Painting a Series

Years ago one of my workshop instructors recommended painting a series to the group. He often started a new painting every day, each with similar subject matter and worked on all of them together until they were finished, as many as 20 paintings. Everything he learned from one could be applied to the next.  For him the obvious utility was to produce a group of related paintings for a gallery show, but he also said that doing this would make us better painters.  All these years later I have yet to do this in the methodical way he described.  However I have revisited many themes, sometimes 2 or 3 at a time, and I have learned a lot about specific subjects.

I love bicycles.  They are interesting and not easy to draw.  I live near Charleston, SC. The College of Charleston is downtown near the historic district.  Bikes are everywhere.  I love to go to town to take photos, particularly on days with good light.  Below is a series I have painted over about 4 years.

I started with single bikes, trying to figure out how to draw them.

Then I tackled some groups- the first is a small study, the second a 16"x20" version of the same scene.

I have played around with details of the city.

I have revisited the same locations for different arrangements.

I started taking similar reference photos when I traveled.  This one is near SCAD in Savannah.

Recently I tried a scene in which the bikes were not the main event.  This is a well known landmark in Charleston, also an attempt at a nocturne.

What I have learned from this-

1. When drawing bikes, get the wheels right first, making sure they are the right distance apart and the right shape (they are often ellipses rather than circles).  Then add the frame.

2.  Groupings are more interesting when there are splashes of color.  I am partial to turquoise and red, but they can't all be colorful.  Push the color on just a few, the stars of the show.

3.  Don't worry about all the details when painting a group.  Even if all the handle bars don't match up with a specific bike it doesn't matter- the more chaotic the better.

4.  Suggest a few of the wheel spokes with a fine round brush, don't try to paint all of them.

5.  Play up metallic highlights, especially on baskets and handlebars.

6.  Bike shadows are great- include them when you can.  I have seen wonderful paintings of bike shadows without the bike itself.  I will try this sometime.

Thanks for reading!  Have a great summer- this is my last post until fall.

What's on the Back of the Painting

An artist's primary goal is to produce a successful painting.  That is and will always be front and center. But the devil is in the details and making a professional package is a significant part of the impression you make with your art.

I was slow to come to the table about how my paintings looked on the backside.  My hanging hardware wasn't always the best.  I often forgot to label the back of the painting appropriately.  These things are important too, especially if you are putting your work out there for sale.  It is also important for posterity if you give your work to family or friends.

I am a member of an art guild.  We hang regularly in a very nice public place and I am one of those responsible for the hanging.  I have been very surprised at how many experienced painters neglect the back side.  Not only does this detract, it makes a world of headaches for those who hang the art.  Galleries and juried shows have very strict rules about this so it is good to learn them early on.

Here is what I now do and recommend-

Hardware-















This is called  D ring picture hanger.  It is also sometimes called a mirror hanger.  These can be bought for a very small amount on many websites.

This is how it looks installed.  All you need is a small hand-held electric drill or a screwdriver.

They should be the same distance below the top of the frame.  Like this- about a third of the way down is recommended.  I prefer the wire to be slightly loose but not too loose.  If very tight it can be difficult to get on the hook.

Whatever you do, do not use the following hardware pieces-

Sawtooth hanger- no gallery or juried event allows this and it is not a good option.

Screw eye- not very stable, too easy to twist and turn, looks bad.

Don't even think about it- the very worst option.  Yes you can wire around it but it is un-hangable on many hanging systems and looks very unprofessional.

Last, make a label for the back with the following information.

Title of Painting
Your Name
The year it was painted
The medium

If your painting is a gift or commission for a special occasion you might consider making a personal note as well.  Or suggest that the gift givers do this if applicable.

Attach your business card on the back in case the buyers want to follow your work or reach you in the future.

Happy Painting, and don't forget to make your work look great on both sides!

Traveling With Gouache

I am not a water medium artist.  I am pitiful at watercolors and I truly admire those who do it well.

I love to paint when I travel but do not do it nearly as much as I'd like.  Taking my oils is a fair amount of trouble, though I have fine tuned the packing process as best I can.   Here is how I do it-  Packing for a Painting Trip  My gear requires the use of a larger suitcase that is fairly heavy and must be checked.

I just traveled with a gouache set up for the first time.  Here I will share my experience.

Before the trip I took a 2 day class (through Horton Hayes Gallery in Charleston, SC). This was extremely helpful to me.  I already had the paints but had only used them once due to my frustration with the medium.  After the class I felt much more comfortable. Gouache is an opaque water color and it is easier than watercolors for oil painters because one can still paint dark to light and paint over mistakes.  Thinning with more water makes it transparent which allows more flexibility.  The colors come in 15ml tubes (white is available in 30ml).  A reasonable number of tubes will easily fit in the quart ziplock bag required by TSA leaving a little room for something else.  I was a bit put off by the price, but when gouache dries it can be reactivated with water, thus there is little waste.

