CUVPAI201A Develop Painting
Skills
Learning Guide
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Version
Number
Author
Modifications
Date Released
Next Review
Date
2015-01
Bronwyn Blencowe
Original
13/1/2015
13/1/2016
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Learning Guide: CUVPAI201A Develop Painting Skills
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Table of Contents
Introduction .................................................................................................................................. 1
Types of Easles .............................................................................. Error! Bookmark not defined.
Prepare, clean and maintain tools, equipment and materials ............................................................ 4
Historical context and practitioners ................................................................................................. 8
Overview of the Elements and Principles of Design……..………………………………………………………………13
Copyright, moral rights and intellectual property issues……………………………………………………………….16
Environmental issues associated with painting……………………………………………………………………..…….18
Organisational and legislative OH&S procedures…………………………………………………………………………19
Handle tools and materials safely………………………………………………………………………………………………20
Composition of a Painting…………………………………………………………………………………………………………21
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Introduction
Welcome to the unit CUVPAI201A Develop Painting Skills.
This learning guide is broken into three sections and covers:

Prepare painting resources

Use and test painting techniques

Make plans to develop skills
There are several types of easels to suit all situations. Look at the website below to see the different
types. http://painting.about.com/od/artsupplies/tp/painting-easels.htm
Start with a few essential colors, get to know each well, and you'll learn about color mixing more
quickly.
 Cadmium red (medium) or naphthol red
 Phthalo blue
 Cadmium yellow (medium)
 Phthalo green
 Burnt umber
 Titanium white (opaque)
 Zinc white (transparent) and
 Payne's grey
There isn't a black on the list; mixtures of the other colors will give more interesting dark colors for
shadows. Be careful with cadmiums and getting it on your skin as cadmium pigments are poisonous.
If it worries you, pick a hue version.
You will also need canvases, brushes, solvents, cleaning rags. Some ideas to reduce the cost of
painting are listed below.
Paint on Different Surfaces
Don’t restrict yourself to painting on canvas only. Experiment by exploring different surfaces to paint
on. This adds dimension and depth to your art work but may also reduce the cost of
your materials. For example an old piece of wood or cardboard would be a really nice surface to work
on and it will give your painting a different look and feel at the same time.
Most importantly, it’s free!
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Recycle Canvasses
With people becoming more aware of the environment, recycling seems to be the way to go these
days. It saves money and it saves the environment. It also saves you a trip to the Art supply store. Do
a quick scan of any old canvasses that you might have lying around, or the odd painting that you
never liked; ask family or friends if they have any canvasses which they are happy to part with or
perhaps hand them down to you for a small price. .Reuse those to create your master pieces while
helping the environment and saving money. Make sure that you create your base with white paint
when you reuse an old painted canvas.
Recycle Painting Paper
Use your old paintings to paint over and incorporate with your new painting. Watercolor can often be
lifted off by re-wetting it a damp cloth or sponge, and then dabbing it off. Be careful not to scrub the
surface of the paper as you may damage the paper fibers. It might also lift off too much of the sizing;
you can tell if when you're reusing the sheet the paper spreads horribly. Failed paintings done on
paper can be torn up for collage or mixed media or stuck to canvas for mixed media and texture. You
can even shred it up and make new paper.
Use Less Paint
A tube of paint goes much further if you're painting with glazes rather than impasto. If you want to
build up texture, use texture paste and/or student acrylic paint initially. You can paint over this with
either acrylics or oils. Or use collage elements to create background color and texture.
Use Student Paint for the under painting
Establish the foundation of your painting and work out the composition (if you prefer not to plan this
beforehand) with cheaper paint. Such as student's quality paint or the cheaper pigments in a paint
range.
Make Your Own Student Paint
Instead of buying another set of colors, mix your artist's quality paint with medium to make your own
student's paints. The colors will still be intense because of the pigment loading in the paint you're
diluting. And there's the advantage that the colors will mix well and with similar results.
