Sue Smith's Studio

That Summer When We Walked the Field

2012-01-30T12:18:00.001-08:00

I was remembering how in the spring and summer we used to walk the fields. I wanted to paint this with all the warmth of a summer day, the sun off the water, and the feeling of contentment, that earthy sense of belonging to the land, of standing there leaning on the long wooden pole we used for digging rocks and pounding the ground to scare the rock chucks - who were always tunneling and causing difficulties for the flood irrigation.

Winter Creek II

2011-12-30T21:37:00.000-08:00

Winter Creek II, 6" x 6" oil on panel

I can't believe it is the end of the year - I have been away from this blog for awhile but wanted to post this little painting as it seems fitting for the Winter Season that is upon us. 2011 has been a good year, and I am looking forward to wonderful experiences in 2012 - for all of you as well!

Highlights for me were definitely getting into the NOAPS, the AIS and the American Women Artists shows - and winning an Award of Excellence from Scott Christensen at the American Impressionist Show. Another thrill was receiving an email from a past United States Poet Laureate telling me how much he enjoyed one of my paintings. Also the release of my book Ancient Wisdom Emerging Artist (available on Amazon and Kindle - I know, blatant plug)

Thank you all for dropping in from time to time. And for leaving comments :)

Here's to a Happy - and Creative - New Year!

Lodgepole Pines

2011-10-14T11:15:00.000-07:00

Lodgepole Pines are also known as Tamarack Pines or Sierra Lodgepole Pines. In our forests they are generally tall, thin, and fire adapted - which means that they need fire to regenerate. This makes them a mixed blessing - they grow in dense stands, and thin out naturally, leaving a lot of dry wood on the ground, while their tall crowns allow fire to move quickly from tree to tree. But they also regenerate quickly in the burn area, providing habitat and preventing soil erosion. The Lodgepole Pine is named for the common use by Native Americans in the construction of their lodges. Strong, naturally straight and light weight, many tribes traveled long distances to the mountainous areas where they could obtain the wood.

What draws me to this type of subject has always been the conceptual space that exists between and around the objects in the landscape. I often define this space - and the energies that exist there - by the way the light moves through and around the natural features, such as the tree trunks.

I know that I am painting spaces that I want to explore, to discover something that is hovering just beyond my reach that I sense, but can't see. In that regard my paintings are often contemplative. I hope that if you relate to them, you will return again and again to discover something new.

Re-Exploration of the Ancient Walls Series

2011-09-27T15:04:00.000-07:00

Ancient Walls Italian Series: Firenze III
20" x 20", oil, marble dust, gesso, paint detritus on panel

I recently discovered a source for marble dust and dry pigments, called Natural Pigments.

I was actually searching for something else, but came upon the marble dust and remembered an old series that I had abandoned, in part because I could not develop the texture of the surface the way I saw it in my imagination.

I began to re-experiment with adding marble dust to both the gesso and the oil paint. The result produced layers of paint, some transparent, some straight from the tube, some thickened with marble dust

Aegean Series: Aquarius II
14" x 11" oil, marble dust, iridescent pigment, paint detritus, gesso

You can see more at my website Sue Smith Fine Art. Let me know what you think.

Studio Sale on eBay

2011-08-10T15:56:00.001-07:00

SUMMER STUDIO SALE - SELECT PAINTINGS OFFERED this week
ON EBAY

"Alder Trees and Water, 16"x20", oil on linen on panel ©2010
not framed

Starting bid $65

flat rate shipping $15

"Ranch Mares", 8" x 16", oil on linen on panel, © 2011
not framed

Starting bid $40
flat rate shipping $15

"Near Mitchell", 12" x 16", oil on linen on panel
not framed, ©2010

starting bid $40

flat rate shipping $15

AIS and AWA Acceptance

2011-07-29T11:41:00.000-07:00

Two more OMG - er, exciting - moments to share with you all:

Chokecherry Farm, oil on linen, 12" x 18" ©2011
Accepted into the 2011 American Impressionist Society Show
to be held at Mountainsong Galleries in Carmel-by-the-Sea, CA
October 21 through November 15, 2011

AND

"Summer Storm Coming", oil on linen, 12" x 18" ©2011
Accepted into the 2011 American Women Artists National Show
October 14 through November 3, 2011
Huff Harrington Fine Art, Atlanta, GA

New Work in my Etsy Store

2011-07-29T11:37:00.000-07:00

"Down", oil on linen panel, 11" x 14"
©2011 sfsmith

I have recently reopened my Etsy Store
Paintings From the Oregon Outback by Smithart

This painting is offered for sale as well as a few plein air studies and larger work. I will be adding items over the next few weeks so I hope you stop by and see what's available.

Here is an excerpt from my profile information:

I am constantly evolving and pushing my work to the highest artistic standards in order to offer you, my clients, the best possible original fine art at an affordable value. Let your walls reflect your personality, or the environment you find most energizing. Art is fabulous for doing that - whether you're looking for color and design elements or a sublime distraction from the pressures of your hectic life - art can help you create the environment you want in your home or office.

My goal with this Etsy shop is to create one-of-a-kind small paintings that make fine art accessible and affordable. If all goes well, I will experiment with larger framed pieces. All work is finished with a UV protective varnish and (at this time) ready to frame - you have complete control over framing design and costs. Future plans include offering frames on the site but we're doing baby steps here. Anyway, I hope you stop by, click like or favorite and maybe fall in love with something special.

In The Deep Woods

2011-07-19T12:26:00.000-07:00

In The Deep Woods, 24" x 24" oil on 2.5 deep canvas
©2011 Sue Favinger Smith

My goal with the last few paintings has been to paint more abstractly and concentrate on the quality of the marks and textures. I love working on these deep 2.5 inch canvases, because they allow me to "finish" the deep edge with a technique that uses bronze leaf applied in small pieces. I then rub on a thin coating of burnt umber, wiping off the excess so the texture of the applied leaf is preserved. This is then finished with a coating of galkyd. It creates a beautiful contemporary complement to the painting, allowing it to be finished without requiring a frame.

To achieve a more abstract approach I've had to really push myself to "erase" many aspects of the representational underpainting. This process can involve a lot of squinting, scraping back, scrubbing on, and wiping with a paper towel. There are times I realize I must "erase" my favorite passages to improve the overall effect - which is best done quickly, ruthlessly and without second thoughts. Just do it, then step back and breath a sigh of relief when you see that the painting is closer to the desired end result.

These more abstract paintings do have layers of color that are not picked up by the camera. My goal is to create a painting that first captures your imagination from a distance, then slowly draws you closer in as you visually explore the subtle colors, textures and suggestions hidden in the painted surface. I feel my work is slowly coming back toward the abstract expressionist foundations of my education, but while I will always enjoy non-representational work I think that my own path has led me toward a blending of an abstract contemporary approach to a representational exploration of the landscape.

Creek, Early Snow - Accepted into NOAPs "Best of America" Exhibit

2011-07-04T07:25:00.001-07:00

Creek, Early Snow 16 x 20, oil on linen

I am very pleased to announce that the above painting, Creek, Early Snow, was accepted into the 2011 National Oil and Acrylic Painters Society's "Best of America" national juried exhibit, to be held at Dunnegan Gallery of Art in Bolivar, Mo. Opening is Sunday, September 11, 2011. Exhibit continues through October 28, 2011.

Out of over 600 paintings, 82 were selected for this exhibition. I am honored to have my painting, Creek, Early Snow, included.

Mutton Mountains

2011-06-18T22:15:00.000-07:00

Mutton Mountains, 16 x 20, oil on linen

So much of the American landscape is seen through the windows of the automobile. How many hours have you spent throughout your life driving through areas on the way to somewhere else, and wondered what might exist there, who might have lived there in the past, what might be waiting for you if you just stopped the car and explored?

I've started a new landscape series that explores these ideas, as I try to capture views that could easily be seen through the passenger-side window - in fact, they all were. I used to call these "drive by" photographs, but that term has such a negative connotation now. But just ask my kids about the story they retell at every family gathering, about the vacation photos that show "car going into the tunnel", "car in the tunnel", and "car leaving tunnel.'

It's one of those things a parent never lives down.

An additional note about the email subscriptions to this blog: after several very frustrating hours trying to fix a faulty RSS feed and continuing to get what I consider "spam" mailings from feedburner, I've stopped the email delivery of this blog. I am not computer savvy enough - nor am I willing to waste much time - trying to fix this when there are other ways to read and see what is written here. Please accept my apologies if this causes inconvenience but time is precious and there are so many other things worth doing than copy and pasting codes that won't work.

Rain Curtain - Oregon High Desert

2011-05-09T12:20:00.000-07:00

"Rain Curtain - Oregon High Desert"
18 x 24, oil on canvas

I am very happy with this painting. I originally painted a study very similar to this that was in a 10 by 20 inch format - thinking that the long horizontal "double square" would be the best for this stormy panoramic scene. But I discovered I really wanted to see more of the dramatic sky and how it plays off the light on the ground, so I painted this new version on an 18 x 24 inch canvas.

