Painting in the Driveway

blogpost

My studio is small. Chemical smells can fill the air quickly. I can ventilate for acrylic fumes, but scents from oils and their related thinners take control of my studio environment.

So when I paint with oils, I paint outdoors, or almost outdoors. On pleasant days, you can find me with my pochade box in the middle of the driveway. On less pleasant days, I’ll be in the garage but with both garage doors wide open so it feels like I’m outdoors.  And I sometimes take my pochade box on the road, but I’ve discovered I’m much more comfortable painting near home.

My studio is filled with shelves and drawers of painting supplies. And for years, I believed I would feel insecure not being around all those supplies as I painted. But spending the warm months painting in oils outside my studio has forced me to think and paint compactly. Minimal supplies can be creatively freeing!

The painting above is a small 12″ x 12″ oil on canvas that I completed while standing in the driveway. I took some liberties with my neighbor’s acreage – I left out the barn and I left out the cows but I added some water in the foreground that wasn’t there that day, but often is.  Completed with a few paints, three brushes, a palette knife and shop towels.

My oil supplies are few. All contained in a portable box attached to a camera tripod. I reduced to an eight-color palette which tends to remain the same but sometimes I’ll switch colors. I use only four or five brushes (with sawed off handles so they fit into the pochade box) and a small container to hold turps or thinner. A roll of shop towels is by my side and I always wear nitrile gloves to keep paint (and thus, paint thinner for clean-up) from my skin.

Click here to see a one minute video of my outdoor setup. And yes, it was shot in my driveway.

 

 

 

 

Share this post:FacebooktwitterpinterestmailFacebooktwitterpinterestmail

Look Ma! No Brushes

Give me a shop towel, a credit card and a shish-ka-bob skewer and I’m a happy painter!

In a recent post I mentioned my favorite paint applicators. In this seven minute video, I show how I use a few of those applicators to create a landscape from start to finish.

I increased the speed of the video to shorten the video….so watch quickly!

 

Share this post:FacebooktwitterpinterestmailFacebooktwitterpinterestmail

Let’s Make it Hot

main

It’s always a bit of a challenge for me, working with warm colors. I prefer the soothing cooler colors of blue, blue/green with perhaps a touch of color from the warm side of the color wheel. But these hot humid days in the studio have inspired me to try warming up my palette. I want to create a series of landscapes using predominantly warm colors to reflect the current weather patterns.

This is the first in the series. So far it’s an untitled painting and it’s 12″ x 12″ painted with acrylics. I used my current standard palette of Hansa Yellow Medium, Napthol Red Medium, Phtalo Blue (green shade), Titanium White, and I added Transparent Red Iron Oxide to the palette to create some deeper warm tones.

1

Here’s the first step to the painting. I randomly brushed the surface with some cool colors…just to get rid of the white…then I used a painting knife to apply light molding paste. The molding paste has a bit of tooth and would allow me to use drawing media like graphite or colored pencil on the surface at any stage. But as it turns out, I chose not to add calligraphy. The texture you see in the final painting is actually the molding paste.

2

I covered the surface with a golden yellow then used an old, rough stain brush to apply the oranges.3

I think the hot colors gave me a headache! I toned down the surface here by drybrushing mostly white over the sky area and adding a blue path.

4

Here I defined the path a bit more then brought some of that blue color up into the sky. To complete the image I added a few more lights, a few more darks and glazed the orange area in the front of the painting with several layers of Transparent Red Iron Oxide to tone and deepen the color.

 

 

Share this post:FacebooktwitterpinterestmailFacebooktwitterpinterestmail

My Favorite Things – applicators!

1

Raindrops on roses and whispers on kittens might be some of your favorite things. But some of my favorites are applicators! You know – those tools you use to apply paint to a surface. I’d call them brushes, but I only use a few brushes, the rest are, well, applicators.

Many of these allow me to work loosely and quickly, establishing shapes and patterns, working from large shapes to small shapes until applying the last few touches of paint with a brush.

