Wednesday, October 21, 2009
Tuesday, September 29, 2009
More from the Copper Leaf Paintings
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.
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
Monday, September 7, 2009
New From the Ancestor Series
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.
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.
Sunday, July 5, 2009
New Ancestors Series
The Ancestor Series, oil, graphite on panel @the artist, 2009I'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.
Tuesday, June 9, 2009
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.
Monday, May 4, 2009
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.
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.
Sunday, April 12, 2009
Studio Tip for April
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.
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.
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