Category Archives: painting instruction

The importance of preliminary work

Green and Yellow, 20 x 20, acrylic, Kit Miracle. Intimate Spaces series

I recently posted a step-by-step outline of my painting A Day at the Beach (4-10-2019). A critical part of creating a significant panting is the preliminary work. I sincerely believe that the more thought I put into the piece at the beginning, the more I can work out the problems ahead of time, and the better the final result will be.  Well, that’s my theory anyway.

Green and Yellow, detail.

This is another painting in my series Intimate Spaces, all about the territory that people carve out when they visit the beach.  In this painting, I was sitting behind a couple who staked out their space early in the day with two chairs and an umbrella.  They didn’t show up until mid-afternoon.

NOTAN sketches for Green and Yellow. This is where I work out basic shapes and composition. As you can see, initially I intended this to be a rectangle shape but then changed it to a square shape.

I liked the near silhouette of the couple with the contrast of the kids playing in the surf in front of them. Maybe they were grandma and grandpa.  I don’t know and never did figure it out.

Large graphite sketch of the main characters for Green and Yellow.

As with most of my paintings, I begin with a NOTAN sketch, just hard contrast of black and white to get a feel for the composition.  Then I did a large graphite sketch of the couple.  I didn’t feel a need to sketch the kids as they’re just notes really.  They were painted directly.

NOTAN sketches of past couple of paintings. Working in black and white allows me to focus on the shapes and composition.

Here are a few more examples of NOTAN sketches.  You’ll notice the one from my last post of A Day at the Beach and how I was focusing on the interlocking umbrella shapes.

More NOTAN sketches from Jump.

And the two pages of NOTAN of Jump which I created in February.  With some of the bigger pieces, I’ll also do a color sketch but not always.

The final conclusion is that no matter what style of art you create, you will often have better results if you put in more thought and work into the beginning of your work than having to correct problems later.  Indeed, sometimes you may discover that the scene or piece doesn’t merit following through.  Or you may decide to attack it from a different direction.

A Day at the Beach – Painting a Series

A Day at the Beach, final. 24 x 36, acrylic on canvas, Kit Miracle

As a working artist for over three decades, I find keeping interested in painting involves challenging myself. Sometimes this means new subject matter or new materials. Even a new location helps.  The challenges keep me inspired and allow the mental juices to flow.

My latest challenge is painting a series of paintings revolving around a day at the beach.  I love slice of life subjects, catching people going about their lives without thought of an audience. One thing I’ve noticed is that when people are at the beach, they stake out their territories, bringing the chairs and the umbrellas, the coolers and the toys.  Beach goers seem to operate under the illusion that no one can see them in their little sand kingdoms.

But the artist’s eye can.

The planned series includes vignettes of life at the beach.  Families, couples, kids playing, people just enjoying the sunshine…or totally ignoring their surroundings with their noses in books or napping.  My inspiration for these seaside paintings are John Singer Sargent, Joaquin Sorolla, and Burt Silverman.  It took a lot of effort to make their seaside paintings seem so, well, effortless.  Unstaged even though they often were. And that is the aim of this current series that I’m working on.

The painting above depicts the settling in and establishing of territory by a family.  Mom gets the lounge chairs ready while son is waiting patiently for her attention.  The composition with overlapping umbrellas and tents is like a little city, each with its own slice of life.

The beach walkers and people playing in the surf add distance and perspective to the scene.  I also chose to flatten the color of the sky (no clouds) and the foreground.  This allows the emphasis to be placed on the middle plane where all the action is.

A Day at the Beach is number six in the series.  I have sixteen planned but we’ll see.  A series is an exploration of an idea and I’ll keep at it until I don’t have anything else to say about the subject.

If you’d like to see how this painting was created, click on this link or go under the tab Artworks and click on A Day at the Beach for step-by-step photos.

Thanks for stopping by.

