You may want to prepare your paper with a grid pattern to help proportion each section of your car. If you want perspective, you will have to choose a point on your paper that will be your horizon line. With the horizon line chosen, you will draw lines from points on your car to the horizon point.

What this is going to do for you is give an accurate reference point so you can add dimension to your picture. You do not want a flat look; you want the car to stand out. How about where is the light source coming from in your drawing? Is it from the side or behind?

Knowing where your light is will help you when it comes time to shade in your shadows. The points directly in the light will be much lighter with highlights. The darkest areas should be below the car.

How you make use of your pencils can have a drastic affect on the outcome. It might be best for you to start your drawing with light pencil lines then go darker as you reach the finished product. Light lines are easier to erase if need be.

All of this may sound like a lot to do if you are not familiar with drawing. It really is not difficult to do, everybody can learn. If you have an interest in learning, get one of the e-books available that teaches how to draw cars.

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Face Painting Your Little Goblin for Halloween

Boo! Did I scare you? Well I think it’s scary that it’s almost that time of year when all our little ghosts, goblins and princesses will be roaming the streets.

As parents of young children we may be making choices for our kids about Halloween and trick-or-treating. One thing that remains constant from year to year is the wonderment and joy of dressing up in costume!

A growing trend nationwide along with homemade costumes is the use of face paint to complete a costume. In fact some costumes can’t be done any other way.

So what kind do you use? With all the recalls dealing with paint and increased cases of allergies, which paint is really safe to use?’

Unfortunately the answer isn’t completely black and white. We humans have a varying level of sensitivity to cosmetics and chemicals; we see this in the mom who can’t wear certain moisturizers, children who can’t use bubble bath and entire offices that ban fragrances because of severe allergies.

Craft Paint

Too often well intentioned volunteers will face paint at local holiday carnivals or fairs with craft paint they have in the supply closet, duly noting that it is ‘non-toxic’. However, there seems to be a misunderstanding of the term “non-toxic.”

Non-toxic only means that something will not kill you if you ingest it. (At least not right away.) This does not mean it is approved for us on the face or body.

Think of it this way: a jalapeno is non-toxic but you wouldn’t want to rub it on your face. Likewise a craft or acrylic paint may contain toxic chemicals such as polymers and potential carcinogens.

When reactions occur they most often include painful raised blisters and itchy rashes. On rare occasions the use of craft paint can scar some skin types and cause serious anaphylactic allergies resulting in inflammation of the airways.

Tempera Paint

Another dubious material sometimes recommended is tempera paint mixed with face lotion. And even though our children may have painted themselves once or twice at home without adverse reactions, tempera isn’t FDA approved for use on the face. Of course our concerns are justifiably heightened when we’re dealing with children, who are more sensitive to toxins than adults.

Food Coloring

Other ‘recipes’ available on the internet include a variety using food coloring. Web sites promote using food coloring mixed with glycerin, flour, corn syrup or cold cream.

And while most of these ingredients are ‘food safe’ there is no escaping the fact that you are applying food coloring to your child’s face – and possibly clothes, bedding and furniture. Any mother who’s made a birthday cake or two can attest to the staining power of food coloring!

While food coloring is perhaps the least toxic of this short list of coloring agents, if you suspect a rash has been caused by a substance you painted on your child, immediately wash the area with cool water and gentle soap.

Be careful — occasionally harsh detergent soaps or even baby wipes can exacerbate the problem. Then try an over-the-counter Benadryl lotion.

If the problem persists, consult your doctor right away. If any reaction to a product occurs it will probably happen within the first fifteen minutes. This goes for hypersensitive children who react to industry standard cosmetic-grade make up, as well as kids who have been painted with craft paint.

As a mom and a body artist I would never paint my child, or any child, with anything less than top quality professional paints you can buy from reputable online merchants or at select costume shops. A quality  list of professional water based face suppliers include: Snazaroo, Wolfe Bros., Graftobian, Fantasy World Wide, Paradise, Kryolan, Ben Nye and Fardel.

Snazaroo is so confident of their product they stand behind it with a two million dollar product liability policy and an entire web site of useful FDA information.

