1. Featured Article: Painting Surfaces: Picking the Purrrrfect Surface for Practice & Masterpiece.
2. Sizzlin Technique Tips: Fluffy Clouds Perfect Bushes
3. Project Of The Month: Paradise Falls.
4. Around the Studio: Cally,Faina, Floral Series,Subtitles
5. Art Biz:Simplified Methodology for Pricing Your Artwork
6.Student Feedback

I'm so excited to publish this eZine to all of my wonderful students and subscribers. This issue is loaded with hot tips to help make learning to oil paint not only fun, but even easier. I am overwhelmed by the response to my Basic Technique of Oil Painting Series and thank each and every one of you for your letters, post cards, telephone calls. This summer has been flying..... I was due to have corrective surgery on my right foot, but that'll probably happen mid-August. Thanks to everyone who have inquired. If you're planning a trip to New England this fall, drop a line. You might be able to join me in one of our workshops.

Special thanks to my daughter who's building a handicap ramp for me to navigate the wheel chair in and out of the art studio the 6-8 weeks during recovery. She's a Rhode Island Carpenter donating time to dear ole Dad. Sorry guys, she's taken.

Top questions from students have centered upon what type of canvas to use, inexpensive alternatives and how to about practicing without spending an arm and a leg.

Darrell, how are you able to get such perfect bushes when you highlight? I've been using the two inch brush and mine tend to look like my cat clawed her way up the canvas.

Try using the one inch brush instead of the two inch brush. Once you've mastered the one inch, the technique will be instantly transferrable to the 2".

I’ve found with most students, the biggest problems in making bushes with the 1" brush is not enough paint and way, way too much pressure. The 3rd most frequent sin is sliding the brush up the canvas. This gives you that cat-claw look. =: )

Make sure you’ve put a base coat of dark follage mix (Alizarin Crimson, Van Dyke Brown, Midnight Black, Prussian Blue and Sap Green) onto the canvas into the basic shape of the bush you’d like to highlight.

The first step in highlighting is loading the brush with medium. Basically, you need to load the brush as I showed you in the #6 Basic Technique Video with lots of paints. Dunk your brush into either liquid white or liquid clear. Most times I use liquid white. Fill about 1/2" to 3/4" of the bottom of the brush with liquid white. My assumption is you have a dry brush and there are no other paints in/on your brush prior to the dunk. The reason I use medium to begin with is to thin the paints. Thin paint will stick to thick paint and vice versus.

Thoroughly work the medium into your brush. Excess medium will stay on the palette.

Now you’re ready to load the highlight color into the brush. Place your brush into the paint and pull the brush through the highlight paint in one direction only. I suggest toward you. Be sure you’ve loaded the brush with liquid white first and worked the LW well into the brush. Then move over to your highlight color for the bushes and pull the paint in one direction only to load. Pull, then lift the brush off the palette and move back to the starting point and pull again. Continue to do this until sufficient paint has been loaded into your brush to make a bush on the canvas. You will know when you have sufficient paint on the brush when you see the brush impression on the palette as you load your brush. Look at the palette. As you pull across and then stop to lift, your brush will leave an impression in the highlight color on the palette. When that pain shows the same “lattice” effect you’d like to have for your bushes, your paint brush is now properly loaded.

Then angling the brush slightly so that the 'boot' (top rounded edge) of the brush touches the canvas. Pause with your brush still on the canvas. Gently BEND (not slide) the following brush bristles until all of the bristles lightly (notice the words lightly) touch the canvas. This is the impression you're trying to acquire. Do not move your boot point at all during the entire bend. If you do, your brush will slide upward and the bush will looked like it’s scarred stiff or your cat clawed her way up the canvas. So, touch the brush at the boot point, and without moving the boot point any further, lightly bend the brush bristles upward onto the canvas until the lattice impression you saw on the palette is now duplicated onto the canvas. Rewatch the video on Basic Bush techniques. We have an excellent close-up on how to do this.