I also changed the color harmonies from the study and felt good about my understanding of values to create drama and volume, particularly in the sky. ( I have been working on this - understanding values, as I have a tendency to be hesitant about pushing the really dark areas). I also did a lot of scumbling and glazing and using a Q-tip to soften some edges, which worked really well.

After the painting was finished I noticed the suggestion of animals grazing and thought it was really cool they were there since I hadn't painted them in. It just adds another layer of interest and mystery due to happenstance and a brush that must have a mind of it's own.

WAOWing The Lone Star State

2011-04-21T10:57:00.000-07:00

Women Artists of the West
Present
"WAOWing the Lone Star State"
A National Juried Exhibition

Sue Favinger Smith, Associate Member, WAOW

I am very happy to announce that my painting, Meditation, will be included in this show.

Desert Wild

2011-03-15T12:19:00.000-07:00

"Desert Wild" original oil on canvas, 9" x 12"

SOLD

As nearly everyone near a television, it is difficult to ignore the heart wrenching images coming out of Japan. And like many of us, I started looking for a way to help. That's why I was excited to see that eBay was offering a way to donate a percentage of the purchase price to the Tsunami Relief Fund on selected items offered for bid. I hope you will consider clicking the link and looking at the auction site. I hope to add additional paintings in the near future. Thanks so much.

Solitude

2011-02-01T15:16:00.001-08:00

This is a location that I have painted often - Rimrock Springs. The history dates back to early homesteaders, who settled in this valley because of the natural springs. The remains of the old cabin are still on the far shore but the area is now a wildlife refuge so public access is limited.

Each time I paint this location I find something unique, and I believe that each painting gets better in part because I am so familiar with certain elements that I'm able to focus on a single emotional statement. At least that's my hope.

"Solitude" oil on canvas, 16 x 16

Spring Storm, Looking West

2010-12-16T16:48:00.001-08:00

I live in the center of the state of Oregon, an area of the high desert that extends across much of the interior west. When people think of Oregon they usually picture rain, thick pine forests, and majestic mountains - all beautiful. But the eastern half of the state has a different personality equally beautiful, and I am always interested in painting the vastness of the grasslands, the volcanic sculpting of the landscape, and the elemental power of our ever changing weather.

My inspiration for Spring Storm, Looking West comes from just such a location - the grasslands and empty spaces of the north central area of our state. Small towns that are little more than wide spots in the road are slowly disappearing due to the lack of work and a loss of interest in the lifestyle. This is antelope country. Elk, mountain lion and coyote, pheasant, Canadian Geese, grouse...the wildlife reclaims the territory as quickly as the human population moves out.

What I love most about this area of our state is that I can stand out in the elements and see towering volcanic mountains covered with snow in one direction, and an endless horizon in the other direction. When I am standing in this environment I find myself wondering what it would have been like over a hundred years ago. I imagine myself riding through the canyons, leading a string of pack mules, looking for a sheltered place to stop for the night. There is a romance in the idea that we might once again be able to live closely aligned with the natural world.

This painting is 18 by 24 inches, and it is currently unframed. If you are interested in finding out more about Spring Storm, Looking West, please email me.

"Good Things Small Packages" - Women Artists of the West Small Format Sale

2010-11-18T08:13:00.000-08:00

Women Artists of the West is featuring Good Things, Small Packages, an on-line, small format art sale, perfect for the holidays. You will find beautiful art from some of the top artists in the country, so I hope you will take a look.

I am offering three small format paintings for sale as part of this show.

Aspen Study #1, 10" x 8", oil on panel, not framed
$75.00 and includes shipping.

Aspen Study #2, 10" x 8", oil on panel, not framed.
$75.00, includes shipping

Cloud Study #1. 8" x 10", oil on panel, not framed
SOLD

If you are interested in purchasing any of these small paintings, please email me

There are many beautiful and affordable paintings offered for sale during this show, so if my work isn't quite what you want, please take a look at what the other artists have to offer. Most pieces are framed. My paintings will fit into standard frames, leaving you the option of framing that suits your tastes, while keeping the price within your comfort levels.

Please enjoy all the beautiful work and have a joyous holiday season!

Along the Deschutes

2010-11-16T10:42:00.000-08:00

Click Here to Bid

Oil landscape on an 8" by 16" RayMar linen panel

This is another painting offered during my studio sale. I hope you'll take a look. It is not framed, but the size of 8 x 16 should not be too expensive for custom framing. Besides you get to pick the framing you want.

Year End Studio Sale

2010-11-07T15:12:00.001-08:00

SOLD

It's the last two months of the year and I would like to thank all my supporters and collectors by offering a year-end Studio Sale. I am offering smaller paintings for sale and using ebay to allow you to bid on your favorite piece. Because of the economy - and out of gratitude - I am starting each auction at an extremely low price so I hope you'll click over to ebay and see what's happening.

This painting is titled "Tempest". It is 14" by 14" on 1.5" stretchers, a wonderful linen that I prepared using rabbit skin glue and an oil ground. I've painted the edge thinking that it could be framed in a float frame with just a hint of the color vibrating between canvas and frame. It's not framed (one reason for the low starting bid) and could live quite happily on your wall just as it is until framing is desired.

Thank you again for all of your supportive comments and feedback. I appreciate the time you have invested here.

Studio Tip for October

2010-10-19T10:16:00.000-07:00

In this economy I'm always thinking about ways to save, so recently I started saving my "grays".

At the end of a painting session, there's always paint on the palette. But my leftover paints were never of sufficient quantity to warrant mixing them into grays and filling empty tubes. I worried about ending up with lots of tubes that would be filled with small quantities of mystery colors.

But I also hated throwing away perfectly good paint, or worse, trying to use it in the next painting when the colors weren't appropriate.
My solution is this:

I mix together the remaining paint on the palette and add a few drops of clove oil. Clove oil retards the drying of paint, and smells great. You can also use linseed oil, walnut oil - whatever you prefer. Just don't put in too much oil.

I then scoop this blob of paint into a plastic food container with a snap on lid. I recently noticed that you can find very small containers in the grocery store. Or you can recycle what you have on hand. Just wash thoroughly first and keep the lids/lips clean.

Now when I begin a painting session I can easily add these grays to my palette. I can pick and choose warmer or cooler mixtures just by looking into the containers.

Easy Photoshop Tips for Your Best Artwork Photos

2010-09-17T15:08:00.000-07:00

So you take the photo of your artwork and then discover...it's crooked! Here are the simple steps to go from a "Do Over" to "It's Perfect." (This also works if you deliberately shoot at an angle to reduce glare off the painting surface.)

I am using Photoshop Elements, the pared down version of the big version for graphic designers. Still has everything I need. And I've given up on the fancy lighting. I just put the painting on the floor and shoot. (FYI - you can get photoshop for the MAC - I use mine all the time because it will resize when IPhoto won't.)

Open your image. Then click the View drop down menu and select "grid"

The grid is confusing to me at this point so I reduce the size of my image (roll the controller thing on the mouse) or use Ctrl - (minus sign) until only the bold lines are visible. Now you can see how far out of square your image is.

Next open the Image drop down menu and select Transform - then skew. You will be asked "background layer" say yes, then "layer 0" say ok.

Using your mouse, put the pointer on one of the corner circles and drag the image, using your grid lines to help you keep things square. This works in all 4 directions if you need them.

Now go back to View and uncheck the grid.

Then select the crop tool (Rectangular Marquee tool) and crop your now square image.

Next, you want to adjust for the lack of perfect lighting. Select Enhance, then Adjust Brightness/Contrast...then Levels.

This is the "Bell Graph" that opens up. By moving the outside triangle sliders to the starting and ending points on the graph, you keep the light to dark ratio while adjusting the lighting/brightness/contrast stuff. The triangle slider in the middle can be adjusted either way, play with it to see what it does, but usually I just leave it alone.
You're almost done. Now, open the Layer tab (most important) and look at the bottom. If Flatten Image is in bold (it will be if you skew), then select it.

The last step is "Save As" (found in "File" top left corner of the main menu bar). Save as a tiff. This will be the image you will use for every other copy you make. A tiff does not lose data each time you open it. Then "Save As" again as a jpeg so you now have 2 copies of your image.

If you need a smaller copy, go to your tiff, duplicate the image and resize that one, then save it as a jpeg. Or resize the original jpeg.

ALWAYS -- as the VERY LAST STEP -- go to filters, then sharpen, then to unsharp mask. Your program will probably have a default selection for amount, radius and threshold. The amount should be around 100 for digital, you can increase this for print. The radius is how many pixels in the "blob" of pixels to be sharpened, and threshold has to do with the degree of difference between one section compared to the adjoining section. It's all rather confusing, but I have mine set at 100, radius 0.9 pixels, and threshold 9 levels. Sometimes I run that up a bit. Experiment to see what happens if you want to better understand it.

Try this and see if it doesn't make life easier.