So pick a costume, design a face to go with it, then give your child that special extra touch that makes him or her stand out from the rest of the trick-or-treating crowd and be confident that you know what you’re putting on your angel is attractive AND safe!

FairyDust Faces is Northern California’s full service face and body art company specializing in Face painting, glitter and airbrush tattoos, body painting and henna body art. www.FairyDustFaces.com

Article Source:http://www.articlesbase.com/art-articles/safe-fun-easy-face-painting-for-halloween-1606845.html

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If you enjoy drawing or want to learn how to draw and make people laugh at the same time, then learn to draw caricatures is the site for you.

Do you have aspirations of perhaps becoming a cartoonist or caricature artist?  What if you could find a way to guarantee your artistic success.? By learning the real secrets of how to draw caricatures, you could become a caricature artist and dramatically change your lifestyle.

Just imagine if you had a constant stream of work and could go from job to job, drawing your cartoonish faces, with no slowdowns.

Just think about earning money from simply drawing cartoonish faces.  Can it get any better than this?

Just imagine how impressed and amazed your friends would be after you develop the skills necessary to become a successful caricature artist.

Are you in disbelief that a cartoonist can become so successful?  Well the “caricature artist” is the life of the party or social event.because he makes us laugh.  And don’t we all love to congregate around an individual that make us laugh?

And while other guests at a party are milling around making small talk, you are making people smile and laugh with your caricatures.

Drawing cartoonish faces is lots of fun, and you can be compensated quite well for it.  Armed with the correct instructions and skills, you’ll have no difficulty finding customers who will desire your talents on a regular basis.

But learning how to draw caricatures that people will love and pay cash for is the most difficult part of successfully becoming a caricature artist.

It might take a small fortune and years of studying and work to learn just the right combination of techniques that will make you highly successful and in constant demand.

However, why do things the hard and difficult way when you can now learn all the insider secrets in a new learn to draw caricatures home study course.

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Those tricolor leads (red-blue-green in a pie wedge arrangement) are made in Taiwan, but you cannot buy them directly from the factory. They are sold to manufacturers.

Texas Art Supply recently had packages of a Marvy Color Tricks pencil with a supply of the tricolor lead for only 78 cents here: http://www.texasart.com/g3582/Marvy-Color-Tricks-Mechanical-Pencil.htm I hope they still have some.

A few years ago I ordered a supply of just the lead refills from the pencil manufacturer, Marvy Uchida, and just the lead refill packages were a dollar each. So I think getting the leads and pencil for 78 cents is a super deal. I recommend stocking up while you can.

You can also try the Marvy Uchida website (http://www.marvy.com) and see if they still have the lead. It may be cheaper there by now.

I just checked the site and could not find Color Tricks, but their search was not working right. I could have missed it. However, at the time I ordered the extra leads, the order-taker told me that the product was about to be discontinued.

I wish another company would start selling the tricolor lead. If you find anyone selling it, please leave a comment and let everyone know.

Understand that Art (in this case painting) for the making of money is like any other business. You need to market your product or have someone else, like an art gallery, market your work. There are thousands, if not millions of very good painters out there trying to sell their work. Those that have the best marketing system will sell the most for the most money. It is as simple as that.

Now if you are interested in just learning from scratch how to get started as a painter, I can do that. I have been painting for about fifteen years without any formal training. Everything I have learned is from “how to” books or trial and error. I started painting in 1994 when, as a Department of Defense employee, my wife and I were stationed in Israel.

Since we were limited by weight of what we could ship as household goods, we did not pack much in the way of wall hangings. The bare walls of the apartment we were assigned soon became annoying so we started to look around for some paintings to hang. Israel is kind of an artsy country and there is a great deal of art available. The wife and I both have fairly good taste so of course anything we could agree on, which wasn’t much, was really expensive.

After some searching and thought, I finally opened my mouth and told the wife that I thought I could do as well as most of the paintings we were viewing. Unfortunately, my wife threw down the challenge to prove it. Now my male ego was at stake and there was no way around my having to live up to what my mouth had said without consulting my brain. There you have the story of how and why I started painting. As the saying goes, that’s my story and I am sticking to it.

