Painting Schmainting

Finished Work - "Yellow"

2009-02-12T22:36:00.000-08:00

This is the first in a series of portraits I am working on. It is 36x24, oil on canvas.

Finished Work - Untitled Rainy Landscape

2009-02-09T17:30:00.000-08:00

If anyone has any ideas for the title, please feel free to pass them along!

Reference photo by Laura D. Thanks, Laura!

Lighting

2009-02-08T22:50:00.000-08:00

Today's Work - Stared at painting for a while, annoyed.

Materials
Sunlight

I am annoyed with lamps. More specifically, I am annoyed with my lamp in my bedroom.

My current work in progress (on my table easel) is subject to wild changes in the way it looks. I only work on it during the day, between noon and four, because the lighting has so much of an effect on it. Its amazing how different it looks by the light of day versus the light of my horrid bedside lamp. The colors are rich and have variety by day, at night the yellow of my bulb turns it all gray and bland. And it's horrible to make decisions based on that kind of light.

Good lighting is essential, not only for working, but for display as well. When you purchase a work from an artist, and then hang it in a dark hallway, you are missing a lot of hard work spent on getting just the right color, just the right tone.

So do yourself a favor, get rid of the horrid lighting where your paintings live.

Is It Done?

2009-02-05T19:24:00.000-08:00

Today's Work - Untitled Portrait in Yellows

Palette
Windsor and Newton: Vermilion Hue, Cadmium Yellow Light, Indian Yellow, Raw Umber, Lamp Black, Flake White No. 1
Graham: Alizarin Crimson, Ultramarine Blue
Old Holland: Titanium White

I have been working on this painting for the better part of a year and a half. Why has it taken me so long? When will it be done?

Part of it is the length of time between sittings. I often paint for three hours, set it aside for three months, and paint for an hour more.

Part of it is the transformation I have undergone in how I paint in the last two years. In dozens of smaller paintings, I have become a far better painter. So my standards have changed. And even now, as I finally think I am capable enough to handle a likeness of a relative, I find myself making adjustments. I want it to be her, not resemble her.

Part of it is the size. It is 36" by 24" and I don't want to know the number of tubes of paint it has on it. I will faint.

Now I think it might be done. But my question is this: why don't I know for sure? I have smaller paintings that I look at and say, "Yes, that is complete." Why can't I do that now?

Perhaps it's because I so much want this painting to be perfect that I will always be nitpicking it to death. And that's exactly what I will get if I continue down this road: death.

So I am going to let it sit, get fresh eyes, put a coat of retouch varnish on it and most likely call it done.

Most likely.

I'm a Fan of Fan Brushes

2009-02-02T22:05:00.000-08:00

February 2, 2009

Today's Work - Varnished Robot Still Life II: "Adventure"

Materials
Damar Varnish (thinned with linseed oil and thinner)
Grumbacher #4 Fan Brush

So what do you think about fan brushes? I love me a good fan brush like nobody else. They are so versatile. Paint with them, soften edges with them, varnish with them. Heck, you could probably eat dinner with them if you wanted.

But then there's the downside - bad fan brushes. I think all materials used should be of good quality, of course, but fan brushes have a special place in my heart. And bad fan brushes have a special place in my trash can.

A bad fan brush, when used as a good one would be used, will scrape all the hard work you just spent hours doing right off the canvas.

Fan brushes should be soft, they are used to soften things, so it makes sense. They should not be made of "hair" that feels like wire. And they need to be kept clean so they remain usable.

So be nice to your fan brush, and it will be nice to you.

Paint

2009-01-31T22:13:00.000-08:00

January 31, 2009

Today's Work - Untitled Rainy Cityscape - still in progress

Palette
Windsor & Newton: Burnt Sienna, Alizarin Crimson, Prussian Blue
Graham: Cadmium Yellow and Ultramarine Blue
Old Holland: Titanium White

Let's talk about paint for a little bit. I have a large quantity of Windsor & Newton oil paint that I have accumulated over the years and I'm trying to use it up. Don't get me wrong, it's alright as far as paint goes, but I think I'm becoming more of a snob when it comes to texture.

I bought a tube of titanium white by Old Holland and my world changed. The feel of it is so much better. Not to mention it's hard to come by titanium white in the Windsor & Newton brand these days.

I have some tubes of M. Graham that I asked for a couple Christmases ago. I don't mind it for glazing, but it can be a little thin. Doesn't build as well as the Old Holland.

If I had the money, I'd replace it all.

But I don't. Yet.

-Laura