You’ll make perfect bushes each time following this process.

As I paint a bush, I’ll repeat this process around the bush until the entire outside perimeter of the brush has been painted. Then I’ll repeat the process inside of the bush with even lighter pressure yet. You see, a bush will get darker and darker and darker the deeper you look into it. Now take your palette knife and scratch in your sticks and twigs. Scratch from the highlight into the dark center of the bush.

Re-watch the Bush Basic Technique Video and you should have little if any problems making bushes anymore.

Again, the big keys are
1. Load the brush with lots and lots of paint.
2. Use a light pressure
3. bend those brush bristles. Don't slide up or down. BEND

Light, Fluffy Clouds:

Darrell, Every time you paint those white, fluffy clouds I could strangle you. How do you do it? I watch you on the video and it's clear. I stand in front of my canvas and my mind is as blank as that canvas. What am I missing?

Painting clouds is a combination of light and not so light touches. There are two key elements in the making of clouds. FIRST, it does not matter how you put the paint on the canvas. Secondly, its more important to pay attention to the top outside shape of the clouds than anything else. Beautiful, fluffy clouds are the product of blending and not initially applying paint. Learn to blend lightly and with some pressure. Let me explain.

When initially applying paint to make clouds it doesn't matter how little or how much force you use. You're just going for coverage. Concentrate more on the outside shape of the clouds. Just put paint in for the body of the clouds. You can do that with a palette knife, fan brush, landscape brush or your fingers and toes. It doesn’t matter. Watch the Basic Technique #2 Basic Technique Video on Skies & Clouds again and notice how no matter which brush I use, I primarily concentrate on shaping the top outside edge of the clouds. I don’t concentrate on the body or bottom edges.

What’s critical is the blending of the clouds. I use a 2” soft blender, a mop, or the 2” Landscape brush. Any of these brushes work superbly. I encourage new artists learning the technique to use the 2” soft blender. That brush is so soft to the touch and beginners instinctively use a lighter touch when picking up this brush.

Blending the clouds is a very, very, very, very, very light touch. In other words, use a light touch and don’t press hard with the brush when you’re blending. Use just enough pressure to remove the brush strokes and make the clouds look smooth. When blending I use just the top ¼” or ½” of my brush blending the cloud using a soft, circular motion. The circle is made from the wrist. I have a lot of control with the brush by moving my wrist as I wish. I can make tiny and large circular, blending strokes. Do not blend the top edges of any of your clouds. Let me repeat this DO NOT blend the top edges of your clouds.

Afterwards I fluff the cloud edges upward to give them that airy, light look. When fluffing the edges, use almost zero force. The strokes I use come from my armpit as I use large half circle stroke. Remember....stroke from the arm pit....no wrist action. Essentially I will stroke in a circular stroke 2 or 3 times toward the top center of the canvas. Clouds coming from the left side of the canvas are stroked from bottom left to top right and vice versa on the other side. I’ll “X” stroke everything afterwards to “set” the clouds into the sky.

Review the Skies and Clouds Basic Technique Video and I think you’ll be able to quickly grasp the concept of making beautiful fluffy clouds every time.

Golf Course Grass.

Darrell, I'd like to paint some really smooth lawn. I want to paint some golf courses including the fairway, rough and green. How can I do this?

When painting golf course grass, I'll first lay down the base color for the grass with the 2" or 1" brush and highlight as I showed you on the Grass, Bush Basic Technique Video. But one difference is the fairway grass' base color will be a little (notice the words little) bit lighter than the pure dark rough base color. You can lighten with either a touch of Titanium white or Cad Yellow. My preference is Cad Yellow, most of the time. Experiment and see which you like. And the golf course green area will be a LITTLE BIT LIGHTER than the fairway. Then I'll highlight my greens on each with Sap Green and Indian Yellow. (For shaded areas, I'll often add a touch of Midnight Black to the highlights)

After the painting has dried, or had a chance to "tack-up" for 3-4 hours, I'll come back with either a slightly lighter green on a soft, badger fan or sable fan brush and ever so gently tap over the area in which I want to have the fairway and the green. Blend the edges until they just disappear. For green highlights around water, I'll often add a TOUCH of pthalo blue as well. Let everything dry. Redo again. I’ll repeat this process until the grass looks just perfect. I’ll even use this procedure for making sure the grass is wet from water sprays around a waterfall, early in the morning and so forth.