Lily Pads at Hosmer Lake

2010-07-29T10:06:00.000-07:00

Lily Pads at Hosmer Lake
oil, 15 x 30
Sue Favinger Smith @2010

Hosmer Lake is one of the most beautiful fly fishing and kayaking lakes in Oregon. Surrounded by marshes and snow capped volcanic mountains, it is a very spiritual place, one of renewal and contentment. Surrounded by birdsong, buzzing and flitting dragonflies, the bitterns, osprey and bald eagle - it's as close to the natural world as you can get.

The Golden Hour - Sparks Lake

2010-07-17T09:53:00.001-07:00

"The Golden Hour - Sparks Lake"
@2010 Sue Favinger Smith

Sparks Lake is large and shallow, perfect for human powered watercraft in the summer. We went hiking, wanting to follow the Ray Atkeson Trail - Ray Atkeson's beautiful photography books usually feature this lake.

We decided to venture on beyond the end of the paved section, then took what we thought was the short cut trail back to the main staging area. Unfortunately, I over-rode my husband's opinion at a crucial Y in the trail and we ended up on the longer loop trail. He graciously refrained from saying "I-told-you-so" and I got some better views of the lake from which to create this painting.

Most important lesson learned? Draw a map of the trail network, don't rely on memory. Oh, and wear insect repellent.

Near Mitchell - Oregon

2010-07-09T09:22:00.000-07:00

This is one of the images I've entered in the OPA Western Regional Show - I enter every year but haven't gotten in, a story so many artists understand. The competition is intense and the artists who do get in are at the top of their game. I do it because it keeps me motivated to push myself into better and better work, to not be satisfied with what I've done before, and if I ever do get in I will then know that all this work is only starting to pay off. I doubt if I will ever paint at the level I aspire to, but that doesn't stop me from constantly working toward that goal.

Linden Trees and Water

2010-06-03T09:49:00.001-07:00

Linden Trees and Water
oil on linen panel, @2010
Available at High Desert Gallery in Bend, Oregon and Sisters, Oregon

An excellent portrait accomplishes several things: it captures the personality of the sitter, it offers a suggestion of mystery, a conversation interrupted, and it is built upon a non-traditional compositional design. In my landscape work I try to approach each "sitter" the way John Singer Sargent or Sorolla might - looking for the personality, the immediacy of the moment, and a viewpoint with an unusual design.

Studio Lighting part Deux

2010-06-03T09:39:00.000-07:00

Last fall I was so happy that I'd found a lighting solution for my studio. Ah...right. This was then.

And this is now. I figure I lose one light every three months. This is not your simple light bulb burning out. No, it doesn't matter how many times I replace the bulbs, how I work them in the sockets to get contact. I figure at the rate of failure I have six months left before I am totally in the dark...heh...some might say I'm already there.

In the mean time I have found this lamp that looks like a reject from the 60's. I call it the octopus. Actually it's very functional, and it was a lot less money than the fancy ceiling fixture.

Using Photoshop to Improve Your Reference Photos

2010-04-01T11:13:00.001-07:00

While I love the idea of plein air painting, I'm more of a studio painter. I do go out and take my own reference photos, and have recently learned how to use the photomerge command in Photoshop Elements (I'm using an older version, 2.0, without a lot of bells and whistles). I've always struggled with the fact that the camera is limited in what it takes in, but by taking a series of shots and then combining them into one, I can come closer to recreating the feel of the location, the scale, the light, all those elements that make a difference. The image above is the result of about 4 or 5 photos merged together.

March Studio Tip

2010-03-10T22:32:00.000-08:00

This month's studio tip has to do with cleaning your brushes - those used for oil painting. I would not recommend this for watercolor brushes.

If you paint in oils you know one of the worst end-of-day jobs is cleaning your brushes. I read about this tip on another blog - I wish I could remember which one, now, so I could give credit. But it works, I've been using it for several months now quite successfully.

Take a bar of natural handmade soap or Ivory soap and put it in an old mason jar. Fill with just enough water to come half way up on the bar of soap. As the soap softens it turns into a gross looking goo but it still works. After a cursory cleaning in oderless mineral spirits I put the brushes into this soap and water mixture. I've - gasp - even left them soaking for several days. I won't admit to anything over a week here. I might scrub the bristles over the soap a bit and then rinse in running water and - presto. They are clean and even those with dried in gunk come out in much better shape. I think it might have something to do with the lanolin that is still in handmade or natural soaps and removed by chemicals in the commercial soaps. The lanolin conditions the bristles - at least that's my theory. Anyway, it works better than anything I've tried to date, is cheaper than most commercial products, and uses up all those hundreds of bars of homemade soap I've received as gifts over the years.

Hey, not that I don't love those soaps or the fact that you thoughtfully gave me a gift...

Fixing the Wobbly Easel Problem

2010-02-15T12:29:00.000-08:00

If you have one of these A-Frame studio easels you are also probably familiar with the tendency for the easel tray/support to wobble when you are painting. For years I tried all kinds of fixes, putting in way too much thought and creativity into something that continued to frustrate me. And then came an idea so easy a caveman could have thought of it: I used wood shims. Now it's easy to adjust my height and get a stable work support each time. Duh...

Studio Tip for the New Year - New Palette

2010-01-10T09:36:00.000-08:00

For years I had been working on a 12 x 16 glass palette. It fit nicely in my work area and I had an old cookie sheet that I inverted over the wet paint to retard drying. Then I discovered a large piece of glass packed in with some old sketches and decided - why not? It's 18 x 28 (probably came from an old watercolor). I cut a piece of medium gray mat board to size and taped the glass and mat together with painter's tape. I could not believe the difference this made. I was so afraid it was too large and I would hate it - but quite the opposite.

Christmas Paintings

2009-12-08T08:21:00.000-08:00

Winter Scene, 5 x 7 oil on panel

Christmas Girl, 7 x 5, oil on copper leaf on panel

This year I had the opportunity to create and donate several paintings to Christmas Auctions that benefit local charities. The challenge was to paint a "Christmas Card" image. I haven't heard yet about the opening night but I am hopeful that all the cards sell. The various approaches in different mediums was very inspiring - these could really make great gifts any time of the year.

Studio Lights

2009-11-02T10:14:00.000-08:00

new fixture replacing old florescent

My studio is in a spare bedroom in my house - a common situation for many painters - and the standard ceiling lighting is inadequate. A few years ago I replaced the ceiling fixture with a florescent fixture, which flooded the room with bright light but made it difficult to accurately judge color. I added a fixture above the west-facing window and used a floor lamp in one corner, but these fixes still did not give me the lighting I desired.

A month ago I decided to research studio lighting and discovered that many experts suggest a variety of lighting sources and types. I've included links to some of those sites at the end of this post. I understood the obstacles to lighting that I had: West and North facing windows, a ceiling fixture, a room about 11 x 11, and not wanting a major lighting project that would make it difficult to convert the space back into a bedroom if the need arose.

The research I did led me to conclude that I needed multiple light sources that I could control, a way to avoid glare and, conversely, shadows by diffusing the light. I needed task lighting that I could direct down on my work space, and I needed lighting that could work for me both in daylight and at night.

I ended up with a compromise in what I could do. First, I replaced the ceiling florescent fixture with one from the home improvement store that allows me to direct the light. This fixture uses 50 watt GU10 bulbs and the light does have a yellow cast.

Using this light alone I can create a wash of light on the wall and my easel.

But I needed a way to countermand the cast shadows created by this light source. I decided to use floor lamps that direct the light upward to wash across the ceiling. These lights are slightly more blue/white.
One lamp in one corner, another lamp in the opposite corner. The newer lamp uses a 3-way natural light bulb, I'm not sure what is in the other lamp. Above the window I have an adjustable fixture, plus a clamp on light with a GE 50 watt Reveal daylight bulb

I use another clamp on light with a 50 watt Reveal bulb to light my palette and control cast shadows. I also use an Ott Lite above the easel.

While not the ideal if I were planning my dream studio, I find this assortment of lighting sources to be far more flexible than the single wash of light from the florescent fixture. I can control the light and direct it where I want, or increase or decrease the illumination, and it was quite affordable. I would eventually like to purchase a floor stand and a solux light bulb, too.

The above photos were taken at night, with each source "on it's own" - but with all the lights the working environment is comfortable. During the day, when I do most of my work, the ambient light is brighter, more neutral, and yet with all the flexibility I desired.

Useful Links:

An Artists Network PDF on Studio Lighting

A Blog Post From Pastel Artist Daniel Wise

Utrecht Art Fixtures

Solux Fixtures

Perception and Imagination Opening November 6th, at High Desert Gallery - Bend, Oregon

2009-10-21T21:31:00.000-07:00

More from the Copper Leaf Paintings

2009-09-29T13:33:00.000-07:00

Ancestor Series
oil on copper leaf on panel
6x6
@2009

I was asked to share more information on my process with these copper leaf paintings. I may have talked about it before, but here is the information again.

I stumbled on this idea a few years ago. I was creating paintings on 3" deep canvases and was unhappy with the way the painted sides looked. I had some copper leaf I'd purchased but never used. So I applied it to the canvases, and now, 3 years later, the sides look as great as when I did them, so I'm confident as to what I'm doing.