Mixed Bouquet

Mixed Bouquet, original painting, 20 x 16, impressionistic style, Kit Miracle

Spring is finally ready to pop here in Southern Indiana.  The early daffodils and crocuses are out in force.  The tulips are up but not yet blooming.  I’m not sure if the narcissus will make it after the deep freeze  a week ago but the forsythias are ready to pop.

Meanwhile I’m still in the mood to paint flowers which finds me scouring my old photos.  This painting was based on a small bouquet of mixed zinnias from my garden.  I think the greens are sprigs of coriander with added bits of phlox and sweet peas.

Painting flowers is much more challenging than most people realize.  Some artists are so talented in painting every pistol and stamen but that is not my style. I prefer to capture the feel of the flower.  This is called impressionism.

As you can see if you view the detail photos, brush strokes are a mix of bold and soft.  It takes some practice to achieve this effect but all I can advise is to keep at it.  Or, wipe it off or paint over any less than desirable areas.

Mixed Bouquet, detail 1. Another closeup of the flowers. Loosely painted in impressionistic style.

Mixed Bouquet, detail 2. Notice the loose strokes and variegated painting.

Mixed Bouquet, original painting, Kit Miracle

This painting can be viewed on my Etsy shop here.

When you take a flower into your hand and really look at it, it’s your world for the moment. I want to give that world to someone else.  Most people in the city rush around so, they have no time to look at a flower.  I want them to see it, whether they want to or not. 

      Georgia O’Keeffe

Yearning for Spring

Yearning for Spring, framed, 16 x 20, acrylic on canvas, Kit Miracle, contemporary impressionist

I am just so ready for spring.  Living here in southern Indiana, the winters are usually rather mild, at least compared to my years in Michigan.  We will often get a little snow but not much to worry about.  I think winter here is really like a long fall.

However, this year Mother Nature seems to have taken a fit.  Warm one week just enough to tease the early bulbs out of the ground.  Then the next week, temperatures diving for the bottom of the thermometer.  Last week we saw lows of 10 degrees which meant our wood furnace (The Beast) was doing its best to keep up.  Yesterday we saw a high of 62 with some 70s predicted for next week.  Last evening the peepers could be heard in chorus in the bottoms.  Did I mention that I am really ready for spring?

I felt an irresistible urge to paint some spring flowers. With few early flowers out yet except a couple of bedraggled crocuses and some hardy daffodils, I turned to my photos of some spring bouquets.  And to step outside my usual style.  Same old, same old, gets boring in my opinion.

Yearning for Spring, acrylic on canvas, 16 x 20, contemporary impressionist, Kit Miracle

The first bouquet consists of forsythia, double fancy daffodils and some branches of flowering quince.  I like the subtle colors here and aimed at coordinating the background to the flowers but to subjugate it to the foreground.

Dancing Tulips, acrylic on canvas, 16 x 20, contemporary impressionist, Kit Miracle

The second flower painting took me in a different direction.  I aimed for bold colors and lively strokes.  This painting certainly accomplished that.  It almost looks as if the tulips are dancing.  To see the step by step for this painting, click here or go the Artworks tab and click on Dancing Tulips.

With the warming temps coming this week, my real tulips might be blooming. They’re already up several inches and it will just need old Sol to entice them out.  I’m ready!

Of course, both paintings are for sale at my Etsy shop.

Thanks for stopping by.

Spring is Nature’s way of saying, “Let’s Party!”       Robin Williams

Yearning for Spring, detail 1

Yearning for Spring, detail 2

Dancing Tulips, detail 1, Kit Miracle

Dancing Tulips, framed, acrylic on canvas, 16 x 20, Kit Miracle

Afternoon Shadows – another painting beyond the photograph

Afternoon Shadows, acrylic, original painting, 14 x 18, contemporary impressionism, Kit Miracle

I thought I’d post another painting created from a photograph for my class. This photo was taken of our patio and arbor with the fire pit on sunny autumn afternoon.  I like outdoor scenes with a human element.  This will often include at least some kind of man-made item whether a building, fence post, road or path.  In this case, the setting gives the feeling of comfort and ease.  The chairs, the smoke from the fire, the dappled sun and shade all contribute to the atmosphere.  The turtle sandbox adds a touch of whimsy.