To prepare for the trip I cut pieces of watercolor paper and taped them according to the desired sizes- 6"x6" and 6"x8".  I used the back of a used up sketchbook for my support and clips to hold the paper in place.  The cardboard, clips and a small stack of papers easily fit into a manilla folder for packing.

I packed a small watercolor palette that securely snaps shut, a variety of brushes in a rolled carrier, a collapsable cup for water, a rag (to dispose of at the end of the trip) and a small spray bottle for water to reactivate paint as it dried.  So this is the rest of what I packed, minus the rag-

No heavy easel or tripod.  No panels, just one piece of cardboard.  Oil paint is heavier than gouache and the tubes are larger.  I brought a carry on roller bag and a "personal item" per airline regulations and had no problem fitting this in.

Once there it was easy to get comfortable to paint.  My set up fit on a beach chair.  I, of course, fit on a lounge.

Here are two of my studies.  I plan to do larger oils using these and my photos.

I have a long way to go but learning will be fun.  Another advantage for me was that doing these quick small studies while traveling with non-painters made me more likely to paint. If you haven't tried this, go ahead!

My supplies-

Winsor and Newton designer gouache, set of 10 (plus I added a couple of colors I like to use and left the gaudy green at home) This is good quality paint.  Gouache set

Collapsible cups with lids (set of 4 so you can share) Collapsible cup

Small spray bottle- any drug store.

Watercolor palette (airtight) Palette

Brush set (mine came with carrier, don't know if they still do)  Brush set

I found this while researching products, haven't bought one but think I might.  Take a look-
Travel tote

Best gouache class ever-  scroll down on this link for info-  Gouache class- Charleston

PS-  I subsequently bought the Travel Tote and I like it a lot more than the collapsable cup which is too easy to spill.

Some Things Regarding Solvents

A number of oil painters have switched to water mixable oils in order to avoid the use of solvents.  Several of my friends who have done this say they are dealing with it but prefer the consistency of traditional oils.*  However, traditional oils can be used with natural oils instead of solvent, so I remain unconvinced that switching over is necessary.

I do use solvent while painting, both to clean my brushes and to slightly thin the paint for my underpainting.  At first I used turpentine but within a short period of time switched to Gamsol, Gamblin's odorless mineral spirits.  Gamsol has two safety features- a high flash point (reducing the risk of fire) and a slow evaporation rate (health safety).  A slow evaporation rate is of some economic value as well.  There are other odorless spirits on the market but I am not familiar with them.  For a detailed discussion of safety issues related to solvents I recommend this article-  https://professionalartistmag.com/using-solvents/

From time to time I am asked what I do with the gunk that forms on the bottom of my mineral spirits container/brush washer (I call it a turp can).  Also, what do I do with used solvent.  I use a medium size Holbein metal brush washer in the studio and a small one for my plein air backpack.  Some of my friends prefer the extra large for studio work. At the time of this writing it appears that these containers are in short supply, but the company still posts all sizes so I assume they will continue to make them.  These are pricey but worth it. The first can I purchased was inexpensive and one of the latches broke off almost immediately.  The Holbein are reliably air tight as long as you keep the rubber seal out of the sun when you paint outside (i.e. put the lid in the shade or under something while the can is open).

                            Holbein metal brush washers, sizes small and medium

Here is my procedure for reusing solvent.  Skip this paragraph if you have the situation under control.  After 2-3 sessions I pour the used solvent from my turp can into a glass jar with a tight fitting lid. Wearing gloves, I clean the thick paint residue on the bottom with paper towels, wiping until fairly dry.  I put the paper towels in the trash to dry before discarding.  I keep about 6 jars of settling solvent going in my storage cabinet.  After cleaning the turp can I refill it with used spirits decanted from another jar that has completely settled.  Because there is gradual evaporation with use, I have to add new mineral spirits to the can periodically, but I reuse the spirits indefinitely.  I never dispose of solvent and I maximize its use.  In 10 years I have yet to completely fill a jar with the solid residue, but once I do I will take it to a hazardous waste disposal station.

Below, I am decanting the spirits in a jar that has settled.  The next image shows the gunk that has settled and become a solid.

                                               

And below are the newly decanted spirits.  Very clear and ready for use.  The level is low so I will add some new spirits.   

    

                             
Now for a housekeeping issue.  With time solid material will build up in the can and more importantly on the piece inside used to wash the brushes.  After long neglect mine recently looked like this:

I know, don't say it... the holes are almost plugged and the piece only fits into the can with difficulty.  I soaked it overnight in Murphy Oil Soap with some added water.  This was a tougher case than usual, but here is what it looks like now-

So I am back in business with a resolve to do this more often.  It works very well, but if you wait as long as I did some elbow grease will be required.  You can do this to keep the can nice and shiny, but I don't care about that.