The photo above shows my hard rubber roller. I use this to apply random vertical, horizontal or diagonal shapes to a canvas near the beginning of the process. The hard brayer skims over the surface applying color to the raised bits on the canvas. I’ll also often use a soft rubber brayer to apply more paint more evenly and/or a sponge roller which gives me a more opaque and smoother layer of color.

2

Ahhh, my most favorite applicators. My painting knives (and I have many in a great assortment of shapes and sizes) are used to mix color on the palette, and to apply that color onto the surface. They give a textured application of color.

4

Blue shop towels, grouting sponges, bamboo skewers and popsicle sticks can all work magic with a design. I can blend and smooth, and erase, with a dampened shop towel; wipe color or pounce color with the sponge and I use the wooden utensils to apply small dots and strokes of color.

5

I use the drywall and wallpaper tools to apply large sections of broken color to a surface. Great to use over a gelled surface. The applicators just skim the tops of the gel peaks laying down thin, random spots of color.

3

Catalyst tools are used to add color, move color and remove color.

6

Old credit cards and room keys serve the same purpose as the drywall applicators, but I use them for smaller spaces. I often use the edge for tree trunks or field highlights in a landscape.

8

And finally, my bristle brushes. I use these for small shapes where I want some control and for adding any final details to the painting.

 

 

 

Share this post:FacebooktwitterpinterestmailFacebooktwitterpinterestmail

A Painting Facelift

blog trail new pic

 

Funny how paintings can change over time. One gets completed; you live with it for a while and seem to enjoy what you created. Then, some time down the road, you realize a few nips, tucks and tweaks can make a stronger image.

The painting above is the current result of an image I’ve changed a few times. The image below shows the former look. The orange tree poking up through the forest just became annoying.

blog trail former ic

I knew I had to do something with that tree, and the photo below shows what I did – I got rid of it! With acrylics, that’s easy to do.

firstpic

I mixed the sky color which was Ultramarine Blue, Titanium White and a touch of Indian Yellow and brushed into the sky, over the offending tree and down into the tree line a bit.  I didn’t adjust anything in the bottom half of the painting but did soften the tree line, made the highlight on the grass a little thinner and less intense and move the tree into the front of the forest.

secondlastpic

 

I built the tree with layers of ultramarine blue and yellow creating values of yellow-green. Then I just kept adding color and switched the hue, and the tree, to blue-green, which I liked better. I added a few more touches of the blue-green throughout the image and I’m calling this painting done!

Share this post:FacebooktwitterpinterestmailFacebooktwitterpinterestmail

Watercolor Sketches

2

My morning start. If I work small, if I work quickly and loosely, I can stir up whatever creative genes I possess to pump up the excitement, pump up the skill set for a day of painting.

This is my current sketchbook. It’s filled with watermedia sketches created in a matter of minutes once I turn on the lights in my studio each day.  I start with watercolor and often add casein. The watercolor is transparent; the casein helps me resolve the image with some opaque color.

I use a coil bound Field Series Watercolor Journal with 140 watercolor paper. Although I haven’t tried this Iexpect the journal would also work well with mixed media technique. The size I use is 6″ x 6″ but it comes in a variety of sizes and different cover colors. Here’s mine:

1

I use Qor watercolor paints from Golden Artists Colors and Shiva casein available from Richeson Art. And today, I seemed to be extra enthusiastic so here a couple more sketches from this morning’s start up session.

4

3

Share this post:FacebooktwitterpinterestmailFacebooktwitterpinterestmail

Red and Blue Can Make Green

aftertheraiinlowres

I’m not fond of the color green. As a landscape painter that can be a bit of a problem. I’ve tried mixes of warm and cool yellows with warm and cool blues and I use some of those mixes in my paintings. I can’t say they make my heart sing.

So my challenge is to create peaceful, soft landscapes using as little green or yellow-green as possible. I push my greens towards blue-green ( or yellow, or orange, or…)!

A few months ago I painted a blue foreground that seemed a little strident. I toned the blue with a glaze of transparent red iron oxide and a whole new world opened to me.

