artistic skills" tool box is full of many tools! The class is small enough that you'll get feedback one on one while everyone is working on their own paintings. The good thing is it's always fun!

PRICE: $200 for six classes. (plus one make-up if you have an absence during the six weeks)

~The class will be paid for in 6 week segments, with one make-up class allowed. 

~Class size will be limited to 8

~The class will run continuously.

I also teach an afternoon class that is currently full with a short waiting list. Maybe my B'ham art types are sleepy heads.

Check out my posts about some of the kind of projects we do in the class. 

You may email me at strcklnd@bellsouth.net if you are interested or have any questions. Or call me at 205 529-9859

How to Varnish an Oil Painting

I use Gamvar varnish and a Liquitex Freesyle brush, 4 inch.

Prior to Gamvar I do one very thin coat of Galkyd, thinned a bit with OMS. This acts as a first coat of varnish but but is actually a medium and will bond with the paint layers of the painting.

It can still be painted back into if you see something that needs work and allows you to continue to modify the painting. It evens out the sunk in (dull) areas of the surface so that it will take the varnish nicely.

Here's a video I made of the Gamvar varnish application.

Alla Prima Still Life Demo

Last Saturday, Oct 19, 2013, I did a painting demo at Forstall Art Center in Birmingham, AL. I teach oil painting there on Tuesday mornings. Here a quick video of the demo!

"Southern Still Life", 20x16, oil on linen.

9 Plein Air Painting Tips and A Packing Check List

Earlier this summer I had the pleasure of spending a couple of days plein air painting down at Sugar Beach in Grayson State Park, in Florida. The painting conditions were perfect; a cool breeze, very few people, the shade of a pavilion and a red wing blackbird singing all day for company.

My Top 9 Plein Air Painting Tips

Here are few helpful hints to consider when choosing a location, a subject and progressing through the painting process.

Lavender Shadows on Sugar Beach, 9x6, on on oil primed linen

1. Scout out locations ahead of time if possible. Consider crowds, wind, angle of the sun, shade and the closest bathroom if you plan on painting for very long.

2. Set up in the shade to avoid the glare of the sun on the painting's surface. Think of where the sun is and where it will be in a couple of hours. Look for a spot out of the wind. 

3. Think about your physical comfort. Bring extra clothes, standing in the shade for a few hours can get chilly. Gardening gloves with the fingers cut out are great for keeping hands warm. (59 degrees standing still for hours in the shade is cold!) Hats, bug spray, sun screen, etc. (See below for a list of supplies to pack for your comfort)

Click Read More below for the rest of the tips and a packing check list.

How to Draw and Paint Facial Features Part 3

The nose knows.

I did this drawing in class, while discussing the structure of the nose.

You may find the first 2 parts of this series about painting facial features, in which I demoed drawing and painting the eye,  here at Part 1, and Part 2.

This was one of several reference photos that I presented to my class. 

Key points to look for:
Click Read More to see the rest of the post. 

More Alla Prima Portraits, or Face Off Warm-up Post 3

More Face-Off warm up. 20 minute sessions. You may see my first couple of practice post here and here. Enjoy...I did!

In the first 20 minutes I did a line drawing using burnt umber paint straight out of the tube. My canvas is a Fredrix, Pro, Belgian Linen, previously stained with Gamblin Fast Matte, in a combination of transparent earth red and ultramarine blue.

During the second 20 minutes I added a little background, placed the nose, lips and started laying in the chin and neck.
Click Read More to see the rest of the in-progress pictures below the break.

More Alla Prima Portraits

Still practicing up for the Face-Off at Principle Gallery in Alexandria, VA on August 16, 2013, from 6-9 pm. Here's a post about my first set of alla prima practice pieces.

Next on the easel was my future son-in-law, Will. Will was also my model for The Mariner, The Incognito Project. 

In the first 20 minutes I did a line drawing using burnt umber paint straight out of the tube. My canvas is a Fredrix, Pro, Belgian Linen, previously stained with Gamblin Fast Matte, in a combination of transparent earth red and ultramarine blue.

More about my pre-mixed flesh color palette here. 

During the second 20 minutes I added a little background, placed the nose, lips and started laying in the beard.
Click Read More to see the rest of the in-progress pictures below the break.

The Alla Prima Portrait - Ten Thousand Hours

I've been practicing for the Face-Off event that is happening at Principle Gallery in Alexandria, VA on August 16, 2013, from 6-9 pm.

It will be a live painting demo at the gallery in which I'll be painting the same model as Mia Bergeron, Cindy Procious and Rachel Constantine. We did it last year and it was super fun! DC area artist Suzanne Lago Arthur did a great post about the event last year on her blog.

Photo by Suzanne Arthur Lago from last year's event.

Nothing like the prospect of painting with a bunch of super talented artists in front of a live audience to inspire one to practice!