Now I start with a gessoed panel. I brush on GAC (an acrylic product) in small areas and then lift and apply small pieces of the copper leaf, available commercially in craft stores. It comes in thin sheets and can be a little frustrating to apply. I either tear or cut small pieces between 1 and 2 inches and gently lay them on the GAC, brushing into place. You will end up with a less than smooth surface, but these wrinkles are what I want for my surface. When the entire panel is covered, I brush it again with a thin, even coat of the GAC and allow to dry.

Next, I use burnt umber acrylic paint and a thick paper towel. I put a bit of thinned paint right onto the paper towel, and using my finger, rub it across the surface. The acrylic paint also lets the oil paint bond to the surface of the copper leaf. When the acrylic layer is dry, the panel is ready to be painted.

I sketch in the "landmarks" for my faces with charcoal, and I use a limited palette of colors. I've also created still life paintings using this process. The copper works with you or against when it comes to values, but if you think of it as a mid-value range and push a lot darker and a lot lighter, it's fine. The small size of the panels I'm using right now means I can finish a painting in about 2 hours - if the faces come. They aren't always cooperative.

When I am happy with the oil painting, I allow that to dry and then coat the entire surface with galkyd. This prevents the copper from tarnishing, although there is no guarantee that some areas won't react to all the materials applied. I have panels I painted more than 3 years ago, where I embedded copper leaf in galkyd. Some copper turned dark, but most of it is as bright as it was when I used it.

Keep in mind that the surface is rough, so fine detail is hard to achieve. I use the beautiful warm color of the copper as a value.

SOLD

This is the painting I donated to the NAWA fundraiser. I went back in and added detail to her eyes with one of my smallest brushes, and I'm pleased with the result. I hope it sells.

New From the Ancestor Series

2009-09-07T19:23:00.000-07:00

Sibyl #2
oil on copper leaf
7"x5"
@2009

It's the end of a busy summer. The weather is starting to cool down and I think everyone is starting to get back to business. I hope you had as much fun these past few months as I did.

The image above is a small painting I did for the National Association of Women Artists. They are hosting an art sale a fundraiser at a Tea Party, October 15 and 15. If the artwork doesn't sell at the event it will be included in an online sale. When I get the information I will pass along the link.

It's difficult for me to fully participate in all the great NAWA events since I live on the west coast and the events all happen in New York City. But at least I can send this small painting. Hopefully it will sell for a good cause.

humm...maybe I need to touch up that right eye...

New Ancestors Series

2009-07-05T09:09:00.000-07:00

The Ancestor Series, oil, graphite on panel @the artist, 2009

I've started a new series called The Ancestors. I'd like to say it was initially inspired by the Toltec idea of the naguals - "women and men of knowledge," but it wasn't until I started reading "The Four Agreements" by modern nagual Don Miguel Ruiz, that I made a connection as to where these "faces" might be coming from.

I originally thought of them them as "faces hidden in the grounds" - meaning that first I textured my surfaces and then began an exploration using graphite, sandpaper, and eventually oil paint as the faces emerged. Now I'd like to think of them as The Ancient Ones, keepers of knowledge on how best to follow a spiritual path.

These are painted on some beautiful 6" x 6" cradled panels that I purchased from Deborah Paris's company, Mountains Edge Frames . I'd ordered a variety of panels with a totally different project in mind, but sometimes the Muse has her own mind made up and I just go along for the ride.

As for the birch painting panels, I highly recommend them. Beautiful finish, light-weight, and the depth of the cradle seems just right for my purposes. I have used other commercial products and I think Mountains Edge is one of my favorites.

Green Onions

2009-06-09T21:51:00.001-07:00

Green Onions
16 x 20, oil on linen on panel
@the artist

I haven't been painting the small daily paintings for weeks, now - first, because my work hours increased (which is good) leaving me precious little time to paint ( which is bad). And secondly, I realized that by concentrating only on the small format, I risked losing compositional skills necessary for larger works.

"Green Onions" is on one of the linen panels I documented in an earlier post titled "How To Make Your Own Painting Panels." I really enjoy working on the oil ground, although it takes getting used to - it's not as absorbent as the acrylic grounds. At first I had a hard time with the "brushy" aspect of the first layers of paint, but I've been studying an excellent book by Bob Rohm, titled "The Painterly Approach," and I'm starting to understand how to use the surface to my advantage.

This painting underwent several major changes as I went along, including scraping off several red onions from the foreground. It will probably never venture out of my studio, but I enjoyed the learning process and will most likely paint a version of this composition again.

Copper Leaf Paintings in Oil

2009-05-04T16:48:00.000-07:00

"Sibyl"
oil on copper leaf, 7 x 5
@2009
sold

"Sibyl" - semilegendary women of the ancient world, who possessed prophetic powers.

Where has the time gone? Here it is May and I haven't posted to this blog in over three weeks!

"Sibyl" was a request from a client who had looked at one of my copper leaf ladies over at Etsy, and when she decided to buy, it had already been sold. After several nudges from her I painted another face, showed it to her while it was still wet, and she loved it.

I have a few more panels that are now covered with copper leaf, and I'm trying to fit time in to finish them.

Studio Tip for April

2009-04-12T11:26:00.001-07:00

home-made brush washer

I'm probably the only person I know who can get excited about punching holes in the bottom of an empty butter tub, but I've always wanted a brush washer and finally made my own.

I use an empty coffee can for OMS to clean my brushes. The gunk in the bottom adds up and it was always hard for me to get the bristles really clean. So, being the *thrifty* artist I am (meaning I prefer to put my money into really good paints and canvases) I was quite happy when I came up with this idea. The best part - it works!

Take one empty, large butter container. Punch holes in the bottom. Take a utility knife and cut the /\ slots. Fold those pieces up - they are perfect for sliding between the bristles of your brushes for a good cleaning. Put the container upside down in your turp can. Works like a charm. When the turps get too dirty, I pour them off into decanting jars and clean out the sludge for disposal. With my decanting jars, I let the remaining solids settle out of the liquid, then pour off the clear part into a second jar. If necessary, I repeat this process two or three times before the liquid is clean enough to use again in my brush washer.

Note: I have been learning more about wiping my brushes rather than swishing them, and using one brush for each color/value. I've read where other artists are using baby oil for cleaning and then washing with dish washing soap. There are many ways to care for your brushes and I have noticed I rely less and less on the OMS to clean between color changes. The additional tip about cleaning with baby oil (which I do use to clean paint from my skin) is to dip the brush into the oil, then push it down on the palette several times, working the excess paint out of the brush.

Please share your own tips on what works best for you.

Spanish Rose

2009-04-07T11:46:00.001-07:00

Spanish Rose
6 x 6, original oil on gessoed hardwood panel
At Auction - you can bid here

I really love to paint from life, taking time to set up a still life that reflects the emotional experience, looking at textures, colors, and the suggestion of a place and time. I was drawn to the light - as always, and the way the cool morning affected the warmth of the flower and reflected on the hand-thrown pot.

Whenever possible, I find my still life props from the work of other artists. I think we have lost touch with something very elemental through our reliance on machine made reproductions. I find great pleasure in running my fingers over a hand-crafted surface, feeling the grooves that the artist made, connecting in a physical, mystical way. This pot was thrown by an artist who lives about 15 miles
from my studio. I use it often as one of the subjects in my paintings.

Tangerine Tango (small)

2009-03-26T11:38:00.000-07:00

Tangerine Tango (small)
6 x 6, oil on panel

sold

I've added this little painting to the auction at eBay. Most of you have followed along with the creation of this small painting, leading to the larger one. I hope you like it.

Copper Pot with Plum Tree Branch

2009-03-25T11:59:00.000-07:00

6 x 6, oil on gessoed hardboard panel

at auction

I love the reflected light along the inner rim of this ceramic pot, flowing and reflecting up on the underside of the copper pot.

Building Painting Supports from Scratch

2009-03-18T15:25:00.000-07:00

Building Painting Supports from Scratch

Prepared panel, linen, and brayer.

This week I have been building my own painting supports. I am working on two versions: linen on hardboard panel, and stretched linen (as well as cotton canvas) on wooden stretchers. The process is sort of like making cookies at Christmas - you get out a huge bowl, a dozen cookie sheets, and don't stop until they're all done.

I started with the panels I ordered from Ampersand. I followed the recommendation found on their website and coated both sides as well as the edges with GAC100. When that was dry, I was ready to mix the glue. I precut my linen, and followed the instructions on the package of rabbit skin glue from Utrecht.

Here is the glue in an old Tupperware container, and my first attempt at attaching the linen to the panel.

It gradually became apparent that the glue was not holding. This may have been because I either mis-measured the granules and/or the water, or the water was too hot. I was following the instructions provided with the package, which were slightly different from instructions I've read from other sources.

So, I went back to Ampersand's instructions. They recommended attaching the linen using a slightly thinned acrylic gel medium. This worked well - except that I discovered I'd cut the linen too small if I wanted to fold over the edges. Back to the drawing board.

