Paint relationships, not things. The immediate effect of a painting comes primarily from values. By getting these relationships right at the beginning, you've nailed the "big look," regardless of what you're painting.

• The Painterly Approach by Bob Rohm
• Simple Secret To Better Painting by Greg Albert
• The Complete Guide To Painting Pictures From Photos by Susie Hodge

Always start a painting or drawing with big shapes and tools—big brush, big charcoal or large graphite stick—anything that precludes your getting prematurely enmeshed in details. Beginning with something big forces you to see the underlying masses and shapes that tell viewers what the subject is.

• First Steps: Drawing And Painting Animals by Bill Tilton
• Mastering Composition: Techniques and Principles to Dramatically Improve Your Painting by Ian Roberts
• A Painter's Guide To Design And Composition by Margot Schulzke

Using thousands of dollars' worth of paint, brushes and paper shipped from New York Central Art Supply in the East Village, Mr. Bleckner, 59, worked with a group of 25 children — former abductees and ex-soldiers — for more than a week at a Roman Catholic aid center. The children made 200 paintings that will be sold at a benefit at the United Nations headquarters next month at which Mr. Bleckner will be appointed goodwill ambassador.

He said that after several days of teaching them rudimentary painting and drawing skills, many began to open up to him and to create work that powerfully expressed their experiences. ... "What this mission accomplished is what I call microcreativity," Mr. Bleckner wrote in a catalog of the children's work. "It is a personal interaction which gives someone the tools to create something that they can be proud of, and which can help them on the arduous path to restoring their dignity and sense of self-worth."

See a slideshow of the children's work here.

• Land & Light Workshop: Capturing the Seasons in Oils by Tim Deibler
• The Painterly Approach by Bob Rohm
• Painting Mood and Atmosphere in Oils DVD by Carolyn Lewis
  

When you're just beginning to paint in an impressionistic style in oils, it's useful to exaggerate the color somewhat. On a sunny day, for instance, make the light places brighter than you think they are, then bring the work inside and see whether it looks like a sunny day. If not, exaggerate the color some more.

• See all our articles about landscape painting
  
• Fill Your Oil Paintings With Light & Color by Kevin Macpherson
• Oil Painter's Solution Book: Landscapes, Answers to Your Oil Painting Questions by Elizabeth Tolley

"There’s a challenge of rebounding from economic disaster and from people moving away after the collapse of the steel industry," says Curt Gettman of Pittsburgh's Sprout Fund. "But what was left was a really great infrastructure, a lot of assets, and a city that understands the value of art and that quality of life isn’t necessarily measured in dollars and cents."

No one can help you sell your Warhol fast like Cash For Your Warhol™! Sell your print or painting for cash regardless of the size, price, or condition. Cash For Your Warhol™ has been in business for several months so you can concentrate on moving on with your life.

• Read about papercutting in the April issue of The Artist's Magazine
• Journal Revolution: Rise Up And Create! by Linda Woods

A great way to study wild birds and animals at close range is to attract them with feeders or salt blocks. At my cabin I have both hanging feeders and a platform feeder. These have provided opportunities to sketch hundreds of birds: Goldfinches, purple finches and grosbeaks have all joined the regulars at the feeders. Carolina wrens, summer tangers, indigo buntings and other visitors that aren't even interested in the feeders seem to be drawn by the activity.

• Creating Nature In Watercolor, An Artist's Guide by Cathy Johnson
• More books on painting animals and wildlife
• Post your work in the Plein Air Channel on WetCanvas