In an attempt to sharpen up my alla prima (all in one sitting) oil sketching skills, here's what I've been up and what I've been figuring out.

Dan, 20x16, oil on canvas

More about the set up, the painting process and other sketches below the break.

How to Draw and Paint Facial Features Part 2

It's all about the eyes and mixing flesh tones this week.

This a project I'm doing with the oil painting class I teach on Tuesday mornings at Forstall Art Center in Birmingham, AL. We are doing small studies of each facial feature. Eventually we will do a complete portrait with the skills gained by studying the features individually. Here's Part 1 in which I drew the eye.

In the last post, the painting was at this stage.  My disclaimer here is that this is just what I do. There are many different methods out there but this is what I have developed over the years. It works for me.

I am constantly trying new things but for now this is my go-to starting place. I develop 4 basic flesh tones. Having a method helps me and seems to help my students.

Art Instruction Blog

There is a super informative website called Art Instruction Blog. The webmaster collects demos and lessons from all over the web and posts them under different topics:

~Featured Painting Lesson

~Featured Drawing lessons

~Featured Artist Interviews

~Recommended Sources

~Artist Spotlight - Featured Artists

This week one of my demonstrations, Oil Painting Underpainting Tutorial, is featured on the Painting Lessons.

There is also a You Asked! page in which you can submit a question and people in the know will address it.

And a Lesson by Subject page. And a Lesson by Medium page.

Basically, what I'm saying is, don't start looking at this site right before bed or you will be sitting in front of your easel very sleep deprived the next day!

7 Steps to Plaster Cast Painting For Artists

Step 1- Beg, borrow or steal some cool casts. One of my students happened to have them so she has generously loaned them to my class for a few weeks. If you're not so lucky, you may have to buy them like she did here.

Step 2- Set each of them up and add some funky lighting.

Hint: To arrange them up I set up a table easel, used S hooks to attach them to a sheet of masonite that had been covered in a black drape, and lit it with a clamp-on light. The bulbs are Phillips, Director, 60W, 120V.

Step 3- Do a pencil drawing on a canvas or panel.

Hint #1: Get in a comfortable position and plant your feet. Choose to stand or sit but remain at the same eye level. Try to move only your eyes to keep your view of the still life the same.
Hint #2: Check proportions, how wide is it compared to how tall? Start in general, straight lines, loose shapes and move to more specific. 

Oil Painting Demo - 2 Methods of Under Painting

Today I did a demo of under painting techniques using Gamblin Fastmatte alkyd oil paint and Rembrandt oil paint at Forstall Art Center where I teach oil painting class, here in Birmingham, AL.

Thanks to Randy Webb, local artist and demo attendee for generously allowing me to use his pictures and video for my blog!

I did two paintings, the first was an open, color grisaille. Basically it was a wash using Fastmatte paint, thinned with odorless mineral spirits. It's considered open because you leave the white of the canvas to indicate the lights of the painting, much like a watercolor painting. Fastmatte is designed to dry fast so you can do an underpainting and it will be dry by the next day so you can begin the second layer quickly.

I started with a pencil drawing on Ampersand Gessobord, professional quality.

After  the pencil drawing was complete I redrew it using a Faber Castell sepia pen. Next I mixed up a few strings of color, some interesting grays and a couple of reds.

Using odorless mineral spirits I thinned the paint and began washing in areas working from the background to the foreground and from the darkest to the lightest. 

Finished local color grisaille. 9x12

Next I did a rub out, or value study, open grisaille. I used Rembrandt burnt umber mixed with a little medium mixture that is linseed oil/mineral spirits, 60/40 ratio. I do not use the Fastmatte for this type rub out since it dries too quickly.

The entire panel is covered in paint using a large soft brush.

I use a soft T-Shirt scrap to wipe out the lights. 

I will add back in more paint if I have rubbed out too much.

Final open grisaille value study. This could be painted over in couple days with full color. 

Here's one I did with my class, so you get the idea of full color and how the rub out can inform subsequent layers.

And here's how that one started. Value Study With a Twist, 9x12

One last note, this one about the still life set-up. (you can see it in a couple the photos and the video).

I use a box made of foam core that folds up. The sides are 3, white pieces, that I have hinged together with packing tape. It is then draped in black cloth. A large piece of black foam core is laid on top. I have cut out space for the clamp-on lamp and the cord to stick out the top.

This has turned out to be a great solution to the problem of blocking light pollution from the ceiling, while adding a dramatic light to the still life and the problem of storage of the set-ups. I don't have a dedicated space for my class so the still life has to be packed up after every class. It travels back and forth from the center easily and I have 4 of them. They lay flat and don't take up much room. I can fit three students to one still life.

My first set-up nearly caught fire and cooked the fruit so this is a much better solution! It pays to have an engineer in the family.