Here I am working on a larger panel. Plenty of overhang here. After smoothing out the linen using my Speedball brayer, I flipped the board and worked on the corners.

This took some careful folding, and after I finished I put the panel into a frame to make sure the corners would fit. Those that were too bulky were refolded. I decided to fold over the linen instead of cutting it flush to the edge because, for me, the corners are most prone to damage, loosening canvas, or breaking.

This is one of the stretched canvases with the rabbit skin glue on half of it.

After 24 hours, I lightly sanded the surfaces and got ready to the second application of glue.

I noticed that on one panel, the linen hadn't completely adhered, and I was a little concerned with the outcome. So I was particularly careful as I mixed the glue - in a smaller batch because I certainly hadn't needed the amount that I mixed on the first day. I cut the recipe in half and allowed the water to cool a little longer before adding the granules. That worked. After the second application of glue dried, everything was tight as a drum.

If you are stretching linen, staple it loosely to the stretchers. Do not fold in the corners yet, but staple close enough to keep the linen in place. Lightly spritz with water and wipe gently with a damp sponge. The linen will tighten up nicely. The glue makes it tighten further, which is why you don't want to start as tight as you think. It's the same for the cotton canvas, although the canvas- while wet - appeared to sag more than the linen, but again, when everything was dry, both the canvas and the linen are tight enough to work on.

Remember, leave the corners loose at this point. You will be putting on the oil ground next and want to coat everything before folding the corners.

Today I applied the first layer of the oil painting ground from Utrecht. Here is the step-down knife I ordered. The idea is to apply a thin layer to fill in the spaces between the fibers. You can also use a brush for this - which I did eventually reach for when doing the edges. My eventual technique involved brushing on the mixture, then scraping it back with the step-down knife.

I mixed the painting ground with odorless mineral spirits according to the instructions. I used a glass plate, and after I finished, I was able to scrape the excess back into the can to use another day.

The tools. You can see the thinner areas - brushed on, the thicker areas, using the knife, sort of like frosting a cake but very, very thinly.

I also dug out a little squeegee that worked very well to scrape back the surface. The goal is to prevent any ridges from forming - from brush marks, or your spreading tools. From my research, the goal is two thin coats instead of one thick coat.

I will be adding the second coat within 48 hours, then letting the panels and canvases cure for 3 weeks.

I won't know until then how I like this painting surface, but I definitely enjoyed the process. I have always liked exploring the materials and processes used in creating art, from start to finish. It seems to connect me to the traditions that have existed through the centuries. No, I'm sure I won't give up my favorite oil primed canvases and panels, but if this is an affordable alternative, then I will continue to make my own.

Red Pears on a Plate

2009-03-09T18:19:00.001-07:00

Collected

Red Pears on a Plate
6 x 6, oil on panel
@Sue Smith 2009

I really like this painting.

The still life paintings have been very popular, the landscapes, not so much. That's okay. Paint and learn.

I started buying from artists on eBay, too, finding small pieces that I like. I'm not ready to trust the *genuine artifact, authenticated old Roman pottery shard for $5.00* claims on some things, although if they were genuine, that would be neat. Maybe.

If you are thinking about selling on eBay, spend time looking at what is available, what people are actually bidding on, and what you can do that would work. I've learned that small is good. Good art is good. Free shipping is good (necessary!) Low prices are good, although there are a few artists selling LARGE (what exactly is large?) paintings. I have to wonder though if they are making any money after materials and shipping. Some probably are making it in volume and there are a few artists who really can command prices over $100.

I'm not there yet - over $100. Mine sell between $30 and $60.

But I intend to be.

Consistency. Finding what works. Regular posting. Building a following. The right pricing.

This is what seems to work.

Studio Tip for March

2009-03-06T10:56:00.000-08:00

I missed posting a studio tip for February, so you get double the tips today.

Do you ever buy those small, individual servings of applesauce or fruit for your kids or yourself? I save the little plastic cup afterward, wash it thoroughly, and use it in my studio. It's perfect to hold small amounts of medium, odorless thinner, or, if you work in watermedia or collage, things like your GAC or clean water. After a while it's time to pitch them, but if you clean the cup after using it by wiping out with a paper towel, these little things last a long time. Yogurt cups work as well, but are a little too deep for what I do, so I generally recycle them.

Here are some of my favorite oil painting surfaces right now:

Raphael Premium Archival Oil Primed Linen Panels, very sturdy, beautiful painting surface particularly for thick paint and palette knife work.

Masterpiece Vincent Masterwrap stretched canvas. This is an oil primed linen canvas, with a surface that I absolutely love. There is virtually no brush drag. The paint sits on the surface and the colors retain their intensity, rather than sinking into the gesso.

Pintura Cotton Medium Grain , double primed good for oils, acrylics, and gouache. This is also a beautiful surface, and not as high end as the Vincent Masterwrap. I like that there are brass tacks holding the canvas along the sides of the stretchers, with a few staples on the reverse, plus wooden keys already inserted. There's a wonder mystique about this canvas that I really enjoy.

I would like to try Charvin's stretched linen canvases, and Raphael's stretched linen in the future. Of course I do love Ampersand's gessobord panels, although their recommended method of attaching the cradled panels doesn't seem to work for me. I will be picking up two large assemblages next week because there seems to be either shrinking or - over time - torque has created some gaps. I will need to come up with a framing solution and I'm working on that.

I also just ordered some materials recommended by a fellow artist - far more accomplished than I - Margret Short...some canvas scrapers, a priming knife, Rabbit Skin glue and Utrecht oil priming material. This is the first time I've ordered from Utrecht, so I'm curious to try out their products. I also ordered some hardboard flats. I have several yards of fine linen which I was going to stretch onto a rather large set of stretchers. I've since decided not to do that, and instead try my hand at adhering linen to a hardboard surface, which I think would not only be fun to do but also open the door for more options regarding my painting surfaces. I've discovered many good instructional sites regarding how to do this, so I will keep you informed of my success...or failures...I guess rabbit skin glue can be a little tricky, but I'm optimistic about the process.

Pear and Roses

2009-03-03T10:08:00.001-08:00

Collected
"Pear and Roses"
6 x 6
oil on Panel
@ Sue Smith 2009

I go through cycles - there is the thinking cycle where I spend most of my time doing "busy" work and otherwise distracting myself from the actual work of painting. Then there's the "preparing" part where I start to get motivated and gather together new subjects to paint. And then the actual "painting" part of the cycle. For the past week or so I've been caught up in the painting part and hadn't really wanted to stop long enough to photograph anything to post to this blog. Sorry :.(

But this is a funny story, here, so I'm happy that you're still reading along. My husband had asked me the other day what paintings were selling the best, and I said "Pears and Roses." So he pointed at this little painting drying on the table with that look, "Covering your bases?"

Duh...yes, even though the colors and shapes DO look good together, better than the tangerines and roses, which was another "base covering" idea...hey, when they want chocolate you're wise to give them chocolate and not offer broccoli instead, as the marketing guru's would say.

So my question is...does this count as a "formula" painting? Because according to all the uproar a few months ago over on Ancient Artist, formula paintings are "A Fate Worse Than Death!"

Still...I think it's a pretty little painting. I've found that for me and the way my eye/hand works best, with flowers I will paint the value form first, checking with my hand mirror to make sure it reads the way I intended, and finish with a few gestural strokes using a small palette knife. The key for me is not to think about it too deeply, just "draw" with color, one or two quick marks, following the direction that the paint gives. If I try to be too exact and purposeful with this step I ruin it.

When this is dry, it's destined for ebay. Wish me luck.

From the Totally Unrelated File

2009-02-22T11:37:00.000-08:00

This is from the Totally Unrelated File : by opting to get our home electricity from a Wind Farm, I powered my home studio ( well, actually my entire home) from a renewable energy source which avoided the release of 9,183 pounds of carbon dioxide emissions into the air, or the environmental benefit of not driving 9,313 miles. While using Wind power is slightly more expensive than hydro-generated power, the cost on our monthly bill is negligible and so, no, I don't feel guilty about driving my car. Now if they can just come up with wind-generated cars...

Yellow Rose

2009-02-15T21:58:00.000-08:00

Yellow Rose
6 x 6, oil on panel

Collected

I bought a dozen of these yellow roses and kept them in a cool room for a week while I got up my courage to attempt this painting...or rather, the painting I was going to do - four or five roses in a vase, maybe on a white cloth.

However, after long consideration, I decided that this small format was more suited to just one rose. It was a wise choice. The task of capturing this image took me longer than expected. Several of the flowers had to give up their little yellow petaled lives during the process, for which I am grateful. Although I do feel awful about it. The flowers, I mean. Spending their last moments under hot lights without benefit of water...it is a cruel life we lead.

