Konstanet

Composition, perspective, tonal values.
Complementary colours.
Don’t put the highest contrast next to the edge of the image. Unless you’re Picasso.
Strong contrasts jump forwards to the eye, soft contrasts fade into the distance.
Warm colours come forwards; cool colours recede.
Rule of thirds.
A painters brush must touch all areas of the surface at once.
Support colour in triangles
Be aware of your focal point.
Be aware how the eye travels around the composition.
If you think it might make it better, you must try it. (if you don’t, it will never be a masterpiece. If the move ruins it and you are a master, you will be able to make it again.)
Support colours with their complimentary colours.
Manet was the master of grey.
Eyes follow lines.
Squint your eyes to see tonal values.
Even a flat plane of colour is made of many colours.
Generally speaking, do not to mix more than three colours together.
Break one colour to enrich its complementary.
Never use white from the tube.
Black is flat.
Don’t let your colours be flat.
Variation of colour creates depth.
Big brush strokes in the foreground, small brushstrokes in the background.
Always do preliminary sketches.
Always measure.
Do not trust just your eyes – you paint what you think you see.
Don’t compromise the overall composition for attachments to details.
Do not let something sit right on the edge – either let it go over, or give it proper space.
Triangles are the strongest shape.
Green is the most boring colour, squares are the most boring shape.
Make sure all areas of the composition relate to each other.
Once you start it is very difficult to change the composition – you cannot cut the edges off or sew an extra piece on.
Make sure no area is dead.
Never let a line end in a corner.
Make sure your composition is balanced.
Never draw a dead line. Every line must be inspired.
Heavier colours at the bottom of the composition, lighter ones to the top – the viewer accepts it easier as it reflects the relationship between ground and sky.
All complimentary colours mix into hue greys.
Paint with your arm, not your wrist.
Variation of tone creates depth.
Grey is neutral and calming to the eye.
our eyes counteract. if you look at blue, the eye produces an after image that is orange.
Half red, half green.
One quarter yellow, three quarters purple.
One third orange, two thirds blue.
Warm blue and cool red.
Make sure you use warm and cool colours.
Horizon line either one third up or two thirds up.
Painting straight from the tube is ok.
Don’t economize.
You will take about half an hour to warm up.
Draw everyday.
Don’t throw away anything.
Watch films often and carefully.
Be everywhere, all the time.
Let the viewer feel intelligent / use their intelligence.
Don’t hold back.
Don’t be scared
Stay in physical space for as long as possible.
Don’t let ‘perfectionism’ stop you from moving forwards.
Don’t make and reflect simultaneously – a work is mechanical, it must run its course.