It’s tempting to skip primer. Yo’ve got a canvas, a wood panel, or a wall in front of you and you just want to start. Primer feels like an extra step, especially when you’re eager to paint.
But here’s the honest answer: sometimes you can get away with skipping it. Other times, you’ll regret it.
Let’s break down what actually happens when you don’t use primer.
Creative burnout doesn’t usually arrive all at once. It creeps in quietly. One day the studio feels flat. The next, picking up a brush feels heavier than it should. Ideas dry up, motivation dips, and everything starts to feel repetitive or pointless.
Burnout affects amateur painters, professionals, and hobbyists alike. In fact, the more seriously you take your work, the more vulnerable you may be.
Short answer: sometimes. Longer answer: it depends on the medium, the purpose of the work, and how you expect it to live in the world.
Sealing a painting isn’t a universal rule, and it’s one of those topics where artists hear a lot of confident advice that doesn’t always apply.
At some point, if your work is visible, someone won’t like it. That’s not a failure. It’s a sign that your work has entered the public conversation. Negative reviews and critical press are part of being a working artist, whether you’re emerging or established.
The challenge isn’t avoiding criticism. It’s learning how to handle it without letting it derail your practice.
If you’ve ever stood in front of a massive painting and thought, How did they even get that thing?, you’re asking a very normal question. Those oversized canvases don’t magically appear in studios. They’re planned, built, and handled with a lot more problem-solving than most people realize.
Here’s how artists actually do it.
An art journal is not a sketchbook, a diary, or a finished artwork though it can borrow a little from all three. At its simplest, an art journal is a private space where you explore ideas visually without pressure. It’s where paintings begin long before they ever reach a canvas.
For painters, an art journal is less about making “good” work and more about making honest work.
Choosing the right canvas size sounds simple until you actually have to do it. Too small and the work feels cramped. Too large and you’re fighting empty space or wasting materials. Whether you’re painting for an exhibition, a commission, or your own studio practice, calculating canvas size is about planning, not guesswork.
Here’s how to approach it in a way that makes sense.
When you’re standing in front of a blank canvas, one of the first questions you’ll face is what paint should I use? The answer isn’t one-size-fits-all but understanding the properties of the main paint types makes choosing easier whether you’re just starting or have years in the studio.
In art education, the materials we introduce students to are as important as the concepts we teach. One surface that deserves more attention in classrooms, studios, and workshops is the wood panel. From Renaissance masters through to contemporary artists, rigid wooden supports have played a vital role in the history of painting. Including them into art education not only broadens students’ technical skills but also deepens their understanding of artistic traditions and material behavior.
There’s something thrilling about standing in front of a large canvas. The scale invites bold decisions, expressive gestures, and a physical connection to your art that smaller formats simply can’t match. But that sense of freedom can also come with challenges: intimidation, proportion issues, time management, and even fatigue. Here’s a guide to help you approach large canvases with confidence and clarity.