Red Mum

2009-02-11T11:36:00.001-08:00

Red Mum
oil on panel
6x6
click here to bid

Okay, so maybe this painting says Fall rather than Spring. I've been exploring flowers - which I've discovered can be complex forms - but I'm not of the right temperament to render a photographic image. Rather, I try to communicate the essence of what being a flower is all about. I was particularly happy with this mum - I used a palette knife for the final few strokes to get that element of fresh immediacy into the flower.

Tangerines

2009-02-08T15:48:00.001-08:00

"Tangerines"
5 x 7, oil on panel
Collected

This is another of the Daily Paintings that I posted to eBay. I was thrilled when someone bought it immediately.

Several months ago I bought one of those three tiered wire carts from the Big Box Hardware/Everything stores - when I was on an organizing kick and trying to be space efficient. The cart is on casters, which makes it easy to move around. I keep all my paints and supplies on the lower shelves - and it works great for this.

Once I decided to paint still lives, I realized I needed more space again. The cart came to my rescue... I moved my palette to the table in front of the easel and set up my still life arrangements on the top. This cart is high enough that I can place something at slightly below eye level, as in the painting above, and also stack up a box and an old painting panel to lift the arrangement up to eye level. For lights I sometimes use a cheap, goose neck desk lamp with a 60 watt bulb. Low tech to be sure, but it works.

Copper Pot with Lemons, Before and After

2009-02-02T11:37:00.000-08:00

Katherine Tyrrell has an interesting post today about how artists learn their craft. It seems that artists aren't all that different from each other, or anyone else for that matter, as we all learn by a relatively simple variation of the same idea - learning to see what we have created, comparing that to what we wanted to create, and then discovering the techniques, approaches, or materials that will bring those two ideas closer together.

I am constantly learning, and while I one day would love to be able to take workshops from artists I admire, right now I have to find alternatives. One of the most effective methods for me has been to purchase instructional dvd's. I purchase rather than rent because, one, the artist benefits from the sale, and two, I can watch it over and over, when it's convenient for me. And because, since there is so much information provided, I may not realize I need to understand a certain concept until much later, so it's wonderful to be able to go back to watch something again when I'm not concerned with questions like "what color is he using."

However, not every dvd has information of value to me, so I have had to be more selective. Many of the dvd's made more than a few years ago have a different approach (more basic instruction) from those made more recently( mid to experienced artist ). My most recent additions include "In the Studio With...Sherrie McGraw."

This is one of the first still life paintings I did last year, when I decided to try something new. I liked it well enough. I thought the drawing was good and the overall composition pleased me. But I felt that the painting lacked weight, or presence, or...artistic craft. There. I said it. The painting kind of sucked.

So, after I watched Sherrie McGraw, I realized that I could take a second shot at this painting. McGraw had mentioned that she loved the actual painting process - as do I - and sometimes worked on a painting for several weeks until she was satisfied.

This was a form of "permission" to me, to let go of my fear of "overworking" - that dreaded comment so frequently thrown out to beginners at critiques. I decided that the painting would never see the light of day as it was, so why not? Nothing ventured, nothing gained. I took a palette knife and scraped back the paint and started again.

As you can see, I added the lovely branches in the pot, with their dried berries. I scattered a few leaves into the foreground because I realized that I needed interest there to move the eye. I also knew I could suggest the forms and paint abstractly as a compliment to the lemons. I worked on the movement of light across and into the forms. I discovered new approaches to applying the paint. When I was nearly finished, but still stuck on how to best describe the light flowing over the copper pot, I stumbled on a solution. I turned off the overhead lights in my studio and painted using only the north light, with my spotlight on the still life set-up. Suddenly I could clearly see the play of light and shadow.

I am a lot happier with this improved version of Copper Pot with Lemons. I learned additional techniques, I discovered some strengths I hadn't full appreciated, and I can see progress. All in all, it was a good day.

Amber Pears

2009-01-28T16:30:00.000-08:00

Amber Pears
6 x 6, oil on gessoed panel
On eBay with a starting bid of $30.00
COLLECTED

This is a beautiful little painting. It's the preliminary study for the larger pear paintings on the damask cloth, where I was working out ideas about color and texture. I am particularly thrilled with the soft violet glow in the shadows and the way it works so well with the golden yellow color.
My pricing on eBay includes the shipping, and it usually takes 2 - 3 days to get to you. I have also added a buy it now price of $35.00. The painting that sold today started at the same terms but the bidding went higher than the $35.00 so I was thrilled, but I wonder if the buyer isn't kicking themselves for not grabbing it at the lower price. Well...that painting was also gorgeous! The buyer should be very happy anyway.

Orange Sunshine

2009-01-26T11:22:00.000-08:00

No Title Yet
16 x 20, oil on canvas
@Sue Favinger Smith

I haven't named this painting yet. It's been so cold and dark here in Oregon that I think I have been trying to paint sunshine. This is the second still life I set up on this gold damask cloth, because I love the challenge I find in capturing the weave. I wanted to push myself beyond using white - which is basically easy to paint, or stripes, or an abstracted version of cloth. I also wanted to see if I could realistically recreate the lovely blue cast shadow from the blue glass plate. There were a lot of subtleties where the light moving through the glass changed in color and how the shadow also changed. Plus it was an important element to indicate the table edge.

If you want to try painting a cloth with a definite pattern, such as a jacquard or a damask, this is what I discovered:

I use color temperatures and not values to define the weave. I started with a cool neutral tending toward blue and loosely scrubbed in the pattern. Look very closely at your own setup and you will notice that in the "light" side of the cloth, the raised pattern is one value and the lower pattern is another value, but on the "shadow" side of the cloth this seemed to be reversed. I had to really concentrate on what light side I was painting when approaching this. Then the warmer tone was applied to tell us the local color and have it read "damask cloth."

It also was very important to paint this wet-in-wet so that I could "push" some of the paint around. Then find a few light highlights on the weave and to direct the eye. The tangerines are a favorite of mine to paint right now, and the "pot" behind them usually holds my brushes.

I have also noticed that I usually end up with a "contemporary" approach to my division of space which I'm sure comes from years of painting abstractedly, but I'm happy enough with it so I guess it's just my "style." It's part of what I like right now about my version of the still life - I admit, I usually find traditional still life a little stodgy and boring. So I guess we'll see whether anyone else likes these paintings.

I submitted two similar still life paintings to the OPA's national show - somewhat foolishly optimistic on my part, I know, since this show will feature the top oil painters in the US, but my rational is that just submitting something I can feel good about is the goal and maybe someday something will come of it.

Blue Funk Day

2009-01-19T18:52:00.001-08:00

According to Katherine Tyrrell on Making a Mark, today is considered to be the most depressing day of the year, and it certainly was a blue funk day in the studio. I started and stopped, painted and wiped off. All of my still life "props" had softened to the point of near rotting - except for the onion - and it was too cold and frosty to go out to the market for more.

Three Pears on A White Plate
16 x 20, Oil on Linen

The above painting is one I set aside more than a month ago thinking it was finished, but I wasn't happy with it and finally took it out and tried working on the colors of the pears and the edges. I really prefer to paint wet-in-wet and finish a painting in one setting, maybe two if I haven't used a medium and the paint stays workable. But I've only recently started painting still life and I'm learning with every painting. I wish I'd been more knowledgeable with my edges on this painting, but the newer work is much better and one day I might do another like this because I like the composition.

Vietnamese Pot Tied With String
22 x 28, Oil on Linen
@2008

This painting is the large studio version of the small sketch I posted here a few weeks ago. I did this after I painted the Three Pears painting, and I am much happier with the edges in this painting. I never thought I would enjoy doing still life, but I'm finding them so much easier than the struggles I constantly have with the landscape. I know that it's because I am actually painting from life with these paintings, and if I ever expect to push my landscapes to a higher level I will have to do the same with them and stop relying on photo references. Oh...but that means going out in the cold...maybe I'll think about that in the spring.

Studio Tip for January

2009-01-15T10:33:00.000-08:00

Keeping my studio neat and clean is always a challenge: there are aspects of painting that just demand mess, and I'd rather spend most of my time messing around in the stuff than cleaning it up.

But there are some useful strategies that I use consistently.

Here is an image of my painting set-up - and no, it isn't really slanted, I'm just photo challenged at times. I recently arranged my easel and palette in this configuration because, well, I think I saw where some really famous artist painted this way so I thought if I did, too, some of the creative talent would rub off...I digress....

I decided to try painting with my palette in front of me and between my body and my easel. I have a tendency to get too close to my painting surface and not step back enough, so I logically concluded that by putting a barrier here that would cure me.

I actually like the set-up now that I'm used to it. I discovered that with my still life setups, I am able to maintain proper perspective instead of looking from one position and then trying to paint and compare from another position. Maybe Cezanne would have sympathy for this predicament.

My studio tip, though, has nothing to do with all the above. I'm just feeling chatty today and writing about perfectly inane things.

There's the tip, actually two tips:

to cover my black table (seen here beneath my palette) I use adhesive, clear shelf paper. I pull it off when the surface gets too grungy and put on a fresh piece. Sometimes the left-over adhesive - from when I pull the old piece off -- remains on the surface but I clean that off with some Simple Green and careful use of a razor blade. I really don't know if it matters whether you use clear or solid shelf paper, I just like the black table to show through because it helps me with values.

