Tag Archives: oil paint

Chinese Paperbush / unfinished

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The bush will bloom soon. I saw it last year at the VA. Tech Arboretum right across the parking lot from my apartment, but I had another painting started at the time, so I planned to paint it this winter. The arboretum is convenient  now, but I’m planning on moving again. I’m excited to try capturing this pretty bush while I have the opportunity.

There’s not many people walking in the arboretum. I  took my yard sticks along and taped my paint brushes to the sticks so I could stand back and paint ala Matisse. If anyone saw me do that they might think I was crazy. It actually made it a little easier to paint that way than it was to sketch it with charcoal from a normal  distance . I felt secluded from view between trees, too.

I need to go back tomorrow if it’s sunny and work on the bush again. The light didn’t last long but it was brightly lit for an hour.

To do the background, I went to the arboretum with my paints, pallet and pallet knife and mixed the colors in Plein air then came home and painted it from memory, with my paint brushes taped to yard sticks. I really am starting to enjoy the extended brushes.

It only took a couple days for my background  to dry. This is the traditional way of painting except for the extended brushes and thick paint in the background. I used my Maroger medium today, covering the whole canvas with plain medium and painting my branches into the medium, which is called, “painting in the couch”. The medium “couches” the paint. The old masters used some variation of Maroger medium and they also painted in the couch. It makes the canvas slick, so the paint flows nicely.

If you like the smell of oil paint you will love the smell of Maroger medium. If the idea of inhaling toxic fumes scares you, then Maroger medium is not for you. It has lead when properly made but there are different recipes. The lead in the medium won’t hurt you unless you eat it. Cooking up a batch of Maroger medium indoors could poison you. I love the stuff. It’s great for painting in plein air. When I paint at home I run my can fan, which is an industrial strength air scrubber. If my hands get sticky I just stop and wash my hands. I remember hearing stories about a guy who got lead poisoning in PA. cooking Maroger medium but mainly people at the Adamstown hat factory. That’s where the saying, “mad as a hatter” came from, lead poisoning. I feel saner than ever before in my life, so, it won’t make you sick if you use it safely.

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Windswept Trees / oil

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It’s raining here today so I enjoyed staying home and finishing this painting. I did the sketch weeks ago in plein air and painted at home ala Matisse, with my paint brushes taped to yard sticks, so I was standing back from the canvas and trying to control my brushes, which don’t always go where I want them to from a yard away.

I’m not going 100% modern on this painting since I used my Maroger medium and black to make the dark green grey of the trees. But I am going more modern by using my big brushes taped to yardsticks.

At art school, long ago, they told us to use black. The old masters used it, so it works ok if you use black like they did. And more modern artists, even Manet and others of his era used black successfully.  To make a black that isn’t dead they told us to mix equal parts Burnt Umber and Ultramarine Blue. The Ultramarine Blue is your darkest cool color and the Burnt Umber is your darkest warm color so you get a neutral black. If you need a warm or cool gray you can mix any other color into this black. We also were taught to use gray in glazes and if you layer warm  colors over cool colors, or cool over warm, after waiting for the first glaze to dry, you don’t get muddy colors but the viewers eye mixes the colors.

Sometimes you can’t just throw away the lessons of the old masters. I like to use the best ideas from the old and the new. Painting like Matisse, with the brush taped to a yardstick is fun and freeing. I’ll get out to draw and paint  in plein air again real soon, but I got distracted by bad weather and other fun art projects to do indoors. So, I was glad to finally finish this painting after waiting weeks for the background to dry.

Japanese Maple / oil

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Don’t you just love to see fall leaves backlit? With the sun shining through the leaves the tree looks like it’s plugged in and turned on!

I wish I was a better photographer because this is brighter in person than my picture makes it look.

I was standing on the shady side of the tree and I could see the branches but on the other sunny side of the tree all you see is a skirt of leaves.

