Art can be taught through a step by step technical process. However, the demonstration below is not a detailed tutorial on drawing the hands per se. It is a guide on how you might approach any subject. A window into my thought process while I draw.

Come join me, and good luck!

A Drawing Demonstration with Hands

Reference Image – Free download

————— Affiliate Links to Supplies I Used in the Demo

1) Faber Castel – 120 Color Pencil Set – https://amzn.to/35brD1V
2) Factis Retractile Eraser – https://amzn.to/3lg5llo
3) Kneaded Eraser – https://amzn.to/3eDqG5u
4) Fabriano Artistico 300 lb. Hot Press – https://amzn.to/2U4pAXc

If you value the painting’s archival quality and if its longevity is your primary concern, then it is best to add a ground to your canvas. The ground is a protective and a structural layer that adds stability to the paint film, no matter if it’s oil or acrylic. Painting on unprimed canvas has archival and structural drawbacks that you should be aware of.

What is a ground?

A ground is the foundation of a painting. It adds rigidity to the support and a mechanical bond to help the subsequent layers of paint adhere to the surface. A ground acts as a barrier that helps protect the paint film from impurities in the canvas, and reflects light that passes through the paint film back to the viewer. In that way, a ground can significantly alter how colors are perceived. Two main types of grounds are:

1. Acrylic Gesso – Acrylic polymer mixed with Calcium carbonate (chalk) and a pigment (usually Titanium white)*
2. Oil Ground – Made from alkyd resin, titanium dioxide, and calcium carbonate *

*Acrylic gesso can be use as a ground for both acrylic and oil paintings, but oil ground can only be used under oil paint

What is the Structure of a Painting?

A painting is built in layers. My paintings are broken into seven layers similar to the following:

1. Support – ie, canvas, wood, aluminum, etc
2. Sizing – PVA sizing or rabbit skin glue – Sizing is not needed if you are applying acrylic Gesso
3. Ground – Acrylic Polymer Gesso or oil based
4. Drawing – Charcoal, Conte or graphite
5. Imprematur – Under painting in washes of Gamsol and Liquin
6. Layers of Paint – oil or acrylic
7. Varnish – A layer of resin that protects the painting from dirt and dust and evens out the painting’s final appearance.

To build a structurally sound painting, it is best to overlie more elastic and finer particles over a coarser and a less flexible surface. A ground brings strength and rigidity to the painting’s foundational layer and helps to resist cracking in the upper paint film layer. We have known for many many years how important a ground can be for oils. It adds strength and rigidity to the support as the oil becomes more brittle with age. Acrylic however, is very flexible. Perhaps then, it is safe to use on a flexible support like raw canvas? Unfortunately, no one knows because it has not stood the test of time.

The Ground Protects the Canvas

An artist’s canvas is woven fabric, most commonly made of cotton or linen (flax). What happens to the canvas, happens to the painting if there is no ground, or barrier between the painting and the canvas. Let’s have a look at a few ways the canvas can damage the painting as it ages and deteriorates with time.

1. Canvas fibers are organic and undergoes a process of oxidation as it ages, resulting in darkening and embrittlement. Linen is usually the stronger and more stable of the two, however, oxidation induced by high light exposure and ultraviolet radiation results in a color shift and darkening of the fibers of both cotton and linen.
2. Exposed raw canvas can collect dust, dirt, mold, mildew and grime on its surface. This is especially true in part, because of its proclivity to absorb moisture from the atmosphere. How to care for your paintings.
3. Stretcher Burn: I had never heard of this, but it makes sense that stains on a canvas can occur when the fabric comes into close or direct contact with a material (stretcher bars) that are undergoing their own degradation process. The acidic byproducts produced by the breakdown of the wood causes accelerated canvas degradation and result in a permanent browning of the canvas.

Both White and Clear Gesso Ground are available on Amazon.

The Ground Protects the Paint Film

It’s is well known that you MUST add a well made ground to canvas if you are painting in oils. High quality grounds will create a barrier between the painted surface and the canvas fibers and also help create a mechanical bond between the paint and the canvas. What happens if you paint on raw canvas? It will rot!

Oil paint should never come into direct contact with the fiber or the canvas will eventually rot, become weak, brittle and crumbly.