Breaking Blocks

Darrell, My mind's going blank and I'm only in my twenties. There's a couple of photos I have that I'd like to paint, but I just can't seem to get started. How can I get over this painter's block?

One of the things I do to get over "Painter's Block" is remind myself that this is oil painting. I can't mess up anything. You see, if you don't like your painting, than you can scrape everything off and clean the canvas with some thinner and paper towels. I can't ruin anything, so I can piddle all day on the canvas if I want.

Presto.........no big deal. No one sees it and you can use the canvas over again.

What I do initially to get started is take a big filbert brush with lots and lots of thinner and just a little bit of paint and loosely sketch what I'd like to paint. No details, just big shapes. This way if I don't like something, I wipe it off with a paper towel. So I can play to my heart's content. It's funny, but the whole process of planning the painting with the thin paint (like water) seems to pull me out of the "can't do anything" mood.

When I'm done sketching; meaning I really really like the light little sketch I’ve done, than a rather odd thing happens. I find the motivation to paint like a madman actually hits me and there's no stopping till this puppy's done.

That's what I call the first 11 minute practice of the waterfall on the free water video.

Let's have some fun.

You've seen the waterfall or you have the DVD. Paint any kind of a painting you'd like. Submit to me a photograph of your painting with that waterfall.

Everyone who submits by email (or snail mail) a digital copy of their original waterfall painting will receive a free DVD lesson on Paradise Falls (My own version). I will put up a special section on my website with all of the paintings displayed. Each of you can then vote for your top 5 paintings. The only judge will be you the viewing audience. Rules for voting will be posted with the next issue.

Cash prizes will be awarded as follows:

First prize: $100.00
Second prize: $ 25.00
Third, fourth, fifth prize: $ 10.00

Eligibility: Anyone who has requested my free DVD on the Basic Techniques of Oil Painting Water and is not a professional artist or instructor.

I'll have something else for instructor's level, but mostly I want to give newbies an option to earn some money as they learn to oil paint.

I'm excited and I was motivated to do this by looking at all the photos of the beautiful paintings I've been sent. You guys are great!

Doesn't this sound like great fun!

There's been so many changes recently, I'm just bustin to tell you about them all.

First off, three new additions to the staff.

Cally Egan has joined my staff as the Operations Manager. It is her job to make you happy. If you're not happy, call Cally. She'll do everything on or under the planet to make you happy. Cally is responsible for fulfilling orders, sending out those free DVD requests and is essentially the backbone of our studio. She handles billing, paying bills and so much more. This way I can golf every day. Wait. Wait. Wait. I didn't say that. You can reach Cally at cally@darrellcrow.com Welcome aboard Cally!

Faina Khait is my graphic artist. She's responsible for the eZine design, logo and many new visual changes you'll be seeing. Faina is a student of mine that I met internet-wise as a result of requesting a free DVD. She's great to work with and you can reach her at faina@arteculationdesigns.com

The Floral Series is shapping up to include the following films. I will introduce each one as they become available. If you see something below that's missing or not necessary, let me know. Not sure how many videos, but at least 10, could go as high as 15.