This is another try at painting like Matisse in my quest to understand more styles of art than the traditional, which is what I was indoctrinated into at art school. I taped my paint brushes onto yardsticks and stood back to paint it. It’s fun and this time I felt like I had more control over my brushes than before. I’m still mixing different styles together in this painting. I did some glazing, which Matisse probably didn’t do. And I used gray even though most modern artists don’t like to use it. Matisse wanted his paintings to reflect some kind of emotion, but I’m not feeling very emotional these days.  If I was to represent any emotion it would have to be my love of this tree.IMG_2138

This photo shows my canvas hanging on the wall over a piece of packing material and a piece of checkered vinyl to protect the wall from my paint when my paint brush taped to the stick goes off. You can see my sketches taped up too. I did my sketches and mixed up my colors in plein air on the path by the tree, but the canvas was too large for that narrow path so I painted it at home ala Matisse.IMG_2135

This was the first step, the background. I didn’t do an underpainting, which is the traditional way. This background took over a week to dry because when you paint with the brushes taped to a stick the paint goes on thicker. After I looked at this while it was drying, I decided to kill the brightness a little so the background wouldn’t compete with the tree. I wanted it to fade back a little, so when it was dry I put a thin glaze of white over the yellow and green. I think  glazing with oil paint is verboten in modern art styles.  Once a juror that rejected a painting I entered said, “Don’t mix different styles together.” I needed to do a glaze here. So much for dumb art rules.

 

Diana fauve / try try again

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That painting I did last week was sooooo bad. How bad was it? Matisse rolled over. I tossed it.

They don’t give any information about technique in my Matisse book. It’s trial and error here. At least no one will ever say I fear failure. I’m learning something about fauvism by trying to copy the style. This is what I got so far.

Fauve means wild animal so my painting should be bold. Last week I was hesitant so I daubed. Matisse would h8 that. This time I was more deliberate with my brush strokes.

In fauvism you’re supposed to convey an emotion with your color choices. I hope I can do that. Imagine Diana, goddess of the hunt. She represents the feminine ideals of independence and chastity. She can kill her own food so she doesn’t need to rely on some god to bring dinner home and she’s better off without being in a relationship with some god because those guys cause all kinds of mischief fooling around with mortals and chasing nymphs etc. She’s alert and at peace with nature. She’s strong.  I hope I can capture her attitude.

Trying to paint in a style I’m not used to is challenging. I’ll try again. If you know anything about it please advise me. Thanks for the likes on that last post which was a really horrible painting. I appreciate the support.

one hellofa crabapple tree / work in progress

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One day a couple weeks ago I was walking in the garden carrying my 12 x 16 sketchbook when I came across this beautiful tree in the last stage of blooming. A few pink flowers were still hanging on and I wished I could paint real fast so I could capture it like that with some flowers and new leaves coming out. It’s a big crabapple tree and famous because it’s in a book of VA’s 100 most beautiful trees.

I knew I couldn’t sketch it on my 12 x 16 paper because it’s easier for me to draw large if I’m drawing a large subject. That’s one reason why I know my drawing needs improvement. Why can’t I draw small? I can usually draw a figure with a 1.5″ head. A one inch head is too small for me most of the time, but I try to sketch small  figures sometimes.

I decided to use a piece of paper out of my 18 x 24 sketchbook and give it a try. 12 x 16 is the largest size sketchbook I can hold in one hand to draw and don’t need my easel. When I tried to sketch the tree on the big paper it seemed like it kept getting bigger and bigger as I was sketching. ( a sign that my drawing is out of control ) I wasn’t going to show this sketch because the tree looks crowded on this big piece of paper but I wanted to paint it and I thought if I had a larger canvas I might be able to do it. I bought a 30 x 40 canvas.IMG_2025

I did a detailed underpainting of the tree and it looked ok on the 30 x 40 canvas. It’s not squished to fit.  It was a little easier to sketch the second time. There’s another five feet of tree off to the right which I couldn’t get, though. The branches come back down to the ground and form a thick bush next to the tree. Now I’m over half way finished but it might still take another week at this rate. The background trees, sky and grass are finished but the tree and leaves are still mostly in the underpainting stage. The new leaves have a red orange tint and are shiny. It’s too soon for me to tell if my painting will work out. It could be an epic failure, or it might be ok when it’s finished. I missed the time to paint the tree with flowers but I think it’s beautiful without flowers. If the painting is ok I’ll post it when I’m finished. If it’s not ok, I’ll try again next year.