If you want to go a step further, then you can make your own natural paints from vegetable and fruit
dyes which are quite fun to make and interesting to work with, not to mention non-toxic
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Limit the Number of Brushes
Likewise, resist the temptation to buy every single size of brush there is, in every single type of hair.
There will be one or two brushes you use most often. Stick to these and budget to replace them when
they wear down. Usually a size 0, 1, 6, 12 are good to start with.
Activity 1 – What paint to use
http://painting.about.com/od/paintingforbeginners/ss/what_paint_use.htm
This website provides a “Paint Personality Quiz” which will help you to decide what type of paint you
will use that suits your personality. Have a go at this quiz.
Activity 2 – Tools and equipment needed
http://painting.about.com/od/paintingforbeginners/u/painting_path1.htm#s3 – look at this website for
a list of tools and equipment that you will need. Make a list and store it here:
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Prepare, clean and maintain tools, equipment and materials
Source: http://painting.about.com/cs/paintingknowhow/ht/Howto_Brushcare.htm
Your brushes are an investment. By cleaning them thoroughly and properly at the end of a painting
session, they will last longer.
Here's How:
1. Wipe off any excess paint using a cloth or soft tissue. Gently squeezing the bristles from the
ferrule edge outwards with your fingers, or with a cloth, will help remove paint from the brush.
But be careful to avoid pulling on the bristles.
2. Rinse the brush in turpentine or oil if you've been using oils or lukewarm water if you've been
using a water-based medium. Never use hot water as it can expand the ferrule, causing the
hairs to fall out.
3. Wipe it on the cloth again to remove the last of the excess paint.
4. Wash gently using a little bit of mild soap (rather than dishwashing liquid). Dab the brush gently
onto the piece of soap, then work up a lather in a small container (or the palm of your hand if
you're not using any toxic pigments or solvents).
5. Rinse and repeat until there's no trace of any color coming out. Over time a brush may become
stained, but don't stop rinsing until you're sure there's no paint left.
6. Rinse once more in clean, lukewarm water to remove any traces of soap. Shake off the water.
7. Use your fingers to gently shape the brush head into its correct shape.
8. If necessary, wrap the bristles in a piece of tissue or toilet paper while the brush is still wet.
When the paper dries it'll contract, pulling the bristles into shape.
9. Leave brush to dry at room temperature. Ensure it's not resting on its head as it will then dry
misshapen. Standing it on the back of the handle works well.
10. If you're worried about the toxicity of the paint you're working with, wear gloves while painting
and cleaning your brushes. Also if you find the paint is drying out and cracking, or staining your
skin.
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Tips:
1. Always use separate brushes for oil painting and water-based medium. After all, oil repels
water. Also use separate brushes for varnish, gesso, and masking fluid.
2. Don't let acrylic paint dry on a brush as its water-resistant when dry. But also never leave a
brush standing in water.
3. Never use a lot of pressure to force paint out of a brush. Be patient and rinse it several times.
4. If your brush is made from natural bristle, you can soften it by dipping it in clean oil (the one
you use as a medium) after you have cleaned it.
5. Misshapen synthetic brushes can sometimes be reshaped by soaking them in hot water (not
boiling).
What You Need:

Luke-warm water

Mild soap

Patience
When it comes to cleaning, a painting knife has a decided advantage over a brush. Wipe any excess
paint off with a cloth, and then wipe the knife again with a clean cloth. Often that's all you'll need to
do to clean a painting knife.
If paint has dried on the knife, I usually scratch it off using a damp cloth and another knife, or
sometimes take a nailbrush to it. But fundamentally the paint will usually scrape off like from a glass
palette.
If you're lazy about cleaning your tools, a painting knife is definitely more forgiving than a brush, as a
little dried paint on it has less of an effect than dried paint in a brush's bristles. Keep in mind though,
if a knife is made from steel (rather than stainless steel), it may rust if neglected.
If the blade of a painting knife ever breaks (though it'll take some abuse to do so), don't throw it
away. First see if you can't smooth the edge down into a new knife, even if it's one suitable only for
scraping.