On my watercolor tables (which I use for flat work) I cover them with freezer paper, shiny side face up, taped down. I use the clear packing tape because artist's blue tape doesn't hold very well on the shiny surface, and I like this side up because it cleans easily and keeps stuff from sinking in to the paper. Then whenever I want a clean workspace, I replace my papers.

paintings From the Oregon Outback: Strawberry Lake

2009-01-07T09:48:00.001-08:00

Strawberry Lake
5 x 7, oil on gessoed hardwood panel

This painting is from the When Space Could Breathe series of landscapes, featuring places in Oregon once populated by ancient civilizations, explorers, trappers and bandits.

Strawberry Lake was formed a thousand years ago when a landslide blocked an alpine valley in the Blue Mountains. The lake now releases excess water through a "whirlpool" that emerges as a creek from beneath the giant rocks.

Click here to bid on this painting

Peachy Keen

2009-01-01T16:27:00.000-08:00

Had to paint these two peaches just before I ate them. Yum.

just posted at auction for 7 days. Click here to bid.

A portion of my sales goes to Kiva.org, a micro-funding organization for entrepreneurs in the far reaches of the globe.

A Christmas Thought

2008-12-24T17:14:00.000-08:00

It's Christmas Eve, and I wanted to thank all of you who have supported me this past year, particularly those who have recently purchased items from both ebay and etsy. As a result of your generosity, I have been able to pass along the creative energy in the form of another Kiva loan, this time to a 57 year old woman in Tajikistan. She is a widow, trained as a nurse, but selling furniture in a retail environment to support her 4 children. Thank you! Your purchases mean more than just the acquisition of a pretty decoration.

Have a joyous season.

Best Regards,

Sue

Study: Vietnamese Pot

2008-12-18T09:57:00.000-08:00

Wooden Spoon with Vietnamese Pot
5 x 7, oil on gessoed bristol

I've been painting on a daily basis since my work hours were cut back to one day a week - a blessing in disguise. This little painting started out with just the red vase, the eggplant, and a Vietnamese cooking pot tied with string. But once I got going on it, I realized I had an empty space on the right side. I went to the kitchen and the wooden spoon seemed to be the perfect element. I ended up liking this painting and decided the composition would hold up in a larger version, so I started one 22 x 28.

I've recently added the PayPal option on my website and started offering paintings for sale. You can visit by clicking on Paintings From The Oregon Outback. Tell me what you think - my prices include free shipping.

I've also been experimenting with eBay and Etsy. I've recently sold paintings using both services and I think I like Etsy a bit better. But the jury is still out. I've also been working on building an identity that generates curiosity and easy identification on the eBay auction site. It's extremely difficult to catch the attention of the right person when you're in the middle of so many thousands of images. I'm also exploring 1000Markets, which uses Amazon Payments instead of PayPal. There seem to be many choices, and each requires a different marketing approach. I'll keep you updated on what I discover.

Red Onion, Amber Jar

2008-12-17T22:04:00.001-08:00

Red Onion, Amber Jar
7 x 5, oil on gessoed bristol

This little painting started out as a real challenge. In fact, half way through I was sure I was going to have to throw it away. The jar looked opaque and not at all transparent, the light reflections looked like smeared fingerprints. The onion wasn't making any visual sense at all. But it's just gessoed bristol, I'm telling myself, no great cost if I throw it away, just keep painting to see what you can do. And then something happened, I'm not sure exactly what, but the jar started to resolve itself. Transparent - yea! highlights looking -- real -- double yea! But that onion...I have a bad habit that whenever I feel that a painting is just boring I pick up the palette knife, load it up with lots of color, and then just go for it. Sometimes...it's like frosting a cake and just adds to my misery, but sometimes it's the perfect ending to a nice little painting. Anyway, I like it a whole lot more than I did half way through painting it.

Paintings From the Oregon Outback: Smith Rocks #3

2008-12-11T13:29:00.000-08:00

Smith Rocks #3
From the "when Space Could Breathe" landscape series, focusing on places in the Oregon Outback once populated by Indians, trappers, robbers and bandits...

Smith Rocks got it's name from the old homestead tale of a man named Smith who was chased by either a posse or Indians ( the details differ depending upon who's telling the tale.) When he realized he was trapped at the top of these giant cliffs overlooking the Crooked River, he decided to jump rather than face impending capture.

Smith Rocks #3 is 20 inches high and 16 inches wide, on canvas mounted to hardboard.
This painting is now being offered at auction. To bid, visit here.

Or, just go look for the fun of it!
But...if you love it, I hope you'll buy it.

Along the Old Post Road

2008-12-07T20:14:00.001-08:00

Along The Old Post Road
Available at auction for 7 days
If you would like to see more, please click here.

Studio Tip for December

2008-12-02T22:22:00.000-08:00

Don't you just hate putting gesso on raw canvas? Well, here's a tip that really works for me.

I started using a 3 inch foam rubber roller. It comes in a kit that includes a tiny plastic tray that doubles as a storage container. You'll find it in the house painting section of your local home improvement store - the one I found is made by Rubbermaid but there may be other brands available.

After putting a small quantity of gesso into the tray, I roll it on the canvas or board. It's so quick you'll actually enjoy the chore, and the best part is that you get very even coverage without the annoying brush marks -- unless you want brush marks, that is. I usually do two or three thin coats, alternating the direction each time. Then, if I want more texture, I'll use a gesso brush for the last layer.

Clean up is easy, the roller lasts a long time, and replacement foam is available.

I can tell you, this really saves my shoulder when preparing a large canvas.

One warning, though -- this method splatters gesso around, mostly on your hands and arms, so be sure you protect any surfaces that are in the line of fire. Those little dried specks of gesso are a real bear to clean up...

Dry Canyon Looking South

2008-11-26T12:46:00.000-08:00

Dry Canyon Looking South
22 inches x 28 inches
original oil on linen
@sue smith2007
SOLD

This is one of the few remaining paintings in the landscape series I did last year. Most of the work sold from my studio when I had space in The Loft, and we offered monthly art walks. When The Loft closed I brought this painting, along with a few others, home and put them aside. I wasn't showing in any traditional galleries at that time, so I had no real outlet. While I am selling work in three galleries right now, two are contemporary abstract venues and one is looking at the still life paintings. So this is an opportunity to pick up a beautiful painting at an a great price.

I'm experimenting with a variety of ways to sell original art without galleries. I will let you know my progress as I go along.

This is a beautiful painting, so I'm hopeful that it will find it's way into the perfect environment and bring many years of enjoyment.

Clouds Over christmas Valley

2008-11-21T19:58:00.001-08:00

"Clouds Over Christmas Valley"
8 x 10, oil on gessoed panel
@Sue Smith 2008
$100, includes shipping to US
Email me if you are interested in purchasing this little landscape and I'll have it to you before Christmas.

Between a Rock and a Blue Plate

2008-11-20T16:45:00.000-08:00

"Between a Rock and a Blue Plate"
6" x 6", oil on gessoed panel
@Sue Smith, 2008

There's no reason we can't have a little fun with our current economic situation, is there?

This painting sells for $100. If you are interested in purchasing it, please email me and I will put it on Etsy and send you the link. Hopefully. I'm still trying to figure this all out.
Oh, and the paint is still wet.

Studio Tip for November

2008-11-10T10:51:00.001-08:00

November is the month for "In with the new, out with the old" and my studio is no exception. I spent several days giving my workspace a makeover, due in part to the photographer who would be coming to photograph the artist in her native environment. When the "native environment" looks more like a pack rat's nest than a working studio, well, some serious work needed to be done.

I generally prefer to work and live in an orderly and esthetically pleasing environment. Chaos leaves me feeling unsettled, but often things get away from me and I am legendary for my "stacking" abilities. Does this happen to you, too? It was a lot of work, but I put in place several ideas to keep me organized and I wanted to share the best ones here.

Remove everything that you don't use regularly. For me, this included watercolor and acrylic supplies, books, my hand tools (sander and drill), photo lights, and other odds and ends. Find some other place to store these items: shelves in the garage, donations, etc.

I found some decorative boxes which I filled with the small items that always get lost, and stacked them on my shelf unit. I labeled the sides so I could find things easily, but the labels would not detract from the "pretty boxes" which I enjoy.

I bought old fashioned, heavy bookends and organized my books on several shelves according to their topics: general information, specific techniques, etc. This keeps each section manageable so that I'm not hunting for an extra 30 minutes for that one specific book.

I brought in an pretty patterned area rug and threw it down on top of the "ugly utility rugs" I was using.

I rediscovered the wire shoe racks I'd used when I had my larger studio. I'd left them in the garage when I moved everything home. I had been using these wire racks on edge as a drying rack for wet canvas and really missed the convenience. I realized after cleaning out the stacks of stuff beneath my watercolor tables that these racks would fit perfectly.