I went to an art supply store and bought a starter oil paint set a few brushes, a couple of how to paint books and a canvas. I finally selected as a subject a picture of the apartment building in which we lived. Mistake – it was too complicated for a first time artist. I finally got it finished but it was a mess. I would suggest you start with something more simple and work your way up.

Let’s discuss what you need to start your new hobby. That depends on what kind of painting you want to start with. The choices are: Oil based paints, Acrylics (water based paints), Water colors, or Pastels. All of these have their good and bad points and people chose one or the other for a variety of reasons. People pick the one with which they feel most comfortable and which results, in their opinion, in the best product.

As a starter I would suggest Acrylics. There are no fumes, they are not flammable and they dry very fast. Fast drying can be good or bad, depending on what you are attempting to do on the canvas. With Acrylics you can sprits on a bit of water or use a special additive to delay the drying process. This medium is also great when it comes time to clean the paint off your hands and brushes because you only need soap and water and not a paint thinner.

From an expense perspective Acrylics are a bit less costly. The average cost for small tubes of these paints is about five dollars. A starter set of paint will usually have about six to eight colors so you are looking at about thirty or so dollars. There are a lot of different brands but not to worry. Pick the cheapest or the ones on sale. All the brands will mix together.

Next buy a set of cheap brushes. You should be able to get five to ten in a package for about five bucks. Buy a couple of one and two inch brushes also. If they are expensive at the art supply store go to a hardware store. You will also need a canvas or canvas board to paint on. The canvas boards are less costly and can usually be purchased in two or three to a pack. The draw back to the boards is that they must be framed for hanging. Canvas cost will vary widely based on size and quality. Buy the cheapest you can for the size painting you want. If you start selling your paintings for large sums of money then you can concern yourself with high quality supplies.

You will need a place to work and something to prop your painting up while you work. An easel is the obvious choice with a large floor standup costing about fifty to one hundred dollars. A table easel will run from about twenty to fifty dollars. If you don’t want to put that much into your hobby at this point, all you really need is a place to work, a table and a wall, books or some other way to prop up the canvas to work.

All you need now is a subject and some self confidence. I find photographs to be the best means of providing your chosen subject matter. I would recommend that you chose a simple landscape photo, preferably with a tree or a small patch of trees. If you chose a picture of buildings or other structures it will be necessary, at least to begin with, to draw a grid on the picture and the canvas. After that you will need to do a rough sketch of the subject matter on the canvas to insure you have a close approximation of where parts of the structures belongs in the painting as compared to the photo. In other words if you have a church steeple in the upper middle of the picture you want to sketch it in the upper middle grid of the canvas. This will save you a great deal of time having to correct a misplaced item about half way through the painting. If you start out with a portrait photo of a person, good luck. I have never been able to do portraits to the degree I would actually show it to another human.

Alright, you have your supplies, equipment, place to work and subject. You are ready to paint. There you sit or stand staring at the blank canvas confidence wavering and wondering where to start. The easiest thing to do is just take some paint on your hand or a large brush and smear it on to the canvas. It doesn’t really matter what color but I usually use the prominent background color of the subject matter/photo I am working from. If I am going to do a landscape painting I will usually just smear a thick layer of blue across the top half of the canvas and a light brown across the bottom. Once you splash the first color onto the canvas you have become a painter. I have seen pieces in museums that don’t look any better than what you just did.

Once you get started and have painted a couple of works do not be afraid to experiment. Buy some “how to paint” books and try different approaches and different mediums. Your first works likely will be categorized as “primitive”. That is not a criticism, just a category of painting. There are many artists that sell their “primitives” for thousands of dollars. Read and learn from books and the internet, where there are many free art clips you can view. Just Google search or go to You Tube and search under art instructions. Look at possibly doing some impressionist and expressionist works when you have built up your self confidence.

If you do something and you don’t like the finished product, you can always paint something else over it. Paint for yourself and do whatever with your paints and brushes makes you happy. Do not worry about what other people think of your work. No matter what you paint some people will love it and some will hate it. You will eventually come to consider any comment, good or bad, on your work as validation that you have produced a work of art that someone looked at with enough interest to comment. It is the people that look at your work and say nothing that are most frustrating.

