Painting Demonstration: Part I

I thought I'd share some information here about my painting process in the studio. It has been raining and snowing for what has seemed like weeks here, so the photography may not be the best. The colors may not appear exact but hopefully these pictures will be sufficient to give you some idea of how the image looks.

Here is my inspiration photo. This is a picture I took with my digital camera when I was in Tuscany in the springtime. We stayed in Montalcino, in the southern part of Tuscany, and we drove all over this and neighboring areas. I think I must have taken about 1000 photos in all. I like using digital pictures because you can delete on site and don't need to worry about film. Plus, back home I can zoom in on details and see them directly in my computer monitor without having to go through the expense of printing the images unless I really want to. My photos are pretty amateurish, but I use them more as digital records to jog my memory of what I saw and sketched while I was there. The actual digital file for this photo is much larger, allowing me much more detail in the studio:

What I like about this scene: I love the lines and the layers of textures. What I want to emphasize. The buildings on the right and the olive trees in the foreground. What I will want to change: I'll reverse the direction of the lines in the front vineyard so that they don't lead your eye straight out of the painting. I will also simplify the buildings, both in the foreground and in the distance; leaving in what I feel to be important and taking out what I feel is distracting.

Here is a quick sketch of the scene that I will use to work out what I'm thinking about:

Okay, before you say anything, I can draw better than this! This is just a quickie sketch - a throw away drawing to cement in my mind what I want to focus on in the painting. It would be better if I had drawn a more rectangular shape, as this is the format I will use for my painting, but I just grabbed what was on hand at the moment of inspiration. As you can see from this drawing, I am still working out the composition. That grouping of cypress trees is right in the middle of the photo, but I will experiment with some other placements. My objective is to make an interesting painting that expresses my impressions and feelings about this beautiful land that I visited, not to make an exact copy of a photograph. While I want to be true to the subject, my first commitment is to paint a dynamic and harmonious landscape.

Starting: Nowadays I mostly paint on white canvases, though some times I still tone them with a quick wash of raw sienna or alizarin crimson. I mix alizarin crimson and ultramarine blue, and with this I draw with a round bristle brush just a quick layout of my composition.

 

 

I'll lay in the sky because this is usually the lightest/brightest part of the picture. I don't get into a lot of detail here because I want to keep it loose and things are still subject to change. However, I do want to have a road map in place, so to speak. My next step will be to start blocking in the painting and laying out my color. In the coming days I will post my progress on this painting...stay tuned!

Scenes from the open studio:

I'm Christmas shopping today, so I thought I'd share some scenes of my recent holiday events. My holiday events came early this year. I held my 2nd annual open studio in mid- October. This may have been a tad too early in the fall, but it was still very successful. Normally I am not able to keep a huge inventory of artwork on hand at the studio, but for one brief weekend I hang my studio work space like a small gallery and open it to visitors. I may eventually hold this event more often- perhaps bi-annually, but we'll see. This year's event was held on Saturday evening and Sunday afternoon. By far the evening events seem to have the heaviest attendance, but the daytime can often bring in people who want to look at the art without distractions. For this reason I feel it's important to do both days. Here are a couple of shots of the studio before this year's event:

 

This is a wall shot of the front room as you enter the studio. This wall would be to your right as you walk in the door. I use the front room as a display area for visitors: 

 

 

 

Here is the large second room, which is normally my work area.

Here is a shot as visitors are starting to arrive. We didn't get many of these pictures this year as things got a little bit busy.

 

The work doesn't tend to stay in the studio long after the show. I will normally ship unsold works off to other shows or consignments. These shows are a lot of work and don't last long, but they offer a nice opportunity to display a larger body of my work in a cohesive way.

Here is a view of my studio work area as it looks today. My easel stands just opposite of the walls that have the large boxes on them. Looks like I had better get to work!

