Slow down; get used to the idea that a paintjob takes as long as it takes.
Practice every day, or as close as you can manage.
The best sculpts (and casts) are the best canvas for a good paintjob - when you\'re really good you can go some way towards making a sow\'s ear look like a silk purse, but it\'s best to start with something that already looks like a silk purse.
Be your own harshest critic, so much so that nobody can throw a legitimate critique at something you\'ve painted you won\'t already have thought of.
Don\'t let criticism - your own or others\' - stop you from producing new work (this is really tough).
It\'s okay to stop, decide something\'s not going well and start again, even strip back to bare metal and work from scratch. But on the other hand working through something that didn\'t go quite as you were hoping has its upside - you have something concrete on the shelf to show a given stage of development and to compare current work to, to gauge improved. Stripping too readily is as bad as never having the resolve to strip, even when you know you probably should.
If you don\'t already have some get some top-class Kolinsky brushes. If you\'re in the US Dick Blick currently have Da Vinci Maestros at
50-58% off list. Their own-brand brushes,
here, are also very good.
Originally posted by Paintatron1000
I am currently at a high level of painting...
What do you class as \'a high level\'?
Originally posted by Paintatron1000
...and I\'m not afraid of some heavy reading.
If you want to learn about colour, vision and perception and colour theory/\'colour theory\' then I\'d recommend reading virtually all of
this section of the Handprint site; put aside a good month or more to absorb it. You\'ll probably find you still need to refer back to it periodically over the next months or years.
Einion