.     I have about taken you as far as I can in a short article on how to get started. The bottom line is just do it. Damn the torpedoes, full speed ahead. I do not know how many times I have heard people say they would love to learn to paint but they could not even draw a straight line. My response to that is you do not need the ability to draw a straight line to paint. If a straight line is needed that is why someone invented the ruler. They work just as well on a canvas as on a piece of paper. The real reason people do not follow up on a desire to learn to paint is that there is work and the possibility of criticism involved. If you really want to Paint do it now. Do not wait until some time in the future because the future never comes. When it gets here it is no longer the future it becomes the present and quickly becomes the past. Past accomplishments are notable but people are more interested in what you are doing today. Good luck and happy painting.

Article Source:http://www.articlesbase.com/art-articles/no-more-excuses-start-painting-now-1321691.html

A year or so ago I wrote about Koh-i-Noor Magic FX pencils. The lead is a checkerboard pattern of three colors. The pencils come in several color combinations. They are great for making textured backgrounds on paper.

Since then I have found several other multicolor pencils that you may also want to look for. 

Magic FX Multicolor Pencils

At the time I first wrote about them, Magic FX pencils were pretty easy to find in hobby and craft stores, discount stores, even in drugstores. Last autumn, however, LaQuita wrote in a comment that she could not find them locally and asked if they can be purchased on line.

The short answer is Yes, they can be ordered on line. One place to find them is Texas Art Supply. The trick is to finding them on the web site. So here is a direct link to Magic FX pencils on the Texas Art Supply website. 

Quattro by Cretacolor Junior 

Since then I have found another interesting pencil that does the same thing, the Quattro by Cretacolor Junior, made in Austria. This you would most likely only find at art supply stores. Texas Art Supply sells it, too.

The Quattro has a four-color lead, with red, blue, yellow and green arranged like the wedges of a pie chart. In the picture below, the Cretacolor Junior Quattro pencil is at the top, and a Koh-i-Noor Magic FX pencil is below it.  As you can see, the Quattro is a little slimmer than the Magic FX.

Rainbow Swirl Pencils by RoseArt

A few months ago I found similar pencils at a Target store (a discount chain in the U.S.). In these the colors are arranged in random swirls instead of a checkerboard pattern, but they should do about the same thing.

They are called Rainbow Swirl pencils. They are made by Rose Art, which is a good-quality cheap brand that is sold by several discount stores in the United States.

True to Life Pencils and Twist-Up Crayons by Crayola

At Target I also found two brand new products by Crayola: True to Life pencils, and True to Life twist-up crayons.

So far, I have only seen these at Target, but Crayola does sell their products at their web site, http://www.crayola.com, so you should be able to order them there.

If you find any of these or similar pencils, especially if you are outside the U.S.A., please leave a comment, letting everyone else know where to buy them. IMPORTANT: Put no more than one link to a web site in each comment. Otherwise, my SPAm filter may delete the comment before I ever see it. But feel free to leave a comment for each source that you find. Thanks!

Often you see pastel paintings in exhibitions and wonder how the artist arrived at the finished product?

PENCIL – When you go to a shop to choose pastels they often appear quite gaudy colours or very dull, so I think people are often unsure which to choose.

As a contemporary artist I would say you are better not to choose too many colours to start with. In our modern times you can choose ready selected boxes to suit a certain type of subject. It rarely happens that you need to use all the colours in the box.

Generally you are better to choose just a few colours that you know you will use. For example – initial colours for say landscapes, a nice variety of different greens, but some neutral colours maybe to blend in or to highlight various areas.

PALETTES – You are the artist so you need to choose wisely, but generally, I personally would include the following: Cadium Yellow, French Ultramarine, Burnt Umber, Burnt Sienna, Cobalt Blue, Olive Green, Crimson Lake, White, Lamp Black and perhaps another shade of yellow and red. There are also different variations of pastels, so this has to be taken into the equation.

OIL – These do not crumble, but you cannot mix them with other pastels. On the other hand they are nice because they do not smudge easily, superb for fine work, because they do not crumble.

SOFT – These are crumbly, colourful, they smudge, are nice to blend with and will cover quite large spaces.