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Organise and maintain work space
You can see from the picture below of someone’s art studio that it need not be large. As long as it is
well organised, clean and safe you are good to call that space your studio space and start painting.
How you set up your art studio is entirely up to you. For some people it is their bedroom or the
dining room table and for others it’s a paid studio away from home.
Ensure that your stools, equipment and materials are stored in line with workplace procedures and
safety requirements. Ensure any solvents are stored correctly according to the MSDS’s.
Buying boxes and labelling them to store appropriate materials is often a good idea.
When you commence painting ensure that you remember to position yourself safely so that you do
not suffer backaches, leg aches etc. Don’t lift heavy objects unless you have to and then do it safely
using manual handling techniques. Have a break from painting around every 20 minute or so to give
your hands and arms a rest.
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Techniques to be used include:
•
Application of a particular colour range and linear work to produce expressive paintings
•
Linear marks of different intensity
•
Paint application to produce tactile surface
•
Tonal range to produce illusion of 3D
•
Use of a range of brushes to achieve different lines and strokes
•
Variation in paint application.
Testing techniques may include:
•
Exploring techniques by making practice pieces
•
Making samples applying nominated techniques
•
Testing techniques directly with work in progress.
http://painting.about.com/od/colourtheory/ss/color_theory.htm - Learn about Colour theory and how
to create different colours using different paints. Try out some of these to see how many variations
you can make.
Activity 3 – Styles of painting and practitioners
For a and b below, write next to each painter their style and the period in which they lived and
painted. For c and d select another two painters and their style and period in which they lived.
a.
Leonardo da Vinci
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b.
James Tisso
c.
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d.
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Historical contexts and practitioners
Source: http://smarthistory.org/
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Activity 4 – Historical Contexts
http://smarthistory.org/
This website would be one of the best that I have seen in relation to historical timelines and
associated artists. You are required to visit this website and document how “How Brunelleschi
"Discovered" Linear Perspective” and how this was applied.
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Artistic Influences
Some of the most important Art movement and styles from the Modern Art era are as follows:
Impressionism is the name given to a colorful style of painting in France at the end of the 19th
century.Among the most important Impressionist painters were Claude Monet, Pierre Auguste Renoir,
Edgar Degas, Camille Pissarro, Alfred Sisley and Henri de Toulouse Lautrec.
The Post Impressionists were a few independent artists at the end of the 19th century who
rebelled against the limitations of Impressionism to develop a range of personal styles that influenced
the development of art in the 20th century. The major artists associated with Post Impressionism
were Paul Cézanne, Paul Gauguin, Vincent Van Goghand Georges Seurat.
Fauvism was a joyful style of painting that delighted in using outrageously bold colours.
German Expressionism is a style of art that is charged with an emotional or spiritual vision of the
world. The expressive paintings of Vincent Van Gogh and Edvard Munch influenced the German
Expressionists. They also drew their inspiration from German Gothic and 'primitive art'.
Abstract art is a generic term that describes two different methods of abstraction: 'semi abstraction'
and 'pure abstraction'. The word 'abstract' means to withdraw part of something in order to consider it
separately. In Abstract art that 'something' is one or more of the visual elements of a subject: its line,
shape, tone, pattern, texture, or form.
Semi-Abstraction is where the image still has one foot in representational art, (see Cubism and
Futurism). It uses a type of stylisation where the artist selects, develops and refines specific visual
elements (eg. line, color and shape) in order to create a poetic reconstruction or simplified essence of
the original subject.
Pure Abstractionis where the artist uses visual elements independently as the actual subject of the
work itself (see Suprematism, De Styjl and Minimalism).
Although elements of abstraction are present in earlier artworks, the roots of modern abstract art are
to be found in Cubism. Among other important abstract styles that developed in the 20th century are
Orphism, Rayonism, Constructivism, Tachisme, Abstract Expressionism, and Op Art.