Page 290 – The Artists Handbook of Materials and Techniques, Ralph Mayer

When acrylics are painted directly onto raw canvas, the water content may draw impurities in the support and yellow or turn the paint medium brown over time. This is called Support Induced Discoloration (SID) I have found documentation from Liquitex and Golden that mentions this phenomenon and suggesting a primer will fix this issue.

Golden Paints

Support Induced Discoloration (SID) is a phenomenon that occurs in acrylic paints and mediums. Many common artist supports have impurities that can discolor a translucent acrylic gel layer or color glaze, and a size must be applied before gessoing to ensure the products stay clear as the films dry.

https://www.goldenpaints.com/

Liquitex

 It occurs with all acrylic mediums currently used by major fine art paint manufacturers. Washing the canvas before use can greatly decrease or eliminate SID. It’s not a problem if the mediums are mixed with paint or painted over. The amount of discoloration in the acrylic medium will vary

https://www.liquitex.com/row/faq/

UPDATE! – Four months later

The image below illustrates how the canvas will yellow if it’s not primed with a ground first. The photo was taken after 4 months after the blue pigment was applied. The yellow halo is the linseed oil. Not only has the canvas turned yellow, but the blue pigment is beginning to also be effected.

What Does it Look and Feel like to Paint on Raw canvas?

Oils:
Painting oils on raw canvas feels similar to painting watercolor on paper if you use a medium. The canvas absorbs the oil paint quickly, making it difficult to control and blend. As the oil is pulled into the fibers it will crawl to the back of the canvas and pool around the colors. I have also noticed that oil paint becomes firm quickly and appears cloudy or soft. This softening effect is due in part because the canvas soaks up the oils in the paint, and also because the rough texture of the canvas is more noticeable and softens the outer edges of all your brush marks.

Acrylics:
Painting acrylic on raw canvas is similar oils. But less dramatic. The canvas is not quite as absorbent. Careful with pooling of the pigment! It seems to dry unevenly – this is dependent on how much water you use – and if some parts of the canvas contains more water than the rest.

Use Clear Acrylic Gesso for a similar look to Raw Canvas!

Okay, I admit it! I have painted on raw canvas a number of times in both oil and acrylic. At the time, I liked working this way for aesthetic reasons primarily, but I also really liked working with the fabric’s texture, it’s raw un-primed color, and the way the pigment would stain and absorb into the surface. But these days, I would recommend using a clear gesso if you want a similar look and feel to raw canvas.

Famous Artists That Painted on Raw Canvas.

Morris Lewis
Francis Bacon
Sam Gilliam
Helen Frankenthaler
Kenneth Noland

Yes and No

Use graphite in the preparatory drawing before you paint. However, the amount you use and the paint body may impact whether the graphite shows through. I have taught painting for 20 years and seen countless student paintings (easily thousands) over that time that had no issues with paint coverage over graphite marks. But I would also add that I have experienced a few examples where the initial graphite drawing could be seen peeking through the final painting.

What Does The Internet Think?

I suppose my own experience reflects why there are so many different thoughts on whether you should use graphite or not. And if you do, should you treat it before you paint? Do a quick Google search regarding the use of graphite as your preparatory drawing and you will find the answers that vary. Some claim that oil paint covers the graphite and to think otherwise is an urban legend, and other search results show explicit examples of graphite bleeding through. My thoughts on that in a moment.

Should you seal your graphite with fixative?

I have read a lot of posts that suggests the need to fix your drawing before you paint. However – from my experience – I see this as unnecessary. ( Not only do I not recommend using fixative ( or hair spray ) on any drawing, spraying this onto your canvas may be adding a substance with questionable archival quality. ) I find that using a thin medium such as liquin in my initial imprematura under painting will automatically embed the graphite into the canvas in which you then paint over once it has dried.

Final Conclusion? Go Ahead and Use Graphite.

Back to the issue at hand. Will a graphite preparatory drawing bleed through your oil painting? I can only speak to my own process. I use graphite and have never once had an issue. This does not mean you won’t either. Of course not, however, I have some advice and and bits of advice and thoughts on what may be causing some people to experience graphite creep or bleed through.

1) Your paint film is too thin

I see this often with painters early on. (Trying to blend with very little paint – and instead they sweep the paint off the canvas)

2) Not enough consecutive layers of paint are applied to the substrate

All of my paintings are at least 3 layers over the under painting.