When using a photo as inspiration for a painting, it’s important to remember that it is a tool and a road map.  Take inspiration but don’t be afraid to change things.

Afternoon Shadows, detail 1. Click and enlarge the photos to see the brush strokes. Notice the background tree is just painted with a few strokes. And the smoke is just a glaze on top of the background. See the indication of the sun and shadows on the chair.

In this painting, I was trying to capture the feel of the afternoon sun. The smoke and fire indicates that there could be a chill in the air with a slight breeze.  The location and setting are inviting; it looks as if someone has just left the area.

Afternoon Shadows, detail 2. Zoom in on the vines and leaves to see just how loosely they were painted. The sandbox turtle adds a note of whimsy.

My style is not photo-realist but contemporary impressionist which works well for conveying the feeling of this scene.  The chairs beckon the viewer to sit in the sun or warm themselves by the fire.  Will a child come walking into the area to play in the sandbox? I love paintings that tell a story.

Afternoon shadows, detail 3. Zoom in on the posts and the background trees to see the brushstrokes.

As you can see by the detail images, I use loose strokes to indicate the branches and leaves.  From a distance, the painting appears to be much more detailed than it actually is.  It takes some practice and confidence to make just the right stroke to indicate a branch.  Or, if you make a mistake, just scrape it off and try again.

Afternoon Shadows, original photo. If you compare this photo to the painting, you can see areas that I have emphasized, changed or deemphasized.

Normally I would have painted a scene like this in plein air but I was busy that afternoon and only had time to capture the view with my camera.  That is one of the benefits of using photographs as inspiration.

Afternoon Shadows for sale

Peace is the beauty of life.  It is sunshine. It is the smile of a child, the love of a mother, the joy of a father, the togetherness of a family. It is the advancement of man, the victory of a just cause, the triumph of truth.  Menachem Begin

Painting beyond the scene

West Wind Blows, original painting, 12 x 16, impressionistic, Kit Miracle

Artists are known for traveling over the world seeking new things to paint.  I have done so myself and have captured many scenes of my travels over the years.

I don’t know why travel is so inspiring but maybe it makes us see the world with new eyes.  We return home refreshed and look at our surroundings in a new way.

However, we don’t need to go away to appreciate what we have.  It is often right there before us.  A new light, a different angle, maybe the same scene in a different season.

This is a scene that I have passed thousands of times. I’ve always liked this valley with the hills but on this particular day, it really pulled at my attention.  Maybe it was the backlit clouds scudding across the sky.  Maybe it was the farm in the valley.  I even found the shadows of the trees across the pasture interesting.

West Wind Blows, detail, painting, Kit Miracle

Of course, I took some artistic license….like I need a license…and edited the landscape to suit myself. But compare the original photo to the scene that I captured. A little editing maybe but any local person would recognize this place.

West Wind Blows, original photo for painting

I’m teaching a class on painting from photographs.  One of the points that I’ve been trying to get across to my students is to use a photograph as a tool, a place to start, but you don’t have to be religious to the exact photo.  It is up to you, the artist, to change it to suit your needs and desires.

It’s a warm wind, the west wind, filled with bird cries.

John Masefield

West Wind Blows 

Little Stone Church, Provence – demonstration painting from photographs

Little Stone Church, Provence, France – final. Acrylic, 12 x 16. As you can see, I made the sky more interesting and edited the road a bit, too.

I thought I’d share another lesson from the class that I’m teaching about painting from photographs.  Frankly, this process can be as complicated or as simple as you want to make it.