Using red and blue (Transparent Red Iron Oxide and Phthalo Blue (green shade)) I get a somewhat transparent green that can range in value from very dark to soft and light. It’s a green that makes me happy. Add a little more blue to the mix and the color becomes blue-green, add a little more of the red oxide and the green becomes very dark, add white and it’s a softer, lighter green. Mix with other colors on my palette and it holds its own. It’s a rich color mix that keeps me interested.

Using this red and blue combination with some bit players added for contrast, I built the above painting, “After the Rain”, 12″ x 16″ on cradle board. And in the photo below, I present my latest palette for landscape painting.

paintsformarchblog
Share this post:FacebooktwitterpinterestmailFacebooktwitterpinterestmail

Plein Air From Inside My Window

frontyard

There’s something about winter that’s quiet and comforting. Several feet of snow deaden any sound and there’s a pristine, untouched look to the landscape when you live in the country.

That’s why I’m enjoying painting winter landscapes – both the process and the effect are calming.

My studio has a north-facing window. I set up my easel facing west and I see the image above.

I turn my easel to the east and I find the source material for “White Pine”, below.

whitepine

Then I move the easel a little to the right and I can paint “Backyard Winter”, below.

backyardwinter

I like to call these plein air paintings, but I’m looking through the window, I’m not actually outside. But hey, it’s minus 35 out there…and I’m no fool!!

Next on my list of projects is a version of the image below. And I can take my time. It looks like the snow won’t be going anywhere soon.

backyard

Share this post:FacebooktwitterpinterestmailFacebooktwitterpinterestmail

A Quick Look at Painting with a Knife

Look quickly. This video will take you through a painting from start to finish in three minutes. I only wish I could paint that fast! I wanted to show you how I paint several of my images using a palette knife and shop towel, and I wanted to show that process from start to finish.

I painted the background an all over red-orange to begin, thinking the color would glow through in the final product. It doesn’t, but I learned long ago not to fall in love with any particular color or shape in the painting process. It’s all subject to change.

The video shows how I work back and forth between foreground and background and how I soften some of the sharp edges using a shop towel (with a little water if I’ve left the paint too long and it starts to set up before I can manipulate the color).

I mostly work from light values to dark values. I mix the color value with the knife then just kiss the surface of the painting with the knife to apply the paint. I work wet in wet when I want the colors to blend on the surface but I’ll let the colors dry when I want crisp, clear color changes.

The painting is an 8″ x 8″ acrylic painted on cradle board that was sealed and gessoed.
yellowfields8x8
Share this post:FacebooktwitterpinterestmailFacebooktwitterpinterestmail

What’s Left on the Plate

mono1

 

 

Monoprinting is offset printing. You apply paint to a substrate (in this case, a gel plate) then lay some paper on top of the substrate, apply a little pressure, and transfer the paint to the paper. Repeat this step many times and you have a layered, multi-colored original print.

Some residual paint is almost always left behind on the plate after printing a layer of color. And I like to use that residual paint to my advantage. What’s left on the plate becomes a guide for subsequent color layers. I’ve broken out some of the steps for this 3″ x 5″ print (above) to show you how I can start, with just one overall color and no plan for a final image, and allow some of the residual paint to guide my design.
stepA

 

The image above shows what’s left after I printed a layer of Quinacridone Magenta. By the way, I use Golden Open Acrylics, both for my monoprints and my acrylic paintings. The paints are slow drying – so they won’t dry on the surface while I’m slowly thinking of what the next step should be.  The paints also give me the freedom to mix colors directly on the plate (and often on the paper as well). I try to use lighter, brighter, transparent colors for the first layer.step1

 

The photo above shows the sky left on the plate after printing. I brush mixed a few colors to make the sky and those colors mixed with the magenta on the plate to create a violet cast to the sky.
step2

With a small, flat brush and some Transparent Red Oxide I created the mid ground – and this is what was left after printing.  With the remnants of the sky paint still on the plate, I could see where to place the Oxide to let some of the magenta show through at the top of the mid ground.

step3

 

With an old bristle brush and a little Sap Green, I added the foreground. The image above is what’s left after printing the first layer of the foreground. I used this color to register subsequent foreground color layers without having to guess about placement.

Share this post:FacebooktwitterpinterestmailFacebooktwitterpinterestmail