3) Graphite is too heavily applied

I sometimes shade my preparatory drawings in graphite. However, I am not pressing into the canvas very hard. If you do it may create a reflective and slippery barrier that will resist the oil paint. Hence, if you choose to use graphite, I would recommend pressing softly. Be careful, don’t use too much!

4) The amount of medium you use to thin the paint

I find liquin works well as an under painting medium. It locks in the graphite and it gets painted over in the next 3 layers.

5) The quality and opacity of the pigment you use

Less expensive student grade pigments have fillers in them and contain less pigment and may be less opaque as well. Also some pigments are naturally higher in oil content as well as some brands. This may also effect those that have a difficult time covering graphite.

6) Watch out if you use a grid to measure the proportions.

I find that the human eye can spot the pattern of the grid really easily. Be careful when you grid. Someone might be able to see it, and even if you paint thicker, it can sometimes be difficult to paint it out.

What are Some Alternatives to Graphite?

• Charcoal – Vine

A lot of artists use vine charcoal. It is a very powdery, easily erasable, soft and thin charcoal stick resulting from the burning of grape vines in a kiln without air.

• White Conte

A white and opaque chalk. It works well if you begin with a dark wash. It can be easily erased or washed off the surface of your canvas if you make a mistake. It will not effect your colors as they are applied on top.

• Silver Point

I have never used silverpoint as the under drawing. But I’m fairly certain it would work well! Especially if your substrate is rigid like wood or metal. Traditional silverpoint is made with a small fine rod of silver, such as jeweler’s wire, inserted into a wooden rod. When you draw, the line is created through the oxidation of the silver on the gessoed surface.

• Oil paint

You don’t have to do a drawing before you begin your painting. When I paint from life, I hardly do a drawing before I begin. Instead, I start right away and draw with paint. Using an Imprematura method of washes. Drawing is essentially done with oil paint.

The Colors You Choose is Personal

What colors you choose to put on your pallet will decide the fate of each painting and help you create the emotional effect you’re after. I offer you my current pallet recipe as a barometer. A guide if you will, in your own personal creative journey.

Even though my work is quite colorful, you may be surprised to know that I have always kept my list of pigments between 7 and 10. This forces me to mix almost every color I need, and in return, my colors are naturally harmonious. I find it strange when I see a pallet with 15 – 20 colors displayed like a rainbow across the surface. To me, it’s wasted paint and really not necessary.

The oil pigments on my pallet have changed often over the years. Some pigments fall out of favor with me like Yellow Ochre, Ivory Black and Cadmium Orange while other are discovered along the way; becoming necessary additions to my pallet such Phthalo Green ( Usually $17.00 for 150ml on Amazon) and Bright Red. (Usually $12.00 for 37ml on Amazon)

The reason why some colors fall to the wayside and others take their place is a conundrum. It happens so gradually over the years as I settle into a very personal and exploratory method with my art. Ask me in 2030 what colors I use, and I will likely give you a different answer, because my art is always changing. My artistic growth and timeline

High Chromatic colors

I like to start with saturated and high chromatic colors and dull-down from there. If the color starts off saturated, I can fine tune and mix it down to the desired color. The pigments I choose for my pallet cannot be mixed outright, but are very good mixers and have a “strong tinting power”. Meaning: If the color remains vibrant when you add white, it has “strong tinting power”. These strong and saturated colors can be used to create a myriad of secondary and tertiary colors.

My Top 10 Essential Pigments in 2020:

What, No Black?

You read that right. I don’t use black. Why not?

1) Black flattens out as it dries and is not very rich, or deep.
2) Black is mixable. Save your money.
3) Black out of the tube is more predictable and less interesting than a black you mix yourself.
4) Black should be used to grays down a color, not darken it. If this is the case, mix in a color’s compliment instead for more varied and interesting results.

Try combining pigments to make black instead. A few recipes below: (To test if your mixed black is a true black, take a little from your mixture and add a touch of white to see if it turns gray. If it does, then your black is good!)