HARD – Easy to erase, not so crumbly and great for first sketches.

I am a contemporary painter and would recommend to you that it is better to pay a tiny bit more for your paints if you wish for your work to last well. The pigments are normally better and therefore less likely to fade. If you want to keep your pastels clean keep them in a box.

However cover the box inside with ground rice. The roughness of the rice rubs against the pastels, it cleans any dirt they may have picked up which they often get from rubbing against each other. Clearly you need to wipe them over before you use them.

Usually a lot of people just keep them in a box lined with corrugated paper or in improvised supermarket package trays. It is often better to work with your painting on a tilt as then, specks of the pastels that crumble will simply drop off.

Last but not least it is better to have your paper secured to a board wider than the paper you are using.

Make sure to take time to choose the paper you use and most important of all – enjoy your art!…

Pastels are generally a good medium to start painting with and everyone has to start at some place. They are easily accessible to the general public to buy, whether in the stores, art shops or maybe a local stationers. They vary in price considerably, but some sell on the market really cheaply.

So there is something within the range of all pockets. Adults and children alike love experimenting with them, they take up little space so they are so easy to carry on your person together with a small sketchbook.

This article was written by Anna Meenaghan of http://annameenaghanart.com

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Materials are important to the artist and like most things in life, it is better to obtain the best that you can possibly afford. Painting isn´t always an easy craft—so your tools are very important to you.

For example, if you choose mediocre materials the final result obtained will probably reflect this.

If you go for quality it should certainly obtain improved results.

As a contemporary artist I can tell you that you require a firm support to paint on, together with a mixed selection of colours and certainly high quality brushes. Brushes are important! You need one that is both clean, a naturally good shape, but that is also flexible. With a good brush you can draw freely and not simply make a certain size brushmarks.

If you use short, bristled brushes they do not usually seem to give a particularly good finish.

If, for instance, you want to draw a persons head you require an amount of flexibility and a precise touch. To achieve this you need to be drawing with the paint continually and in small accurate strokes.

As brushes go I find that it is good to have a few sables that are pointed, as well as a few hog hair brushes. If you use a flat brush you can get delicacy by lying it on its side.

If you wish to draw well and put down patches of colour, you need brushes that have fairly long hair, filbert, round or flat, so they are flexible.

When you purchase good quality brushes then they should stay in shape well, but it is a requirement that they are washed at the end of each painting session. It is pretty clear they will not be good for long unless you treat them well.

What will help you? Well, being a contemporary painter, I often keep an old jam jar filled with turps substitute at my side. This you can use for cleaning out the brushes whilst you are painting and of course when you finish your work for the day. It is recommended that you should clean them sufficiently in this, preferably dry them on an old piece of rag and then finally it is usual to give them a wash with some soap and water.

It is useful to hold the soap in one hand and rub the brushes across it, then clean them gently in your hand with your fingers. The second step is to rinse in water and then start to reshape the bristles with your fingers.

This sounds a lot to do, but really should never take long to do, but it is important.

Sometimes if you are tired you may forget to do this and then find you will be mad with yourself the following day.

Actually most people seem to collect quite a large collection of brushes but end up using only six or seven at a time. As with everything else you have your favourites and really you do not necessarily have to acquire a large stock. You find that you still use your very old ones. These are very nice on wide areas of painting as they are well worn and this saves on your newer brushes as it tends to wear them down.

This article was written by Anna Meenaghan of http://annameenaghanart.com

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As a contemporary artist I only know too well that oil paintings always ought to have varnishing. Firstly they need protection.

Once varnished the painting has a strong layer over the paint, so it is easier to handle as it can then be cleaned. If the painting is left unvarnished it may easily get damaged. As the painting dries out the oil paint tends to get duller and gives a matt finish. However, you cannot varnish until the paint is completely dry and this can take a considerable amount of time.

I think at times you would probably need to clean it first. Ordinary liquid detergent should be quite sufficient to do this. Using only a very small amount diluted with cold water to cover the surface of the picture, rubbing it very gently with a soft soaked piece of rag. Then maybe do the same with clean water, so there is no residue of the detergent used. It then ought to be left to dry thoroughly in a warm atmosphere.