Cubism was invented around 1907 in Paris by Pablo Picasso and Georges Braque.It was the first
abstract style of modern art. Cubist paintings ignore the traditions of perspective drawing and show
you many views of a subject at one time.
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Futurism was a revolutionary Italian movement that celebrated modernity. The Futurist vision was
outlined in a series of manifestos that attacked the long tradition of Italian art in favour of a new
avant-garde. They glorified industrialisation, technology, and transport along with the speed, noise
and energy of urban life.
Suprematismwas developed in 1915 by the Russian artist Kazimir Malevich. It is a geometric style of
abstract painting derived from elements of Cubism and Futurism.
Constructivism used the same geometric language as Suprematism but abandoned its mystical
vision in favour of their 'Socialism of vision' - a Utopian glimpse of a mechanized modernity according
to the ideals of the October Revolution.
De Styjl was a Dutch 'style' of pure abstractiondeveloped by Piet Mondrian, Theo Van Doesburg and
Bart van der Leck.
Dada was not a style of art like Fauvism or Cubism. It was a form of artistic anarchy born out of
disgust for the social, political and cultural establishment of the time which it held responsible for
Europe's descent into World War.
Surrealism was the positive response to Dada's negativity.
Abstract Expressionism was the first American art style to exert an influence on a global scale. It
drew upon the ‘spiritual’ approach of Kandinsky, the ‘automatism’ of the Surrealists, and a range of
dramatic painting techniques. Abstract Expressionism was also known as ‘Action Painting’, an
existentialist title which implied that the physical act of painting was as important as the result itself.
Pop Art was the art movement that characterised a sense of optimism during the post war consumer
boom of the 1950's and 60's. It coincided with the globalization of pop music and youth culture,
personified by Elvis and The Beatles. Pop Art was brash, colorful, young, fun and hostile to the artistic
establishment. It included different styles of painting and sculpture from various countries, but what
they all had in common was an interest in popular culture.
Minimalismwas not only a reaction against the emotionally charged techniques of Abstract
Expressionism but also a further refinement of pure abstraction. It was an attempt to discover the
essence of art by reducing the elements of a work to the basic considerations of shape, surface and
materials. Minimalist art used hard-edged forms and geometric grid structures. Color was simply used
to define space or surface.
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Op Artis short for 'optical art'. It was an abstract style that emerged in the 1960's based on the
illusionistic effects of line, shape, pattern and color. Op Artists such as Victor Vasarely, Bridget Riley
and Richard Anuszkiewicz play with the perception of the viewer by subverting the picture plane with
ambiguous shapes, shifting tones and dynamic color relationships.
Activity 5 – Physical properties and
capabilities of materials and tools for drawing
Using the list of tools and materials from the previous activity, complete the following table listing the
properties and capabilities of the materials and tools listed. Use the same website
Tools
Physical Properties
Capabilities
Materials
Physical Properties
Capabilities
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Overview of the Elements and Principles of Design
Source: http://www.johnlovett.com/test.htm
The Elements of Design
 Line
 Shape
 Direction
 Size
 Texture
 Colour
 Value
The Principles of Design
 Balance
 Gradation
 Repetition
 Contrast
 Harmony
 Dominance
 Unity
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Activity 6 – Elements and Principles
Complete the following table for a project you are working on. Submit this table as part of your
evidence for this unit.
Harmony
Repetition &
Variation
Contrast
Dominance
Gradation
Line
Shape
Direction
Size
Texture
Tone
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Activity 7 – Work Space
Go to this web site and watch the video. Make a summary of the points raised by the presenter.
http://www.ehow.com/video_2380824_setting-up-painting-workspace.html
Write them here:
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Copyright, moral rights and intellectual property issues
Examine the list of links for copyright in the link here.
http://www.copyright.org.au/find-an-answer/browse-by-what-you-do/using-audio-visual/
This link provides access to fact sheets from the copyright Council. Please observe all copyright in
these documents. You can print one copy only.
