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.
When it comes to turning your artwork or photos into finished wall pieces, canvas prints and acrylic prints are two of the most popular options today but they deliver very different looks and experiences. Understanding their strengths can help you choose the best way to present and reproduce your work. Below, let’s break down what makes each option unique and why one might suit your needs better than the other.
Getting a smooth finish on canvas, one where the paint flows beautifully and transitions look seamless, is something many painters work toward, whether you’re just starting out or have been in studios for years. The good news? It’s as much about preparation and technique as raw talent.