Frequently Asked Questions

Here is a list of common questions that were asked as part of the Facebook Group for this class. Hopefully you find them helpful. If you have a question that wasn't answered here, please feel free to send me a message at [email protected] and I'll get back to you as soon as I can.

Q: Selling artwork from class.

A: Copyright is not well understood by many emerging artists and is slippery slope when it comes to art. I understand the desire to sell your finished pieces but I would not recommend doing so for a few reasons.

I’ve had a few questions recently about whether it’s okay to sell artwork created in my classes, so I wanted to clarify a few things here.

While I completely understand that art materials are expensive and that selling your work can help offset those costs, it’s important to be mindful of artist copyright. In a guided class setting, where you’re working from my photo references, the resulting work is generally not considered your original creation. For that reason, it’s not good practice to sell artwork that doesn’t originate from your own ideas or reference material—unless the context is clear.

Many instructors I know wouldn’t be comfortable with their class pieces being sold, so it’s great that you’re checking. In my case, if someone wants to buy a piece you created in one of my classes and they understand it was done as part of a course—and you credit me as the instructor—then I’m more than happy for you to sell it.

The issue arises when buyers believe they’re purchasing a one-of-a-kind, original artwork, only to later find out it’s a class piece that’s been painted by many others around the world. This can damage trust and create unrealistic expectations about your future work—especially if the piece doesn’t reflect your personal style. My classes are designed to give you techniques and concepts to help develop your own artistic voice. That’s the kind of work that builds a strong reputation and encourages collectors to return.

Artist copyright is such an important topic to understand as you grow as an artist, especially in today’s digital world.

 Q: I paint in acrylics and not oils – was wondering if this will be okay for the course?

A: There are many artists who have completed my class in acrylics. If you can add a medium to slow the drying down a bit that might help. But ultimately you should be able to paint in your current style with your acrylic paints.

Q: Will you be teaching more online classes?

A: Hi, I really enjoyed creating this class and plan to create more down the track. Make sure you are on my mailing list so you can stay up to date with class registration and dates! I have a second class available called "Pattern Play" which is all about painting patterned fabrics and is a great extension to this florals class.

Q: Do I need stiff brushes (Bristle Brushes) for painting in oils?

A: No, in fact I like to use synthetic brushes that have a bit of give. They also allow you to be more accurate initially while you are getting used to oil painting. Brushes are very much about personal taste and preference. However, stiff brushes will give you less control.

Q: What Brand of 1.5” brush do you use to block – in the Big Bouquet?

A: I’ve been using a “Micador For Artists – Roymac – Achiever Flat 1 1/2". I have seen other brands with a 1.5 inch wide flat brush including Rosemary Brushes. (the Rosemary Brushes Brush is angled but will still work well)

Q: Do you have any photos of other bouquets/flowers to tackle?

A: I’ve put a Pinterest board together that you may find helpful! https://pin.it/3iOyzwX

Q: How long do I have access to the class?

A: Purchasing the class gives access for the lifetime of my school, so you can go through the content as often as you need.

Q: I can't seem to get an even cover with the transparent red oxide. I dip the brush in linseed oil and it becomes grainy on the palette and goes on to spread unevenly. What am I doing wrong? Thanks

A: It could be a couple of things.

• Your canvas might be thirsty and sucking up the paint. Some brands need an extra coat of gesso so they don’t soak up the oil as much. It’s possible the seal on the canvas is uneven so the red paint is being soaked up at different rates in different areas. Make sure you have good coverage. 
• If you are using canvas paper, it will suck up a lot of transparent red oxide and be much darker in areas that are more absorbent than others. A good even coat of gesso will help with this.
• It could also be because you haven’t rubbed off the excess evenly.

Q: What do you use to sign your paintings? And do you do it while they are still wet or when they are dry to touch? Thank you!

A: I use a rubber tool a bit like a pencil end (but rubber) and I sign it into the wet paint. Sometimes I forget and sign with a fine round.

Q: How do I use the Gamsol Galkyd Lite? Do I mix it 1:1 with the linseed oil?

A: I use it straight. Just dip my brush corner in a little bit, the same way I do with other mediums. It will speed up the drying time and create a bit of a gloss finish. For the studies I used the linseed/solvent mix because my panels can be a bit “thirsty” and this mix helps “feed” the panel a bit. For the big canvas I used Galkyd Lite so it dries faster. My canvas had a few coats of gesso and wasn’t as thirsty as the panels so I went for a medium that dries faster knowing I might need to leave the painting to dry and come back to complete it. Any medium you use should be used minimally – just dip the corner of your brush to get a better consistency in the paint. Some brands of paint are thicker than others.

Q: What process do you use to wash your brushes please?

A: I usually just clean my brushes in solvent and every few weeks I give them a deep clean in a brush soap. There are lots of different brands of brush soap available at art stores. Use the brush soap in warm water (once the excess paint has been taken off with solvent) and this will help loosen up the oil in the brushes.

Q: Please share the brand of brushes you’re using. I need some new ones and (I’m a new painter) the choices are confusing.

A: I like synthetics – usually a flat or a bright as I like that chiselled edge. If you’re in the US I really liked using the Qualita. I used these for a long time. They weren’t expensive. You may need to replace them more often than some more expensive brushes, but I didn’t mind that. I used a 6, 8, 10 and 12 bright. (https://www.jerrysartarama.com/qualita-golden-taklon-long-handle-brushes?fbclid=IwAR2ieuuPEWzRADbQ8wJGEGabB9cwLaTltClDZ54caAQd6fpJKjKs6uAo1eA ) In Australia I like Neef (https://theartshop.com.au/?fbclid=IwAR1OP94wsKutL6lIrCgxPXqZnDfkJiAfoL6_tWeKHlmYMC8wO__S59OhpYY ). I have also used Rosemary and Co brushes; I used her ivory brushes for oil but sometimes find them a bit stiff for what I want so moved to her evergreen and the golden synthetic. I’ve also used some Windsor and Newton Monarch too. They were quite nice.

Try out a few, it’s a very personal choice with how it feels for you and the kind of marks you like to make.