Copyright Act 1968
Copyright
Copyright is a bundle of rights, protected in law, which includes economic and moral rights. Usually
the creator of an artwork is the copyright owner and holds the exclusive right to reproduce all or part
of their artwork, even if the physical work has been sold to someone else. When someone else wants
to utilise that work he or she must obtain permission from the copyright owner. The owner may
choose to charge a fee as part of the terms of this permission or may not give permission. (There are
specific separate rules for work that is created under commission.) Unless sold or otherwise
transferred, copyright (with specific exceptions) comes into existence when a work is created and
lasts for the life of the artist plus 70 years.
Moral Rights
In Australia there are a number of agencies that manage artists’ copyright and the reproduction fees
artists are entitled to. These include Viscopy and the Copyright Agency Limited. Artists in Australia
have three rights under Moral Rights legislation. These are:

the right of attribution (to be identified/credited as the creator of a work)

the right to not be falsely attributed as the creator of a work

the right to object to distortion, mutilation or modification of, or other derogatory treatment
of, the work which is prejudicial to the artist’s honour or reputation.
Moral rights cannot be sold, however, there is a consent clause in the legislation. In most cases moral
rights remain with the artist regardless of who has physical possession or ownership of the work.
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Activity 8 - Copyright
Are you permitted to download a Picture from the Internet, pay for it and then burn it to CD for your
friends? Why? Note: your friends do not live with you.
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Environmental issues associated with painting
There are environmental and health issues with both oil and acrylic art paints. The big downside of oil
paints is the paint thinner required to clean them up. While some of the pigments in oil paint might be
toxic or poisonous depending on color — reds, yellows, some blues and many whites are produced
using potentially toxic heavy metals — the paint itself is typically made of food-grade linseed oil,
which could hardly be more harmless to the environment (where it came from, after all). But oil paint
is notoriously hard to clean up; getting those brushes, palettes and work areas clean requires the use
of paint thinners, such as turpentine or mineral spirits, that are not only potentially toxic if used
improperly but give off noxious odors and are highly flammable.
As for acrylic paints, they are water-based so clean-up is a breeze: Just wash it down the drain with
some warm water, no paint thinner required. But acrylic paint is a petroleum-derived polymer, i.e.
plastic. While cleaning it up might be easier than cleaning up oil paints, do we really want to be
rinsing plastic down our drains? How good could this be for surrounding ecosystems? The other
negative, of course, is that just buying them contributes to our reliance on petroleum.
So what's a green painter to do? One option is to go for so-called water mixable oil paints that appear
and behave in the same manner as traditional oil paints in every aspect except when it comes to
clean-up — like acrylics, they thin and clean up with water instead of noxious chemicals. Water
mixable oils are ideal for those sensitive to chemical fumes.
If you must use traditional oil paints — many professional artists just prefer them for their thickness,
color brilliance and other qualities — you can go with a brand that pays attention to the environmental
impact of its products and operations. Another way to go would be truly all-natural - paints from foodgrade botanical extracts, so it's even safe for kids aged three and older. Colored by real fruits,
vegetables, flowers and spices, these paints are all-natural, non-toxic, and free of chemicals,
parabens, petroleum and synthetic preservatives. The palette is limited to just six colors, but creative
artists should be able to mix to their heart's content.
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Organisational and legislative OH&S procedures
Source: http://painting.about.com/od/paintingforbeginners/a/art_safety.htm
Most of the safety issues with art materials and in your art studio ought to be common sense, but of
course what is sensible to one person is over cautious or careless to another. For me, safety and art
materials come down to one rule: "Art materials weren’t made for eating."
Here are some basic safety tips for using art materials and at the bottom you’ll find links for more
detailed guidelines. Know what you’re using and what precautions you need or want to take, and how
to find non-toxic art materials if you only want to use those.
1. Never put a brush with paint on it in your mouth, no matter how tempting it is to get a nice
point on it. (You wouldn’t do it with a brush if you were using wall paint, so why do you think
it’s safe because it’s artist’s paint?)
