Visual Language Magazine Contemporary Fine Art Vol 2 No 4 April 2013
Visual Language Magazine is a contemporary fine art magazine with pages filled with dynamic fine art, brilliant color and stimulating composition. Visual Language is the common connection around the world for art expressed through every media and process. The artists connect through their creativity to the viewers by both their process as well as their final piece. No interpreters are necessary because Visual Language crosses all cultures around the world.
Visual Language Magazine is a contemporary fine art magazine with pages filled with dynamic fine art, brilliant color and stimulating composition. Visual Language is the common connection around the world for art expressed through every media and process. The artists connect through their creativity to the viewers by both their process as well as their final piece. No interpreters are necessary because Visual Language crosses all cultures around the world.
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VL<br />
Learning How to Paint<br />
by New York <strong>Art</strong> Professor Hall Groat II<br />
Professor and Chair,<br />
<strong>Art</strong> and Design Department<br />
Broome Community College<br />
Learning how to oil paint in a classical style requires one to practice observing the world<br />
in a completely new way. You have to become a child once again. Instead of looking at<br />
apples as just round forms strewn on a tabletop, one must learn how to see them in terms<br />
of both color and value within the space that they rest. This empty space that surrounds<br />
the apples, believe it or not, has a unique color and value, too, and must be observed as<br />
carefully as the fruit itself.<br />
Learning how to paint well and the process of becoming an artist are completely different.<br />
Good paintings are about mastery of craft; whereas a fine artist has to achieve a balance<br />
between mastery of craft and the idea behind the painting—its content! Don’t bother trying<br />
to be an artist in the beginning; first learn the fundamentals of painting before setting<br />
out to consciously make paintings about grand ideas. The simplest subjects often make<br />
the most profound statements. It is better to make a small painting about a big idea, rather<br />
than a monumental painting that expresses nothing. If you study nature daily through<br />
your paintings, there will be great truth in your work. What you see in the world provides<br />
the answers.<br />
29 Thomas’ English Muffins on Plate 8x10 in. Oil on canvas by Hall Groat II
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