 

 

Beckoning Pathway

Even during this time of commission work, I am getting some studio painting done. I have a larger work on the easel right now, and I will be putting together a painting demo on that to post here soon. Meanwhile, here is a 20x24" painting I just finished of the Tuscan countryside. It is an area called "La Crete". I'm very happy with the way this turned out. I like the softness and the composition. The title is "Beckoning Pathway".

To see more of my Italian Landscape paintings, click here.

Shipping paintings

I've spent a lot of time lately doing commission work, so I haven't added as many new works to my website recently. Since I've been doing so much packing and shipping, I'd thought I'd share a bit about the less "glamorous" aspects of the art 'biz; preparing a painting for shipment.

I start out by using cardboard corner protectors on my framed paintings:

Then I sandwich this configuration between two pieces of cardboard cut to size.

I'll tape all of this together carefully, making sure only to tape cardboard to cardboard and not to tape any exposed frame! Then I will wrap this up in bubble wrap, much in the way I'd wrap a gift:

When boxing a painting, I make sure to have at least two inches of padding around all four edges of the painting, as well as front and back. Some people use peanuts, which are lightweight and great for filling, but I tend to steer away from that because they can be messy. Often times I will use foam sheets or bubble wrap for filling. My shipper, who I will sometimes use for larger framed paintings, once told me that when packing the piece in the box, you need to make sure that when closed, you cannot feel the painting moving in the box at all. Don't over stuff, but just make sure that there is no sloshing or shifting ability.

All of this gets boxed up in a heavy or double-ply cardboard shipping box. (My shipper will most often build sturdy boxes fit to size when I ship the large paintings.) Then I use strapping tape and clear wide shipping tape to seal. My shipper says I don't need the strapping tape if I'm using the shipping tape, but when I have it available I like to use it because it seems stronger to me.

That's it! Now it's ready to go off to its new home.

Oil painting substrates

I thought I'd write a little here about some of the oil painting substrates I use on a regular basis.Canvas: The canvas I use most often for anything over 16x20 inches in size is one that has staples only on the back side of the stretcher bars. Small metal tacks are nailed into the sides of the stretcher to hold the canvas secure. This is a very sturdy, fine canvas with an old world look to it, primed with acrylic gesso. The surface is smooth enough so that it is not absorbent, but not so smooth that there is no canvas "tooth".

The stretched canvases I have been using for my landscapes are standard-depth canvas (around 3/4" deep), so generally the finished paintings are finished off with a frame for display. The great benefit to these canvases is that their depth allows them to easily fit into any variety of frame styles and mouldings, from the very traditional to the very contemporary.

I have lately been considering trying some gallery wrapped canvases for my landscapes. I used to use them in my older work, like the painting shown here. The gallery wrapped canvases are deeper than the standard canvas and have no staples around the perimeter, allowing the canvas edges to be painted as well. They offer a clean contemporary look, and have the benefit of being lightweight and versatile. While these canvases can be framed, one needs to find frames that have very deep rabbet depths so that the canvas edge (which is around 1 1/2" deep) does not extend beyond the frame when you look at it in profile. In general these canvases are meant to have painted edges and are displayed unframed.Panels: Often times for smaller works I will use birchboard panels or gessoed canvas that is mounted on a hardboard or wood panel. (I never use the canvases that are mounted on cardboard. They are too cheap and flimsy and don't hold up for professional use. In any event they are not archival and I use archival materials for my work.)The panels are great for painting out of doors (painting "en plein air") because they are flat and can be packed and carried more easily than stretched canvas. Sometimes I will prime these panels with a neutral base coat of gray or raw sienna. I use these when I travel and for smaller works no larger than 16x20":

 

 After a while they do get heavy, however, so I am always in search of the most lightweight option available! The lightest I've found is the birchboard panels, but these are not commercially available. The birchboard (shown here, bottom gray panel) can be purchased at the hardware store in larger sheets that I have cut down to size. They have a smooth side (for painting) and a rough side. However, I prime them on both sides to seal them and prevent warping.