2. Wash your hands thoroughly when you’ve finished painting.
3. Don’t eat while you’re painting or have food in the studio. And don't stand your cup of
tea/coffee next to your jar of brush water. You'll be surprised how easy it is to dunk a brush
in the wrong container when you're concentrating on painting.
4. Ensure there’s decent ventilation in your studio, especially if you’re using solvents. Obey the
warnings about ventilation on the labels on items such as cans of pastel fixative, spray
varnish, and spray mount. (You don’t need to be a rocket scientist to realize that breathing in
glue into your lungs is not a good idea.)
5. Your skin isn’t a protective barrier, minimize its exposure to art materials, and decide whether
wearing disposable plastic gloves is something you want to do or not.
6. Keep your art materials out of the reach of kids. Paint is paint to the average child, they won’t
realize there’s a huge different between red paint formulated for use by kids and a tube of
cadmium red. Or ensure you buy only non-toxic colors (the label should tell you).
7. Keep solvents in their original containers that has the label of exactly what it is on it, and
sealed when not in use. Store them away from heat and flames (and don’t let anyone light up
a cigarette).
8. If you use mineral spirits or turpentine, consider switching to odorless version. (Though this
doesn't mean you no longer need ventilation in your studio.)
9. Don’t sweep up pastel dust, which will put it back into the air, use a vacuum cleaner with a
decent filter and suction on it.
10. Don’t dispose of paints or solvents down the sink. For starters, acrylic paint may clog up the
pipes…
Princeton University – go to this web site and learn more about safety when painting.
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Handle tools and materials safely
When working with tools and materials in drawing classes and at home ensure that you work safely at
all times. Ensure that you read any product labels and instructions and follow these carefully.
When using any chemicals follow the safety precautions on the MSDS Sheets.
Safety in the Painting Environment
Source: http://www.csbsju.edu/ehs/programs/arts_theater/paint3.htm
Painting
Ingestion
Inhalation
Tech
Hazard
Hazard
Acrylics
Cadmium is
Respiratory
paint is
irritation and
hazardous
allergies
Skin
Contact
Precautions
Hazard
Low-rate of dilution
ventilation such as
a window exhaust
fan
Pigment
Oils
Other Hazards
ingestion is
hazardous
Allergies are not
Dilution ventilation
uncommon as
sufficient to keep
made from plants
solvent exposure
and trees
low
Ordinary comfort
Gouache
ventilation should
be used
Water
colours
Cadmium is
May give off small
Never put brushes
paint is
amounts of
in mouth, wash
hazardous
formaldehyde
hands after use
Corrosive to
Fresco
respiratory
tract
Erosive to
Gloves and goggles
eyes and skin
should be worn
Can cause
Solvents
Never leave open,
headaches
Can cause
Can cause
with
skin
Potentially
fatality
exposure,
sensitivities /
flammable
respiratory
dermatitis
irritation
Version: 2015-01
ensure proper
ventilation, keep
away from open
flames
Learning Guide: CUVPAI201A Develop Painting Skills
© VETiS Consulting Services.
Page: 20
Activity 9 - Safety
Read the following website and complete the table in Appendix B with regard hazardous substances
used in the painting environment and submit this with your portfolio.
http://web.princeton.edu/sites/ehs/artsafety/sec10.htm
Draw concept for the proposed painting
Sketch out your painting on paper as a rough drawing using your ideas.
Composition of a Painting
http://painting.about.com/od/paintingtipscomposition/a/10TipsCompositn.htm
Strong composition in a painting can be very intangible, but these painting tips will help you get to
grips with it. If the composition in a painting is done well you don't notice it initially, you just know
that the painting has something about it that's particularly appealing. And when a painting's
composition is done badly (such as when the subject is slap bang in the center, or squeezed into a
corner) the painting just feels awkward.
Initially you'll have to deliberately work at implementing these painting tips in a painting's
composition, but with practice it'll become instinctive.
Painting Composition Tip 1: Where's the Focal Point?
Painting Composition Tip 2: Did You Use a Viewfinder?
Painting Composition Tip 3: Are the Values Varied?