Little Stone Church, Provence – original photo

In this example, I have a real photo – you know, the printed kind – from a biking trip that I took through Provence, France many years ago.  I like to browse through the old photos and inevitably I see a new subject that I overlooked before.  In this case, I remember exactly how I felt cruising through the olive groves when I passed this old stone church one morning.

Little Stone Church cropped.

The original photo included more subject matter than I wished to include in my painting so I cropped it to fit my canvas size.  This is easy to do if it is a digital photo, but in this case with a real picture, I used paper L-shaped pieces to manipulate the photo (not shown here.)  I don’t usually need to do this anymore since I’ve been painting for so many years but it’s a good hack for new painters.

For the purpose of the class, I actually scanned the photo and used these images to demonstrate.

Little Stone Church – photo divided into thirds. The center of interest – the church – is at the intersection of one of the thirds. Also, notice how the road leads the eye into the painting and points towards the church.

I divided the selected picture area into thirds each way and then placed the church on one of the intersections.  This generally makes a nicely balanced composition.

NOTAN Here I changed the photo to black and white, then pushed the contrast to the extreme. This helps one get a better idea of the basic shapes. Notice how the stone church (center of interest) also has the greatest contrast with the trees framing it.

The prior week we had discussed NOTAN – the theory of making your image extreme black and white in order to seek balance in the composition.  Here, I manipulated the image by computer to show a high contrast in black and white which is essentially NOTAN.  Here is a link to a very good explanation of NOTAN by artist Mitchell Albala.

A black and white image of the same photograph. This helps the artist gain a better handle on values, lightest to darkest. The same effect can be achieved by viewing the color photograph through a piece of red gel. See a prior post on the subject at the link.

I then showed a regular black and white photo to the class so they could get an idea of the values.  Again, you can use the trick of a piece of red gel to get the same effect.  (Click here to see an earlier post about using red gel.)

The next step was to demonstrate to the class my procedure for painting the scene in color.  In oil or acrylic, one usually starts with the darks and works towards the light.  Watercolor usually proceeds the opposite way with laying in the lights (or reserving the lights) and adding more and darker color as the painting progresses.  There are several demonstrations of both of these methods under the tab Artworks at the top of the page.

The takeaway here is that composition can be enhanced for using old photos as painting materials by manipulating the size and shape of the photos, taking care of the placement of the center of interest, and selecting pleasing balance and contrasts of lights and darks.

Little Stone Church, Provence

Beeches – Painting Beyond the Photo

Beech Trees in Winter, snow scene, original painting, 16 x 20, Kit Miracle

Photographs are a wonderful tool for artists and have been used for well over a century.  I’m teaching a class on painting from photographs and wanted to create a demonstration of how a photo can best be used.

I would guess that most artists who paint in a realistic manner use photos at least some of the time.  I know that I have boxes of photos from years past when film was developed.  Now, with digital cameras and phones, we have thousands of images available to us.  Digital photos are also easy to use on a computer and crop or change as needed. I use an old laptop in my studio for this purpose.

For some reason, some artists seem to be ashamed of using photos but I consider them just another tool. I always paint still lifes from real life but might take some photos of flower bouquets to save for future reference.  And I love plein air painting so most of my landscapes are painted from life.  However, I take plenty travel photos for later use.  I also participate in life drawing studios which is great for building hand/eye coordination, but many figure paintings are from photos.  And it goes without saying that I only paint from my own photos; never from commercial or other pictures which could violate copyright laws.

Beeches, original photo. It was too wide for the format I planned to use so I cropped it to a more pleasing composition.

We haven’t had much snow here yet this winter but we had a couple of inches a few weeks ago.  I took the dog for a walk in the woods and the snow made the beeches really stand out.  Beech trees are native to this part of the country but we don’t have many on our property.  They make pretty good firewood and were chopped down long ago (before our time).  However, we’ve noticed a resurgence of beech trees since we moved here over thirty years ago.  They hold their leaves over the winter so the orangey color contrasts nicely with the snow.