Celtic Knot / masking fluid on oil paint tips

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All it requires to use masking fluid on oil paint is time and patience. Here’s how.

Prep the canvas. The stretched canvases in the stores have a coat of gesso, but they’re a little rough. I sand my canvas, coat it with gesso, sand it again, another coat of gesso and a final sanding. Mix a little water in with the gesso so your paint is smooth as possible. I usually spread this canvas prep part out over a couple days. The smooth surface helps when painting lines.

Tint the canvas with thin oil paint. I used alizarin crimson. Add drops of turp slowly mixing them into the paint till you have thin paint. It doesn’t have to be too too thin, or the color might rub off later, but thinning the paint with turp spreads out the oil and the masking fluid will adhere to it nicely. If you have medium mixed in with the paint that might make the surface more oily and then the masking fluid wouldn’t flow off the brush well. So only use turp.

Give it a week to dry before painting the masking fluid on the tinted canvas. I put some soap on my brush before dipping it in the masking fluid. It helps with keeping the masking fluid flowing off the brush and not gumming it up.

Basically it’s the same as using masking fluid with water base paint, so I don’t know why they say it doesn’t work with oils. You paint right on top of it and peel it off after the paint dries.  The hardest part is waiting for your paint to dry so you can take off the masking fluid and reveal your creation! hahahah Sometimes it’s easier to take the masking fluid off. It just peels right up in a long strip. Sometimes it’s a little messier. That’s probably because my paint wasn’t dry enough.

If you don’t have the patience for slow drying oil paint, acrylic might work. I like oil, so, I had to give it a try.IMG_1969

I love Celtic knots. This book shows you how to draw them. You could put the book on a copier and blow it up to the size you need, but I like to follow the patterns and work it out like a puzzle. I drew my pattern with charcoal on brown wrap to the size I wanted. It’s an easy design to copy. Then went over it with magic marker to make my lines thicker before transferring it to my canvas.

I really appreciate this guy, George Bain for figuring out the patterns and publishing them, because I’ve used these designs so many times over the years.  And the original Celts, who came up with this type of design were genius!

Pleasure House Point in Dec. / oil

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The story of the insane SHRIEKING bird.

One day I was over there painting. I was all alone on the path. It was peaceful until this loud screeching shriek came from right behind me. I stopped and looked around but couldn’t see the bird.

Another day, I heard it far away. I also saw the likely culprit walk into the sedge a couple times. The second time I heard the bird, people walked down the path with binoculars and I thought they were probably bird watchers, so I asked them if they heard that loud screeching bird, and they did hear it. They said it was a sandpiper, and showed me a photo on a phone. I said, yes that’s it. Mystery solved.images

I also heard a loud chattering bird noise and now I wonder if sandpipers make that sound too.

A problem happened because of the cold weather.

Finally the sun came out after days and days of cloudy rainy weather and I was anxious to work on my painting, even if it was freezing. I bundled up and went out. As soon as I opened the lid on my palette, the glass broke! It was 32. Fortunately, I always put gray duct tape on the back of my palette glass, so little pieces of broken glass didn’t fall out. Breakage does happen sometimes with glass, but the main reason I put duct tape on the bottom of my glass is because it’s easier to see colors and values on gray than it is on a white palette. And some of the broken pieces were big enough to mix paint on, so I made some progress on the painting that day despite the broken palette. Weird, huh? I guess it was the sudden cold on the glass that caused it to break.