I store not only wet canvases here, but also the empty panels under the table, and I use another set as a two tiered flat drying rack on top of the table - easy to remove if I need the working space. For the racks set on edge, the wire "ends" keep your wet canvas off the floor (or rug). This is an inexpensive and easy solution to those storage issues in the small home studio.

But the best thing about cleaning my studio was that it gave me a renewed sense of optimism, of starting fresh again and knowing so much more than I did before. It was as if I had swept all the negativity about the economy and the future of the art world out with the old magazines and dried up paints.

If you have tips of your own, please share them in the comments section.

Searching

2008-10-01T15:37:00.001-07:00

Recently I have been going through a period of searching...for what I'm not sure. It has to do with a dissatisfaction...in what I'm painting, how I'm painting. It feels as if I have to go back all the way to the beginning and start from scratch. I wrote a recent post on Ancient Artist in which the above image was created from a photograph. I've always enjoyed figure work and quit painting figures two years ago after several people "in the know" told me that figures don't sell. I enjoy landscape work, too, don't get me wrong, but it seems so difficult right now for me to find the right approach.

I'm not whining, exactly. I have had more success with the abstract paintings than the landscapes recently, so logically you might ask "Why change styles?" But there's something about pushing myself into a more technically proficient approach that I am interested in right now. So I've been doing my version of daily painting. It's more like almost daily painting, because when I have to work there's not much painting going on. but I've got more time off right now, so...I'm painting.

The above image was instructive. I painted it using my altered photo image, which allowed me to see one solution in painting the shapes. I will post more images as I paint them.

Tips from my Studio

2008-09-24T09:21:00.001-07:00

Here is another tip I recently discovered.

In cleaning up after several days of painting, I discovered that Mr. Clean's magic sponge makes it easy to get my palette knives back to shiny new and works well on the dried gunk that ends up around my brush cleaning jar and the edges of my palette. I use a razor blade scraper and "Simple Green" spray cleaner on the palette itself, then wipe clean with paper towels. The Magic Sponge works nicely if you get a bit of oil paint on your hand, too, although repeated scrubbing does tend to chap the skin, so if you have a lot of paint to remove, use baby oil and then soap. (Usually I wear latex gloves to paint, but sometimes I get lazy, or I pick up a dirty rag or paper towel. And my brush handles have been known to get messy, too.)

Always be sure you have plenty of ventilation in your studio. I have a box fan in one window that I use to exhaust the air, and another in a different window that sucks in fresh air. I also have an air purifier but I know that eventually I will have to upgrade to one of the ones made specifically for artists. At least the air quality is better than that I experienced in art school.

Best Summer Tip So Far

2008-08-04T17:40:00.000-07:00

I read about this tip on the Daily-Painters group that David R Darrow hosts. I've tried it and it works.

To keep your oil paints wet on the palette for a long time, mix a drop of clove oil into the paint. You can get clove oil at any health food store. Not only did it keep my paints "skin-free" for over 2 weeks, the clove smell is a wonderful alternative to "oil paint" and I didn't notice any problems with the drying times for the paint once it was on the canvas.

Painting in the Great Outdoors - Almost

2008-07-14T10:58:00.000-07:00

My painting practice has been heavily influenced lately by the atelier approach to realism and narrative. I began this little painting in the studio using reference photos, but quickly realized that I needed to be painting from life. Fortunately there were plenty of similar bushes in my back yard, with nice early morning light and good shade for my painting set-up. The added bonus was that I didn't have to worry about what I might need, as it was a quick trip into the house if I'd forgotten anything.

I knew that the content of the towel added a narrative and interest to what was otherwise a portrait of a bush with a lovely bit of water beneath it. But actually setting up the "still life" with a white sheet draped over the accommodating shrub allowed me to actually see what I was painting. Coming from an abstract/conceptual background, it has been a sometimes slow process for me to shift my visual thinking and feel more comfortable in the realism approach, but I am pleased with the end result. "Summer Bath" has something more to convey to the viewer, and I am growing more comfortable with the plein air painting process. I might even experiment with still life.

I also tried a new product from Art Supply Warehouse that is a primed, smooth canvas on a double birch panel. Billed as perfect for portrait work, I remember reading the advice that gesso should be applied for those wanting more tooth. l I experimented with the first panel, finding the surface extremely frustrating. But once the first layer of very brushy, wash-type paint had a chance to develop some tack, the surface was wonderful. I particularly liked the stability and no fears of future warping. Plus, other canvas on panel products that I've used have a surface with the opposite effect of too much tooth. It's all a process of experimentation. I may even try making my own canvas on panels one of these days, so if anyone has a secret tip or two, please pass it along. Otherwise, I like this new product. I have another one which I will coat with some Daniel Smith gesso first to see if it makes a difference.

Happy painting.

Lost Horse Lake Revisited

2008-06-01T08:07:00.000-07:00

While I was pleased enough with the finished painting I posted previously, as I kept looking at it something just felt "off." I finally figured it out, and went back to make corrections. I think that this view feels more "comfortable" now.

Lost Horse Lake

2008-05-25T17:06:00.000-07:00

I have been working on this painting, titled "Lost Horse Lake" for the past several days. As I have been studying the classical methods, I thought I would also post my sketch work that reveals some of the underlying grid and placement of major lines.

I've been working in the smaller 16 x 20 format lately. At first, it was a struggle to reduce the proportions from my favored 22 x 28 format. Even though both sizes have the same ratio aspect, I did have to go back to the underlying patterns to get the correct "fit."

For example, with a 16 x 20, the golden ratio indicates grid lines at about 7.5/12.5 and 9.5/6.5 to divide the space harmoniously. I placed my grid lines in the above sketch at these divisions, with a dominate arrangement counterbalanced by a secondary arrangement.

I also paid more attention to the contrasts of hue/intensity/value in the color work. I am finally gaining some understanding about "edge work" - which not only refers to the quality of edges on the major shapes (ie: hard, soft, lost, etc) but also the edges of the painting, and how to gradate the color intensity to move the eye in and around the composition.

I did use an inspiration photo:

This is a man made lake just west of where I live. Because it doesn't have a natural inflow and outlet, the water is extremely calm and allows for perfect reflections. I utilized information but created a painting that is original and different. I remember an artist who was giving a lecture once said that his paintings did not reflect his photographs, but could not be created without them. I could say the same about this painting.

Study Habits

2008-05-07T09:07:00.000-07:00

I have been going "back to school" in a way, returning to my books and resources to find direction. There are no shortcuts: I've learned that you need to sketch or paint every day to improve your skills.

Here are a few of the resources I have recently discovered that focus on realism:

Mastering Composition by Ian Roberts
Classical Drawing Atelier by Juliette Aristides
Classical Painting Atelier by Juliette Aristides

My primary art education focused on the abstract, and the Elements work (seen above) has been very well received. Abstract uses some of the same foundational principles as does Realism, but I am finding that there are definite skills that I'd like to develop in order for my paintings to speak as clearly as I wish.

Red Onion

2008-04-12T21:59:00.000-07:00

Red Onion
6 x 8
oil on canvas board
$60

Asparagus on a Box

2008-03-30T10:51:00.000-07:00

Asparagus on a Box
8" x 6"
oil on canvas panel
$100

Small Work

2008-03-18T11:08:00.001-07:00

SOLD
"Appeal"
6" x 8"
oil on canvas panel
Still wet, so the paint is shiny in the upper right corner. I have been interested in the "A Painting A Day" movement for some time, and although I work and can't always produce work each day, this was fun and I intend to do more.

Mesa Series #3 Lament

2008-03-12T13:24:00.001-07:00

This is the finished version of Mesa Series: Lament. For those of you who have seen this painting on my Ancient Artist Blo g, you won't notice much difference, but I did add a "cliff" element to the lower left corner in keeping with the rest of the paintings in this series, and I darkened some of the clouds on the distant horizon. It's amazing how adding that one element in the lower left corner pulled the painting together. I know, I've read a thousand times about having three corners similar and one different, and I hate using "formulas" but what I think is happening here is that I've created a visual gateway that pulls the viewer's eye easily into the painting and changes up what was otherwise a rather boring little space.

Mesa Series: Lament
Oil on canvas
40 x 60 on 1.5 stretchers
$2400

Mesa Series #2; Greeting the Sun

2008-03-11T14:00:00.000-07:00

This is the second painting in the Mesa Series. dimensions are 40 inches high by 30 inches wide, and my process involves working with oil washes on a textured ground, with the layers gradually building with thicker paint. This painting is also in the submission process and won't be available until the middle of May.

Mesa Series #1 Seeds in the Sky as Stars

2008-03-09T17:08:00.000-07:00

This is the first painting in The Mesa Series, a new body of work featuring large paintings. This series evolved from an earlier body of work called The Ancient Walls.

My process builds on textured grounds and layers of colors, creating mysterious surfaces that suggest the spiritual forces found in the landscape. Seeds in the Sky as Stars is 40 x 30 on 1.5 inch stretchers.

This painting has been submitted to a juried art competition and will not be available for purchase until after I receive the results in May.