Beeches cropped photo.

As you can,  my original photo was wider than the format I chose (16 x 20) so I cropped it to a more interesting composition.  I divided my canvas into thirds each way (nine squares) and drew directly on canvas with a brush loaded with a darkish color.  The canvas had been primed in red.

I usually start with the darks and then add the midtones and then the lights, starting at the top of the canvas.  As I was painting, I realized that the painting was a bit drab with the overcast sky and muted shadows.  Although the beech trees gave it some color, I want to put more oomph into it.

Therefore, I decided to make it a sunny day and added some sunlight streaking in from the right, with a brighter sky and some clouds behind the distant trees.  This defined the path through the woods much better.  I added some sunlight on a few of the trees to bring them out more.  Ah, it’s great to be an artist and to change the world to suit myself!

Beech Trees in Winter, detail 1. This is the road through the woods. I probably made the snow look deeper. And I’ve learned over time that white will often look brighter with a little yellow thrown in than just plain white. It certainly catches that sunlit feel.

Beech Trees in Winter, detail 2

Beech Trees in Winter, detail 3, notice the clouds in the blue sky behind the distant trees

The point here gets back to what I said at the beginning of the post.  A photograph is a tool.  It’s the artist’s job to use what we can, to add more or to change whatever we want.  I certainly think the sunlit painting has much more appeal than the original photo.  What do you think?

Wings, a beach scene

Wings – final, acrylic on canvas, 18 x 24. Kit Miracle

I was looking through some old photographs for subjects to paint which I haven’t visited for awhile and came across the inspiration for this painting. Sometimes the subject doesn’t grab me for several years until I revisit the pictures but this photo was only from last summer. I love the beach scenes by Sargent, Sorolla and Zorn, particularly the ones involving children.

For this painting, I decided to work slowly and do plenty of preliminary work.  My last post included several sketches, some Notan studies, and one painting study of the central figure. The latter is actually larger than the figure in the final painting.  See the sketch for this painting.

The title comes from the focus on the little girl with her water wings and the flapping wings of the seagulls.  Sargent did a wonderful painting of Neapolitan Children at the beach and one of them is wearing a contraption of bladders for floating, similar to today’s water wings.

To learn more about this painting, check out my step-by-step page here.

Preliminary work

Beach girl, color sketch. 16 x 12, acrylic. Kit Miracle

I often have mixed feelings about the importance of creating preliminary sketches and paintings.  Sometimes I just want to grab the brush and dive right into a painting.  This is especially true of my plein air painting although, usually I at least do a few value sketches before I put any paint to the canvas.  Usually.

Beach girl, pencil sketch. 18 x 24, Kit Miracle

On the other hand, I know from experience that when I want to create a large piece, results will normally be better with more planning.  Preliminary sketches and paintings basically create a road map for a painting or work of art.  If you think about it, you wouldn’t build a house without a plan.  Probably wouldn’t take a vacation without a map.  So it makes sense to do some support work before you begin a major piece of work.

Notan sketches for beach painting.

I’ve been working on a large beach scene lately.  First I started with some sketches for the layout or composition.  Then I did a few Notan sketches in black and white.  Sometimes I’ll add a middle grey value but usually not.  Next I did a large pencil sketch of the main figure.  This helps me to address any problems and get to know the scene.  Finally, I did a fairly quick color sketch (acrylic) of the little girl.  This was, in fact, much larger than the final figure in the painting which is not necessarily how most people would work.

I’ll post the final painting and more sketches next Sunday.  I really like this preliminary color sketch but I’ll let you be the judge.

As an aside, most famous artists of the past spent quite a bit of time and effort to create their masterpieces, including numerous sketches.  This is still quite common for artists who practice classical education in ateliers.

To learn more, check out the work of John Singer Sargent, Joaquin Sorolla y Batista, Anders Zorn, Cesar Santos, Norman Rockwell, or Juliette Aristides.