Painting Composition Tip 4: How Many Elements are There?
Painting Composition Tip 5: How Are the Elements Spaced?
Painting Composition Tip 6: Are Any Elements Kissing?
Painting Composition Tip 7: Do Warm or Cool Colors Dominate?
Painting Composition Tip 8: Is There Unity?
Painting Composition Tip 9: Is the Underlying Composition Obvious?
Painting Composition Tip 10: Is There Variety?
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Learning Guide: CUVPAI201A Develop Painting Skills
© VETiS Consulting Services.
Page: 21
Identify the steps and resources required
Source: http://painting.about.com/od/paintingforbeginners/ss/BSimons7Steps.htm - read this article
to flesh out the following 7 steps.
Step 1: Study your subject
Step 2:Underpaint the canvas
Step 3: Identify the big shapes
Step 4: The value Study - Squint at your image so you don’t see color (value has nothing to
with color, it’s how light or dark something is). Start with darkest darks and roughly
do
paint them
in. Work through about five values, from the darkest to the lightest.
Step 5: The Colour Block in
Step 6: Adjusting colour and value
Step 7: Finishing the painting
Select tools, equipment and materials for paintings
1. Determine the type of paint you are going to use and then select the appropriate brush.
2. Determine the type of canvas to fit your painting
3. Determine if you require any other equipment, tools or materials to complete your painting.
Calculate correct quantities of materials required
The amount of paint mixed will depend on the size of your canvas or the quantity of canvas you are
planning to prepare.
Version: 2015-01
Learning Guide: CUVPAI201A Develop Painting Skills
© VETiS Consulting Services.
Page: 22
Activity 10 - Techniques
http://painting.about.com/od/paintingforbeginners/u/painting_path1.htm
Look at this website for various techniques for acrylics, oils and watercolours. Write these techniques
below and then practice each one.
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Learning Guide: CUVPAI201A Develop Painting Skills
© VETiS Consulting Services.
Page: 23
Other References
http://www.webdesign.org/web/photoshop/drawing-techniques/the-elements-and-principles-ofgraphic-design.9339.html
http://www.design-skills.org
http://www.petsinpastel.com/oilpastels.htm
http://paintingdrawing.suite101.com/article.cfm/painting_with_oil_pastels
http://www.jdhillberry.com/
http://www.ci.tucson.az.us/arthazards/paint1.html
http://tradingideas.orientaltrading.com/art_supplies/2007/12/drawing-with-oi.html
http://www.robalsmith.id.au/weblog/archives/drawing/oil_pastels/
http://www.explore-oil-pastels-with-robert-sloan.com/daily-exercises.html
http://www.explore-oil-pastels-with-robert-sloan.com/oil-pastels-about.html
http://www.explore-oil-pastels-with-robert-sloan.com/oil-pastels-techniques.html
http://www.explore-oil-pastels-with-robert-sloan.com/basic_drawing.html
http://www.squidoo.com/oilpastels
http://www.squidoo.com/oilpastels#module9521298
http://www.elfwood.com/farp/oilpastel/
http://drawsketch.about.com/od/penandink/Pen_and_Ink_Drawing.htm
http://drawsketch.about.com/gi/dynamic/offsite.htm?zi=1/XJ&sdn=drawsketch&cdn=hobbies&tm=43
5&f=11&tt=2&bt=0&bts=0&zu=http://elfwood.lysator.liu.se/farp/metal2/Reflective1.htm
http://drawsketch.about.com/gi/dynamic/offsite.htm?zi=1/XJ&sdn=drawsketch&cdn=hobbies&tm=2&
f=11&tt=2&bt=0&bts=0&zu=http://www.jdhillberry.com/ball_jar_close-up.htm
http://expertscolumn.com/content/different-mediums-use-paintings
http://www.artyfactory.com/art_appreciation/timelines/modern_art_timeline.htm
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Learning Guide: CUVPAI201A Develop Painting Skills
© VETiS Consulting Services.
Page: 24