Tips from my Studio

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

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

"Summer Bath" Oil on Canvas on Panel
Copyright Sue Smith 2008

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

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

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

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

Red Onion
6 x 8
oil on canvas board
$60