My oil painting technique... A few Q's & A's

From time to time I will get questions from fellow artists about my approach to oil painting, so I thought I'd share some recent ones here on the blog, in case there are others who might have the same concerns: Q: How do you keep your colors clean painting in oil? Do you clean the brushes stroke after stroke? Do you wait for one coat to dry before applying a thicker one?    A: The best way to do this is to lay a stroke down and leave it be. I like to mix my paint on the palette with a palette knife in the studio, rather than mixing it around with my brush. When I paint en plein air, this isn't always the case, but starting out in oils I recommend it for keeping colors clean. Also, yes, clean your brushes often and wipe with paper towels. You need to have enough paint on the tip of your brush. Most beginners in oils don't do this and lay down a thin stroke, then see they didn't get the right effect and so try to paint over and over it a few times, giving a smeared, muddy effect. If you need to test the paint mixture to judge color notes or values, just dab a bit of paint on the canvas with your palette knive to test before laying on a bunch of paint.

You can paint either using a direct method or an indirect method. I paint using a direct method, where I am laying paint rather thickly on canvas, sometimes doing it all "alla prima" (at one go) for smaller canvases, or in consecutive sessions for larger canvases.  You can use a painting medium like Galkyd or Liquin, which speeds the drying and increases fluidity. There are also impasto mediums that help the paint sit up thickly and "stay put". But if you use these, use them sparingly or else it compromises the stability of the paint.

I saw Ken Backhaus and John Budicin demoing in oils recently and neither of them used any medium at all. They just laid the paint on pretty thickly and left it be.  It does take some practice to do this, though, and some confidence in handling your brushwork.   Indirect painting is approached differently, using glazes that build up through layering. With this method you WOULD let the painting dry to the touch in between sessions, painting thinly and gradually building up the paint layer. The rule here is to pain "fat over lean", meaning paint thick over thin, oily over less oily. Lots of portrait painters use this indirect method, which gives a beautiful luminous quality to  translucent passages such as skin.

Q: How do you keep your deep dark values clear cut separate from your light? That goes for structures as for skin tones. 

My dark passages and shadow areas are generally painted a bit thinner than highlighted areas. I leave the impasto (thick, raised paint) for highlights, which are naturally going to be more opaque because of the addition of white paint used in the mixtures.

The best way to keep your darks clean is to not move your paint around so much on your canvas once it's down. Think in terms of laying the paint down rather than smearing it around. Also, to keep darks dark, you can lay them in first and then lay in impasto highlights after. If you do it the other way around the light, which usually includes white will muddy and lighten the dark . If you do need to darken something, wait until the paint "sets up" a bit and becomes at least tacky to the touch before going back in with dark over light. If you've worked in watercolor before, this will be the exact opposite approach to watercolor!

New Gallery Photos

I thought I'd post some photos of the new gallery space, which officialy opened last Friday night. We were swamped the entire night so I did not get ONE picture of the actual event! It turned out well--hectic but fun. We're both still recovering from total exhaustion, but at least we made it through "phase one". Phase two is still to come--moving my art studio part into the building. We hope to have that accomplished by mid January at the latest. Front room:

This is the wall to the right as you walk in the front door. The flowers on the table are from our new landlord!

This is the left wall of the same room--A great spot for the paintings in my mini collection:

This is a view of the right hand wall as you continue on into the middle room.

Here's a shot of the same wall looking back into the front room:

Here is the opposite wall in the second room. The picture to the far left is an original oil painting of Tuscany. The pictures to the right are canvas prints on the walls, and paper prints in the rack. People were amazed at the quality of the canvas prints, which looked so much like paintings that I had to tell them they were prints and not originals.

   

Heading out from the 2nd room and into the third room. This is where the band played opening night:

Rounding the corner into this third room, here is my wall of Key West paintings:

   

   I had these paintings framed differently from the usual gold because I felt like the solid gold was too formal for this subject matter. I like the linen liner and the platinum colored frame with the bamboo motif for these sunny Key West pieces.

   This last room will undergo some changes. The front two rooms with the hardwood floors will remain gallery space, but we'll use this area more for work space (to be determined), though we'll still hang some art here. Down that hallway is a fourth small room and a bathroom with a utility sink.

   Jennifer Young Studio & Gallery is located at 16 E. Main Street, Richmond, VA, 23219. Currently we are open from 6 to 9 p.m. during the First Fridays Art walks, and other times by appointment. Please call 804-254-1008 (1-877-DIAL-ART toll free) to visit the gallery or to inquire about the paintings you see on the website.

Opening night

Well, tonight's the night! The doors to the new gallery will open at 6 p.m this evening and we are pretty much ready for it. Last night the band did their final soundcheck for tonight's music too, so it should be a fun time. There are a lot of happenings in town tonight besides my opening, and lots of good reasons to come downtown. There is, of course, the First Fridays Art Walk and all of the art openings that are associated with that (inclucing mine). The art walk is in its 6th season now and the momentum has really built over time.

Tonight is also the night for the Grand Illumination downtown at the James Center, and the open house for the newly restored historic Main Street Train Station.  There are some good restaurants right along the Broad Street Corridor of the Art walk too, so a lot of people make a night of dining and then gallery hopping. If you are in Richmond and plan to come downtown this evening please come on by and see the gallery!

I've had too much running around this week to take photos and post them here, but will post follow up pictures after the event.

Countdown to the Grand Opening

Only two days to finish up preparations for the gallery grand opening. Yesterday I was interviewed by a writer from Brick Magazine, a fairly new weekly magazine put out by Media General/Richmond Times Dispatch. The timing is great, as the article is due to come out on Thursday, a day before the opening!

The lighting is in, but we had to go with a temporary option because our more permanent solution wasn't able to be shipped on time. It will be just fine, but there was a period of momentary mayhem trying to determine an alternate solution for those 11 foot ceilings.

About 90 percent of the show is hung, which consists just under 30 paintings and a number of small minis as well.  I'll take some pictures later today and post them here on the blog.

Oliveti Terrazzati

Here is a painting of the terraced olive groves I so loved in southern Tuscany:

I actually thought I was finished with this painting last week, but there was something about the sky that was bothering me. I set it aside and worked on other things, but kept looking at the painting over time. The sky was previously painted pretty plainly. I was going for the golden light of evening but it just didn't turn out right. I guess my photo reference of this scene had washed out the sky, even though I knew it was taken during that beautiful early evening glow.

Then the other evening as I painted in my studio, I noticed the most gorgeous clouds outside of my window. I ran and got the camera and took some shots, and then just sat and watched the remaining sunset, noticing the color transitions of an evening sky.

With that new information I went back and addressed this painting again, and now I feel that it better states the mood and atmosphere that I was trying to express. This painting is gallery wrapped and measures 30x40". Please click here or click on the image for detailed info and purchasing information.