Well, that’s two nature stories for you.

Mirror Lake with Water Lilies / oil

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When I think I’m finished, I see something that needs touching up. Good thing I didn’t clean my brushes. hahahahahha

The Water Lilies are fading fast. They’re showing brown on the edges. I kind of like the brown, but I should try to paint them when they’re blooming next year. I’m not sure what month that is.

I hope this shows up ok on the computer, because I think I can see some depth showing as I look at it here in real life.. I built up a lot of layers of glazes. It took me 2 weeks of working on it almost every day for 2 or 3 hours at a time. It rained twice and I didn’t go out to work on it those days. Yesterday was kind of chilly, but I wore layers, so it wasn’t too bad.

I’m priming a canvas for another scene at Norfolk Botanical Gardens.  I think I have time to do one more painting before the leaves are down, since we haven’t had a frost yet. It’s another beautiful scene over water.

microscopic star dust life form, reproducing

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This is another experiment using masking fluid on oil paint. They say it doesn’t work. They say masking fluid beads up on oil paint. I think they are misinformed about that.

I started with a red tinted canvas and painted the masking fluid on my Spirograph design blocking out a red line. Then painted the blues and greens over top of the masking fluid. I added quick drying medium to my paint but still had to wait a couple days for the it to dry before taking the masking fluid off . Then I put gold leaf on my red lines and put beads on the canvas.

I used 2 different sized lids to stamp the violet circles in the background. For the larger beads, I cut little slits in the canvas and pushed the beads half way in, then hot glued them on the back. I sewed the small beads onto the canvas.

The most difficult thing about using masking fluid on oil paint is opening the bottle. You have to press down on the lid and turn it. I hear a click but the lid doesn’t unscrew. After trying to open the bottle for a while, my hand gets tired and I get out some tools because I want to break the freaking lid. Then finally I can open it after much frustration.  I mean, COME ON! Winsor Newton. Can’t they make a better lid?!

About the life form; It fell out of the sky into the ocean. Now it is reproducing and will probably choke out all life on Earth !  Are you scared? I just scared myself! hahahah

Distelfink Walks Labyrinth

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This is my 3rd experiment with masking fluid on oil paint.  I masked off the dark red border on the labyrinth and the gold leafed lines on the bird. The 24 carat gold leaf came out looking real warm on top of the dark red outline but it shows up a cool gold in my photo.

It’s a difficult, time consuming process making the masking fluid  work on oil paint. I wouldn’t recommend other artists try it. It takes a lot of prep time and patience. I’m still working out the bugs. I’m not sure if it’s showing in this photo, but you can see the weave of the canvas  through the dark red lines. If someone examines the paint closely, they’ll know I used some kind of stencil when they compare the thick textured paint to the lines.

I don’t have a lot of experience with gold leaf. It’s something I tried to do long ago and had the gold leaf all these years in my art supplies. I remember hearing you need a smooth surface for the leaf. That’s why I masked off the lines for the gold leaf. The paint can get thick and textured on the rest of the canvas, but should be smooth under the leaf.

The Distelfink is a folk art bird from PA. They mean good luck. Distelfink is PA Dutch for Thistle Finch. They’re native in Europe, not PA, but their images are all over Southeast PA.  I’ve always enjoyed drawing them. And I  enjoy the challenge of drawing geometric designs like the Greek key and Celtic knots. Making the labyrinth work out on the size I want is a math problem and takes me a while to figure out, even with the picture of a labyrinth in front of me. These are two designs I have used since I was a kid, so they’re a fall back design for my experiment.

So,  while the weather isn’t good over the winter, this is what I’m working on. My ultimate plan is to make an icon with oil paint and gold leaf, using a portrait of Edgar Alan Poe. The more practice I get, the better my chances are of success with the icon for a show in the spring at the Poe museum.