Mutton Mountains

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.

Lily Pads at Hosmer Lake

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

"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

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

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

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

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

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

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

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.

New Ancestors Series

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

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

"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.

Spanish Rose

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)

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

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

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

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

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

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.