Personally I would like to make clear that it is better to do your varnishing somewhere that has a good dry atmosphere with warmth. If the atmosphere is moist, the varnish often might appear to go into patches of white, which I personally find infuriating.

Now it is possible to get good spray varnishes which dry fairly quickly. A contemporary painter would probably prefer to apply varnish with a brush. Probably a fairly wide, soft brush is best. Generally better if the varnish, brush and painting have been near heat so there is no damp. Put the painting on a flat surface. I pour some varnish into an old tin lid and then very carefully and gently brush on.

It is tempting to go backwards and forwards and overbrush – not so good – as the varnish tends to create bubbles. Easier if you have a small painting, because you can go straight across from one side to the other. You have to endeavour to get as even and as thin a coat as you can. Tendency is to overvarnish, giving a thick layer and an annoying glossy finish.

If your painting is large it is somewhat easier to divide it into square sections and work laboriously on one section at a time. Once you have applied the varnish do try not to disturb it.

Then you need to find a place to put the picture where, while you are working on it, you can see where the light shows on the varnish. This way it will enable you to see any parts that you may have inadvertently missed.

Your picture then needs to be in a hopefully dust free area if possible, with the face side up.
Then you may find that you need to retouch your varnish. Obviously for this you need a thinned down varnish, especially where you may have what appears to be dull parts. Just be careful not to use too much, but it is quite alright to use it on top of half dry paint.

It is fairly usual to think the painting looks dull as it is drying – this is often the result of overpainting layers.

This article was written by Anna Meenaghan of http://annameenaghanart.com

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Posing your model surrounded by a few props can add much interest, dimension, and appeal to a portrait and goes a long way to describing your subject. A prop can add appreciably to the composition of the portrait. Sketching a portrait with a prop, such as a hat or even ear muffs, obliges you to above all pay attention to the complete arabesque.

Quite often the starting artist will be tempted to approach a prop as a separate entity or an afterthought so that rather than complimenting and blending in a supporting role with the subject’s face, it looks artificial and overwhelms the model or is incorrectly proportioned or sketched.

In this expose you will learn the expert approach to drawing a prop entity that frames the center of interest even with a supporting entity that is bigger than the face.

First, the presence of a prop does not change the approach to drawing the pencil portrait. As with sketching any other portrait, you should use all your usual basic skills and apply them throughout the normal processes of your rendering effort.

So as always, you start with the arabesque which in the case where the head and the prop item overlap will be a “construct” which is a complete arabesque that encompasses not only the shape and proportions of the skull but also of the outline of the supporting entity where it overlaps with the skull.

In the context of the presence of a prop entity that overlaps with the skull, the construct becomes of crucial importance. It helps a lot with the maintenance of harmony. If you do not draw from the reference of a construct, the skull and the prop will appear as separate structures.

While you work through the subsequent stages of your portrait drawing (proportions, landmarks, blocking-in, stumping, etc.) you should constantly be aware of the fact that your supporting item should not overwhelm the face of your model.

The face of your subject should remain the primary focus. Your sketch should not turn into a still life of your supporting item that also happens to show a person’s face in the background.

One trick that can help you with understating of the supporting entity is to only draw the merest of details inside the supporting element. Another one is to soften the values of the supporting element but only if it this appropriate in the context of the overall intent of your sketch.

Again, we cannot stress enough the importance of maintaining the cohesion between your subject and the prop element. That is why it is significant that you render from the construct which already links the model and your prop item as one overall object. Of course, this also implies that you do the toning in a similar spirit and not overdo the lines and values that separate the model and the supporting entity.

So, in conclusion, the principal considerations when including supporting elements in your drawing are to make sure that the arabesque covers the entire contour of the head and the supporting elements.

In addition, be sure that at all times you keep in mind that the supporting elements should never become the focus of your sketch. If you stick to these guidelines, the utilize of props entities should never become a problem for you.

Do you want to learn the secrets of pencil portrait drawing? Download my brand new free pencil portrait drawing course here: portrait drawing tutorial.

Remi Engels is a pencil portrait artist and oil painter and practiced sketching teacher. See his work at graphite pencil portraits.

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