Murphy soap is also great for soaking brushes with dried paint, and of course to clean hardwood floors.  Unlike many products, I like the way it smells.  It is carried in groceries and hardware stores.

I hope this was understandable and helpful.  Thanks for reading!

*If this is the situation you are in with water mixable oils, check out this OPA blog post about water mixable oils by Christine Lashley
Working Out the Kinks

Editing What You See

Editing and simplifying the subject matter is an important part of painting .  Moving trees or other objects in a landscape can  make a better composition.  Black shadows in photos must be changed with half tones and temperature variations.  The planning process may involve mental notes alone, sketches, or the use of apps.  (See my post on the latter- June 2, 2017)

Here are two examples.  In both cases I made changes before and as I painted.  I did not make sketches or use my iPad to edit.

The first is a painting from this reference photo of a sunset in the Bahamas.

Because of the low light is there isn't a lot of color in the scene.  The dock, palms, and distant foliage are essentially black, though there is some light on the boat/structures on the far side of the water.  I can't tell what some of the structures are, though the mast to the right indicates some kind of sail boat.  I loved the sky and wanted to paint it pretty much as is.

To change the composition a bit I cropped the sky and made more dock visible.  This still avoided a horizon in dead center.  I added some color, both warm and cool, to the black shadows and lightened some of the values while still keeping them in the shadow family. (Remember that the lightest shadow value should always be darker than the darkest value in the light.)  I played up the light on the boats, improvised the sailboat that was not really discernible, and took the liberty of highlighting parts of the dock.  A little bit of rim lighting there is believable and keeps the posts from disappearing into the darks behind them. Last I put sun reflections on the water which should have been there but in reality were very subtle and diffuse.  This painting was also an experiment with chromatic black* in order to justify a recent purchase.😆  The greens were made with black and a bit of yellow.  The other darks were mixtures of black with other colors, such as burnt sienna.

The second example is a plein air piece from a nearby golf course.  I took a photo before painting which I always do, unless I forget.

I do not like painting golf courses.  They are artificial and too manicured for my tastes though that is purely personal.  But this course is close to home and when closed, painters are allowed to wander freely.  It was a good cloud day.

I chose a square format, for no other reason than I love doing them.  A landscape format would have been perfectly fine.  This was 8"x8" and the session lasted about an hour and a half.    My canvas was toned with burnt sienna and I used this for the underpainting also. The darks were ultramarine blue mixed with burnt sienna.  To avoid the look of the golf course I made the terrain flat, which is how the natural landscapes are in my area.  I eliminated all man-made structures.  I kept the horizon low because I wanted the sky to be the real star of the show.  I made sure that the grasses did not look mowed or uniformly green.  I didn't move the trees because I liked the way they led me through to the ground beyond (fairway!) and the sky.  I exaggerated the warm blue in the sky close to the horizon because I love the way this looks on a partly cloudy day.  I think I succeeded in making this look more like a field than a golf course.

I hope these examples were helpful.  Thanks for looking!

*chromatic black is factory made using 2 complements- quinacridone red and phthalo emerald.  This makes a vibrant transparent black that doesn't deaden other colors when mixed (like ivory black tends to do.)

Painting from Memory

A few years ago I took a plein air workshop taught by Kelly Medford.  On the second day she made us do the following exercise on location.  First we painted a scene of our choice with a strict time limit.  As I recall we had an hour.  Then she asked us to study the scene for 5 minutes without painting and to make as many mental notes as we could. We put our first paintings away and moved our easels  to a spot where we could no longer see the scene.  We were given the same amount of time to paint the second one from memory. After we finished, we lined up our paintings and the group had to guess which was the one painted from memory.  The results were interesting.  Everyone was able to get a decent memory painting and the correct guesses were about 50/50.  As much as I enjoyed the exercise, I never did it again on my own.  I have seen beautiful paintings done from memory and I envy artists who can do it well.  Practicing this makes one a better observer and thus a better painter, because learning how to see is a big part of becoming a good artist.

Recently I saw a beautiful scene from an airplane.  The sun was setting just as the moon was rising.  The moon was full and the sun's reflections threw amazing color on the opposite horizon.  It was truly surreal.  I did not have a camera, but it was at such a sharp angle through the window that I doubt I could have taken a good shot.  I watched it as long as it lasted and made mental notes, something like this: from bottom to top there was a cool deep blue followed by a warmer violet blue.  Then lighter saturated pink with a small transition zone of some warm unsaturated yellows.  A warm lighter blue was at the top. The moon was yellow orange and occupied the blue-violet region.