Mixing Black Recipes:

• Burnt Umber + French Ultramarine Blue Best
• Phthalo Green + Alizarin Crimson
• Cadmium Yellow + Phthalo Blue + Permanent Rose
• Phthalo Blue + Burnt Sienna + Alizarin Crimson

Get to Know Your Colors

As mentioned above, Color Choice is Personal. So I would like to stress that there is no right or wrong colors you choose to put on your pallet. It really depends on what you are try to accomplish with your color choices. It’s more important that you mix and mix and mix colors so that you experience the way you pigments work. Don’t worry too much if you have purchased the right brand or grade of pigment. For example, the round image above titled ” Letting Go” was painted with both professional and student grade oil paints. It’s not the tools that make the artist.

Create a Color Chart

If you want to understand what your colors can do. I highly recommend creating a color chart. Not a color wheel. I find that color wheels have very limited use when you’re finished. However, a color chart can be used as a reference that you can come back to time and time again. Also, the mixing required to finish a color chart of 10 – 15 colors is an education in itself – like the example below from one of the Georgetown University painting courses – mixing colors for this project is very similar to real painting and inspire a clearer understanding of the relationships between pigments and their unique properties.

So I leave you with an assignment…

Color Chart Project – Assignment

My Assignment for you: Creating a color chart using the list of pigments above (or your own pigments from your art box). 

1) Lightly make a grid Similar to the chart above.
2) Leave space so you can label your colors in the same order running vertically and horizontally. 
3) Then mix and paint in the color in the corresponding box.* 

*Notice that the left side of the color chart is repeated on the lower half with the pure hue running diagonally down the middle? The difference between the top half and the lower is that the top half is painted opaquely and the bottom is transparent. (Thin the colors on the lower half with liquin or your preferred medium so the color on the lower half is more transparent.)

If you do this Assignment, send it my way, and with your permission, I will add it to this article!

As an artist without a gallery or agent, I am my own advocate. Hence, I have been applying to call for entries for over 20 years now and my resume is filled with a growing group of exhibitions. During that time, I have been fortunate to receive National and International exposure and sales, in part because of my continued efforts of self promotion. (No agent remember?)

With that said, I thought it was time to put a list of some of the websites I use to find some of those shows, grants, art fair calls, etc… Are you an artist looking for a comprehensive list of websites to help you find National (USA) and international call for entries? You are in the right place. The list below is by no means complete, however, I envision this often updated page as a solid list of websites that help me, and perhaps you as well, gain National and/or International exposure through a broader list of call for entry websites.

Why apply to juried Art Shows?

Before you apply, ask yourself what do you hope to get out of the show you are applying to, because most calls are not free. Also, what is the cost burden for showing when you add together the application fee, the cost of framing and shipping to and from the gallery? From one artist to another, the call for entry is primarily an opportunity to network and advertise. The rest is a bonus.

Advertising : Being in a show may get you some recognition in a publication or review. If you are actively promoting your work, then consistently showing your work is a must. Juried shows are one avenue to take.

Networking: Sometimes a show may lead to another show. You never know who will see your work on display. An attending curator or gallery owner might see your work and choose you for another show. This has happened to me on a number of occasions.

Publish or Perish: This may not apply to you, but essentially if you are a professor you may be required to show your work if you want that promotion. Read about it here.

Resume Building: Juried shows are a form of “peer review” and this can help validate your artistic endeavors to a potential collector, gallery owner or academic colleague that you are actively pursuing your craft. It can be an important line on your resume that shows you play an active roll in the community and that you and others believe in your work .

Sales: Though I have sold some artwork through juried shows, I would not recommend applying for a juried show if this is your main reason. Unless you know the exhibit is highly specific to your genre, a high profile gallery or museum, or the gallery has a large collector base.

The Award Money: Some payout awards. Don’t rely on this. I have been lucky a few times over the years, but most shows cost the artist money in application fees, shipping and framing.

The Fame: ?

Increase Your Odds of Being Accepted to a Juried Show!

There are so many art call for entries out there, how do you choose?

1. Apply to shows with a theme or show title relating to your work.
2. Stay away from “All-Media” shows and general themed shows. This is too broad and even if your work is strong, it might not be what the juror is looking for. You will be accepted more often if you laser focus where and what you apply to.
3. Research the juror before you apply. You may get an idea what the juror is looking for with quick internet search.
4. Research the venue. Google is your friend. Find out where the show will be and the caliber of venue. You may even find photos of the space and what their openings look like.