1. The Basic Flower
2. Leaves
3. Sticks, Twigs and Wiggly Things.
4. Backgrounds, Vases, Pots and Hangers
5. Daisies, Geramiums, Mums
6. The Hibiscus Family
7. Lillies, Tulips, Amarillos
8. Small & Wild flowers
9. Poppies
10. The Iris
11. The Orchids
12. Roses

And finally, the best news of all, I'm working on producing sub-titled versions of the Basic Technique of Oil Painting. If you've talked to me, you may have noticed that I'm hard of hearing. My right ear has about 2% hearing and the left about 40%. Once in a while I miss what's being said. But you know, I'm fortunate. There are hearing aids that will correct most of my hearing deficiencies. I've met so many wonderful artists who have struggled as they could not hear. So I'm having the entire series subtitled so that those with hearing deficiencies can enjoy the videos as well. Special arrangements have been made and Jim will be working on how to set up the menus so one can select whether or not to turn on subtitling. I'll let you know when these are available. Thanks to England for this request.

Next month, I'll talk to you about the new television series being filmed this month by a local public station and how your station can gain access.

5. Art Biz:Simplified Methodology for Pricing Your Artwork

There's not one week goes by, I'm not asked to explain how to set prices for a painting. The better question is ........ How can I get my paintings sold?

So, I'm going to take a couple of issues and try to nail down a formulae that works......every time. Something onto which you can hang your hat.

You see, its one thing to mechanically set a price for a painting and quite another to "sell" that painting. Just setting a great price is not enough to getting a painting sold. There was a movie a few years ago, Field of Dreams that really became a craze. In the movie, a farmer standing smack dab in the middle of a cornfield hears some whispers that drives him to clear part of his farm land to build a baseball field. When he does, all the spirits of baseball players past get together for another game. The whispers said, "If you build it, they will come."

Now I've heard that silly statement applied to just about every kind of situation imaginable. But let me end this right now..... "If you price it, they will not come." Sorry folks, the movie was simply entertainment.

Yes, there is a very specific process you must undertake to set the right price. And then there is a very specific process you must undertake to find the right buyer.

I've spent over 3 decades in the marketing of high technology products. I have brought in contracts for upward to $60 million for software products. The very same formulae for marketing high technology products works equally for selling art. We must have the right products to sell to the right person at the right time for the right price to meet the right needs with the right terms and conditions. Marketing is all about getting it right.

With this said, let me explain a couple of methods to setting the right price.

First and foremost, pricing is about profit. Know your costs, know how much money you want to make and than see if the market will bear the price. You can adjust up/down afterwards to compensate for true market conditions. The influencers include, but are not limited to your reputation, your style, quality of your craftsmanship, your location, the painting, the story within the painting, and much, much more.

#1: Hourly: Let's say you feel your hourly rate is worth $20.00. If you take 5 hours to do a painting than you would need to charge $80.00 for labor alone. Now you need to add materials. Let's say you paid $8.00 for a canvas, $10 for supplies including pens, pencils, tracing paper, paints, etc... Now take that number ($18.00) and multiply it by 3.5 That equals $63.00. Round up to $65.00. Now go to overhead. Do you pay any fixed amount monthly in order to have a studio or anything? Let's say you do this on the kitchen table using no new services. So charge $5.00 for overhead. Multiply by 4. That means $20.00 for overhead. So your profitable price would be:

Labor $100.00
Materials $ 65.00
Overhead$ 20.00

Your target is to sell that painting for $185.00. All you have to do is find a buyer.

#2 Testing what the market will bear: This is whatever the market will
bear. To find this out, start with the price you come up with using step #1. If people buy without hesitation, up your price for the "next" painting by $25.00, and keep going up with each "next" painting until you find a price level people will stop buying your paintings.

Now I'm going to do an example..........
* You do the above.............$185.00 people are happy to pay.
* Add $25.00 for next..........$205.00 people still happy to pay.
* Add $25.00 for next..........$230.00 people still happy to pay.
* Add $25.00 for next..........$255.00 people still happy to pay.
* Add $25.00 for next..........$280.00 people still happy to pay.
* Add $25.00 for next..........$305.00 Nobody willing to pay.