I wish I had made written notes because it was a week before I had an opportunity to paint this, but it was still reasonably fresh in my mind.  I already had a 14"x14" stretched canvas that was primed with orange.  I had used oil paint mixed with cold wax so I decided to stick with that and paint with a palette knife, another thing I rarely do.  I did it in one session.  I have to be loose with a palette knife because I don't have much experience and I can't control it very well.  (Sort of like painting with my non-dominant hand.)

Here is what I got- nothing like I usually paint but it looks a lot like the actual scene.

I usually tone my canvases with burnt sienna thinned with mineral spirits and wiped down, but when I paint with cold wax I like to start with a thicker layer of vibrant color.  I can let some show through (easy to do with a knife) or even carve out areas to reveal the base color as I go along.  Cold wax creates a lot of texture and I do not add additional medium when I use it.  I use about a 50/50 ratio of wax to paint, sometimes a little less wax for the first couple of layers.

From a compositional standpoint this is a very simple painting which helped with the memory piece.  I'm not ready to attempt a complicated landscape.  Baby steps... but memorizing a complex scene makes simplification a necessity.

Another thing to try, and I have done this to avoid direct sun on my panel, is to paint with your back to the scene.  This keeps the sun off if that is an issue and requires you to study the subject, then paint a bit before looking back.  Though not as challenging as painting the entire painting from memory, it forces you to really look and make mental notes before turning back to the canvas.

I'll write more about cold wax later.  Meanwhile, Happy New Year and thanks for reading!

  

Commissions- A Double Edged Sword

I never intended to do commissions and rarely accepted them until about 3 years ago. Before that it was an occasional piece for a friend or family member and usually a gift. I never promoted myself but eventually it grew by word of mouth.  Commissions often come through galleries and I am not in one, so I never expected much in the way of volume. This past summer I had eight commissions and have 3 to complete this fall.  That is more than the total number for the previous 3 years.  So, I have been busy.

There are a number of reasons to do commission work.  First of all, the painting is almost a guaranteed sale.  I always give the client the option of not buying the piece if they are not happy.  That has yet to happen though I'm sure it will sometime.  More on this later. Secondly, commissions are often very specific requests that would not be subject of the artist's choosing.  I do not do portraits because I lack the training, but I have accepted pet and house portraits as well as figures that represent specific people but are not exact likenesses.  My favorite type of commission is a more open ended request for something similar to a painting I have done in the past, but when I have to paint out of my comfort zone I always learn something.  For example, after taking on some house portraits I improved my perspective skills and ability to simplify architecture.  I like to paint cityscapes so the experience was helpful.  Accepting commissions has grown my client base. Many of my requests come from friends or family members of previous commission customers. Subsequently some have purchased non commissioned work as well.

There are some downsides.  I was so busy this summer I did not have time to paint subjects that I was passionate about.  I went on two brief painting trips for plein air studies but otherwise mostly worked on commissions in the studio.  Most of what I did involved specific deadlines which made things more stressful.  My general inventory is lower than I like for it to be because I was not able to replace pieces that sold online or in shows. These are good problems to have, though I have not had as much pleasure from a creativity standpoint.

As for the risk of unhappy customers,  I have a couple of suggestions.  If I have access to the scene I take my own photos, but often this is not possible.  I will not accept a commission if a bad reference photo is my only option.  I take progress photos while I work on the paintings and give the clients the opportunity to give feedback.  I had one large piece this summer (36"x36") and I first painted a small study for them to approve (12"x12").  That saved a lot of effort on the back end.  Galleries typically ask for a 50% deposit for commissions which is only refunded if the gallery is able to sell it to someone else should the client be unhappy.  Some artists charge more for commissions because they are more trouble.  I don't do either of these things but it is something to consider.

Below are a few examples of this year's commission work-

I would not have chosen this house to paint but it was a good lesson in simplification as this house had a lot going on.  I was able to get creative with the sky and the foliage which made it feel more like painting a landscape (my comfort zone).  14"x18"

I actually had to paint this twice, each with a different golfer.  I was lucky because the light was very good in the reference photos.  (Unfortunately I wasn't given access to Augusta National for photos...) The shot was taken in the fall but I was asked to paint the azaleas in bloom.  It is easy to find photos of this hole online so that was easy.  I do not want to be known as a golf course painter, but if I had to do it this was an exceptionally good subject with a lot of natural landscape.  16"x20"

Now for my favorite, a request to paint a subject I have painted in the past.  I love bicycles and hadn't painted any in a while.  Right up my alley and I was told I could use any reference I liked.  Hard decision because I have a large file!  The only specific was the size of the painting, 12"x12".

If you sell your work and have not done commissions I recommend giving it a try.  Starting with friends and family is a good way to get your brushes wet.

Thanks for reading!