Art Call For Entries:

(updated June 2020)

www.art-3000.com
Artcall.org
Artshow.com
Artanddeadlines.com
artisttrust.org
Asingularcreation.com
Callforentry.org – BEST
Callsforart.com
CollegeArtAssociation
Entrythingy.com 
Theartlist.com (Limited Free version )
Artdeadlineslist.com (Limited Free version)
Submittable.com
withoutabox.com (For Filmmakers and Screenwriters)

Residencies:
Resartis.org

Grants:
CollegeArtAssociation

This list is by no means complete, if you have a site that should be on this list feel free to leave a comment below!

]]> https://scotthutchison.com/how-to/call-for-entries/feed/ 0 243 https://scotthutchison.com/how-to/shipping-art-in-a-box/ https://scotthutchison.com/how-to/shipping-art-in-a-box/#comments Sun, 31 May 2020 17:26:00 +0000 https://scotthutchison.com/art/uncategorized/shipping-art-in-a-box/

Three great boxes to try.

Safely ship your art in a sturdy cardboard box. Three stand out boxes are available if you seek a shipping box to keep your artwork safe while in transit.

For whatever reason, building a custom wooden crate may not be an option and I totally understand. This was the case for me for some time. I ship primarily with custom built wooden crates now, however, when I did not have the means, I still wanted to ship work in a high quality box that had a professional appearance and protected my work at a reasonable price point.

I have looked for art shipping boxes sold through companies such as Fedex, UPS, USPS, Uhaul, Amazon. They all sell shipping boxes, but none compare to the quality and professional appearance of the shipping boxes by Masterpak, Airfloat and Uline.

The “Must Have” Features of a Good Box.

Masterpak, AirFloat and Uline all have these “Must Haves”.

1. Double wall carton construction
2. Heavy duty plastic-lined top and bottom to prevent punctures.
3. Removable foam
4. Perforated foam insert to customize the fit
5. Approved by most major air and ground carriers, including UPS and FedEx^®.
6. Sturdy enough to reuse.

1) Masterpak

I have always been happy with MasterPak’s shipping boxes. Inevitably I purchase through Masterpak because it is consistently the least expensive of the three box manufacturer. You will need to do your own price comparison to get a better idea if that’s your case as well.

I highly recommend their boxes for shipping artwork at a fraction of the cost of building a wooden crate. They are incredibly strong. Especially if you purchase their upgraded and heavier duty cardboard boxes. Masterpak is a New York Based Company – Made in the USA.

Watch the video at the end of this article to see me introduce this Masterpak box I purchased in 2018 to ship work to a show. – http://www.masterpak-usa.com/

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2) AirFloat

I want to be honest here. I have never used Airfloat’s Strongbox, but I do know a few artist’s that have used them. Their prices are in line with MasterPak, and the boxes appear well made and professionally designed. One nice benefit to their boxes is the handle. So if that’s an important thing to you, I would check them out.

I will certainly be giving Airfloat’s StrongBox a try on my next small shipment.

AirFloat boxes are made in the USA.

• AirFloat Website
• First time using a StrongBox? Check out their step-by-step guide and video.

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Uline

I have not had an opportunity to try Uline’s art shipping box yet, due in part to the cost. They are often the most expensive option on this list. Though I have never used their art shipping boxes, I use Uline to ship my limited edition prints and book. I can attest to their trustworthy as a business. They are a large family owned and been around for over 40 years.

Made in the USA.

Uline – Deluxe Artwork Shippers – Website

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Shipping Art In a Box – Video Presentation.

]]> https://scotthutchison.com/how-to/shipping-art-in-a-box/feed/ 2 328 https://scotthutchison.com/demonstrations/portrait-painting-demo/ https://scotthutchison.com/demonstrations/portrait-painting-demo/#respond Wed, 15 May 2019 17:45:00 +0000 https://scotthutchison.com/?p=4258 A time-lapse impasto portrait painting demonstration from photo, given to my students at Georgetown University. This 60 minute demo shows my mixing process as well as each paint layer.