This would mean that your price for a painting is between $280 and $305.00. Now you would start adding $5.00 for each "next" painting you do until no one's willing to pay. Now you have what the market will bear. For our example, let's say $280.00 is the market price of your 5 hour paintings.

Now you really know how to price your paintings....

You're receiving............... $ 65.00 Materials
....................................$ 20.00 Overhead
....................................$ 195.00 Labor (Thus your new hourly rate is $40.00)

Now whenever you're asked to do a painting and you think it will take over 5 hours, you simply multiply the additional hours by $40.00.

There are more strategies than this in the pricing of paintings, but for someone starting out, the above will help to bring together both your time/skill set value.

Next issue I'll talk about the process to find the right buyer. We do not want to be like the hamburger stand at a vegtarian conference. So we need to understand how to go about finding the right people that will buy our paintings. We'll answer questions like .... Where are they? Why do you paint? How to talk to them once you find them, etc... Now if you're just starting to learn to oil paint, don't worry about pricing. I often bartered. Someone wanted a painting, I said sure, next time you're out shopping, buy me a fan brush. Most people are willing to do this. It helps you. But after awhile, its nice to get that happy buck.

Live long and prosper.

6.Student Feedback

These are just a very small sampling of the emails and letters I receive each day regarding the free DVD and Basic Technique Series. I am just so grateful to have been able to help so many people learn to oil paint. Yes! We can oil paint!

"I'm really excited about the DVD and the advice you've given me. I watch the DVDs everyday. I can say you will be surprised by my work. I know one thing, I WILL FLY HIGH UNDER YOUR WINGS. Your videos are terrific and
once again, ..THANK YOU!"
Ousseynou, Cincinnati, Ohio

... The DVD as well as your concept for the series is fantastic."
Troy, Coffeyville, Kansas

Thanks for all the information. I love your DVD and know it will come in very handy..." Margaret, Dubois, Indiana

"I received my DVD yesterday and have only had a chance to check out a few minutes of it. From what I have seen, I know I will have no problems at all following the instruction and technique. ..." Melissa, Evington, Virginia

"I recently received your DVD in the mail. I would like to thank you so much. It is really great and has a lot of valuable information. I love to paint and you have really helped inspire me.."
Katie, Millersville, Maryland

".I used your water technique on a recent acrylic painting I did for a friend. I used canvas gel so was able to move the paint the same as oil. A friend had asked me to do a painting from a picture they had taken of a sunset on their lake. It was to be a gift for her husband's birthday. She was more than thrilled with the results. (so was I to be honest) I had struggled with how to do the water so it looked realistic but your video provided the solution. Thank you!....." Dianne, Winnipeg, Canada

"Hi Darrell. I just did my first picture from looking at different parts of your tapes. Take a look and tell me what you think."
Flo, Bogalusa, Lousiana

"Darrell. I was absolutely fascinated by your tape on water painting, I knew about the wet on wet method for many years. I have all the equipment I'll ever need and have books by Bob Ross, Bill Alexander, and Gary Jenkins. But this give-away of yours gave me the push to start. Thanks again." Bob, Laredo, Texas

"Hi Darrell. I just finished the water video last night. I have been learning to paint by reading books and watching videos... I especially liked your techniques for the ocean wave, making water look like it is moving and the foam on the beach among others. I can not wait to view other videos of yours. Thanks .." Peggy, Shelby, North Carolina

"Darrell, I received the painting technique DVD today. Just wonderful!! Thanks." M., Saltillo, Mississippi

Darrell, Everytime I watch your video I learn something new. I think I might be able to paint after all..
Stephanie, Anaheim, CA

Hello Darrell, I have received the DVD and have begun watching it! I was
so excited I had to stop it to tell you what I am thinking! It is truly awesome ... I can't wait to get started!!!
Mary, Benningto, Vermont

Dear Darrell
I received the Free DVD. Thank you very much.. I am just fascinated by your very first lesson on how to create a waterfall. Thanks once again Ramakrishna, Grafton, Wisconsin