]]> https://scotthutchison.com/demonstrations/portrait-painting-demo/feed/ 0 4258 https://scotthutchison.com/demonstrations/drawing-glass/ https://scotthutchison.com/demonstrations/drawing-glass/#respond Wed, 15 May 2019 17:27:00 +0000 https://scotthutchison.com/?p=4252 Glass can be a difficult subject, but with a lot of practice and a good setup, it is a fun illusion to render. In the video below, I break down the process I use to create the illusion of reflection and transparency of glass with charcoal and white conte during a charcoal drawing demonstration during my drawing class at The Art League in Alexandria Virginia.

5 Reasons why it’s important to learn how to draw glass.

There were a few drawing exercises I would assign during every basic drawing class, and one of those subjects was glass under a one-directional light source. By practicing drawing glass lit this way, you learn so many things! Here are a few:

1. You will learn how to integrate foreground, middle ground and background relationships. (Especially a clear glass!)
2. Experience transitions and blending techniques that give the illusion of volume and light.
3. It’s important to fool your mind, and see masses and shapes. The glass is not a glass, but broken shapes of light and dark.
4. Do you know how important, broken edges are? These are important when drawing glass. You are drawing something solid without line.
5. There is a strikingly similar process to drawing, no matter the subject. Everything you gain by drawing glass will easily transfer to other subjects such. Even the figure and landscape.

The mediums I used in the video demonstration are:

• Faber-Castel FC129997 Pitt Compressed Charcoal Sticks (3 Pack)
• Strathmore (400-108) 400 Series Drawing, Smooth Surface, 18 by 24″, 24 Sheets
• Conté à Paris B 2 Count Sketching Crayons, White
• GENERAL PENCIL CO. GPBM2-BP Factis Pen Style Eraser Carded (3-Pack)
• Faber-Castell Erasers – Drawing Art kneaded Erasers, Large size Grey – 4 Pack

]]> https://scotthutchison.com/demonstrations/drawing-glass/feed/ 0 4252 https://scotthutchison.com/drawings/quick-drawing-tip-1/ https://scotthutchison.com/drawings/quick-drawing-tip-1/#respond Tue, 05 Mar 2019 21:57:51 +0000 https://scotthutchison.com/art/uncategorized/quick-drawing-tip-1/ Protect your Work

Have you smudged your drawings while you work, or messed up the piece storage? I might be able to help.

I recommend interleaving Glassine between a finished drawing during storage and between the sheets in your sketchbook. You can also use Glassine to shield your hand from the drawing surface while you work so that you don’t smudge the piece. Keep in mind, that nothing can permanently protect your work by itself. There are too many factors such as moisture, critters, and temperature fluctuations to name just a few that Glassine cannot protect against. However, it’s a superior smooth archival barrier. Great for use when surfaces are stored for long periods, and it will mitigate a lot of the issues of smudging and the transfer of dirt and oils from your hand. It’s archival, does not get brittle or yellow.

I think it’s a must have in your studio practice. You should be able to buy it at most art stores, online or otherwise. The video below is posted on Instagram and the first of my Quick Tip Series. Watch the video if you want to see what Glassine looks like.

]]> https://scotthutchison.com/drawings/quick-drawing-tip-1/feed/ 0 342 https://scotthutchison.com/demonstrations/how-to-paint-plastic-timelapse/ https://scotthutchison.com/demonstrations/how-to-paint-plastic-timelapse/#respond Wed, 27 Dec 2017 02:24:12 +0000 https://scotthutchison.com/art/uncategorized/how-to-paint-plastic-timelapse/

above are examples of vastly different under-paintings.

“There is more than one way to paint a painting.”

I find myself saying this to my students at Georgetown University every semester. The approach, technique and style you deploy in your painting really depends on what you are trying to say. Not every artist needs to begin their work in the same fashion.

For example, could a painting by Vermeer be painted in the same way Lucian Freud painted? It may sound overly simplistic, and perhaps it is. But I hope it makes sense when I say that I don’t always paint in the way you will see in the video below. Sometimes I start with a monochromatic underpainting, and sometimes I begin with no underpainting. I start my work with the final image in mind and change the way I begin based on the desired results.  

For my current body of work I like start with a thin colored layer for my underpainting. I used Liquin Fine detail to thin out the under-painted layer and it dries quickly. In the video below you will see me paint over this thin layer after it has dried (a week). I then proceed to use only oil paint for the rest of the painting. No medium for the rest!

Enjoy! 

Scott Hutchison