Sauvie Island

There's an island nearby, that's apparently all the rage. It's called Sauvie Island. All I've heard about it since moving to Portland is that it is the place to go pick some amazing berries. Which, reading between the lines, tells me that it's a great place to hang out in nature. Which means a great place to do some painting. I was intrigued.

Last week I received an order of casein. I aim to expand my experiments in that medium, and as it turns out, my friends were planning a berry picking excursion. I hitched along to get my paint on! All of my casein setup fits nicely in a little shoulder bag I carry (which is a nice change from lugging a french easel and a backpack full of gear), so I figured it would make for a fine recon mission - so to speak.

It was a hot, dry day, so I had to fight the paint a little (I was constantly reminded of why I love oils) to keep it from drying up too fast, but I think I was still victorious. All in all I think casein is slowly winning my heart over.

Kruger's Farm. Casein on paper. 8" x 5"

Outrunning the Storm

Another little study as I gear up for something a wee bit more engaging. This time it's a lone BF-109 Messerschmitt, possibly trying to get back to Berlin before the coming storm. (Or perhaps I'm reading too much into things.) Hopefully I can tackle this beast in the immediate future.

Oil on (oil-primed) cotton canvas. 12" x 4 1/2"

Redtail

I've got a pretty grandiose painting on the drawing board and it includes airplanes. As I was going about the planning stages of this project I realized it's been about a decade since I've last tried to paint airplanes. I thought I would be in my best interest to see if I could even do so convincingly before committing to a large-scale endeavor. Sitting down at the easel for about an hour netted me this little painting; it's nothing to write home about, but I think it's a success. I'll have more to share with you good folks in the future.

Oil on (oil-primed) cotton canvas. 12" x 4 1/4"

Bamf!

A few weeks ago I jotted out some X-men inspired thumbnails and then kind of abandoned them. (They're thumbnails, it happens.) In a lull between projects I decided to flesh one of them out and further my exploration of a new pencil. It's quick and dirty, but I like the direction it's leading me in. More to come -- I hope!

Pencil and quick digital color.

Homo Geomyidae

A friend of mine recently graduated from the local "digital arts" college with aspirations of being a modeler (for video games and movies and the like). Among the tools that he was constantly blabbing about was a program called ZBrush. What made it stick out in my mind was him telling me one day, in a very matter-of-fact way, that I'd probably love said program. Well, for whatever reason I dismissed it entirely; probably not wanting to dedicate any more time learning the in's and out's of a newfangled computer program. He did mention that it was a lot like sculpting with clay, so I probably dismissed it because I'd rather sit down with an actual clump of clay to make something happen.

With that being said however, something came over me the other night and I actually looked into
what this program could do. Admittedly I was blown away. So I got my hands on a trial version of the program and started playing around. After about half an hour of hacking away at the preloaded sphere, this is what I came up with - Gopher Boy. I'm pretty sure I'll be experimenting a lot with this program in the coming days, weeks, and months; I'm equally sure that I'll be sharing some of the more precious gems here, with you. Until then, happy painting. Or drawing. Or sculpting with digital clay.

Art as a Science: Part 2

Continuing the exploration of medium versus surface - this time around the medium changed. Last time galkyd was my medium, this time around it's a concoction that I read about that supposedly what J.C. Leyendecker used. Again, all four paintings are oil on linen canvas with the same variation in surface treatments applied. Like the last round, I think the third and fourth panels were the best surfaces to work on, with the second taking a close second. In last place would be panel number one, which is just way too rough (almost like painting on rough sandpaper) for my tastes.

I introduced another condition to these tests this time around; I didn't work on any single one for more than an hour. It forced me to make snap decisions and not get too precious with the results - plus it just lets me get more done (and information collected) in a shorter amount of time. To that end I really limited my palette for this go; titanium white, ivory black, yellow ochre, and cadmium red. The interesting thing I glimpsed was how versatile that limited palette is.

Now that my samples on linen are complete, I plan on trying out the same set up on four different surfaces; heavy weight cotton canvas, light weight cotton canvas, canvas paper, and illustration board. Based on what I know, I think heavy weight cotton duck will be a similar surface to the linen, but I'm curious as to how it differs exactly. Hopefully I'll be getting those done in the next couple of weeks.

See you next time, I've got sketches to finish.

All paintings: Oil on linen. 5" x 5".

Art as a Science: Part 1

In my last post I stated that I had done some follow ups to my experimentation on linen canvas. This represents the first batch. I couldn't decide if it was the canvas, the medium, or the gesso that made working on that stretched linen canvas so pleasurable, so as any good O.C.D. patient would, I set about to systematically test each of the different variables.

For all four paintings are on linen canvas and I used galkyd as my medium. The only factor that was changed from painting to painting was the way that each sample was sealed: the first sample was sealed with clear gesso that was brushed on; the second was sealed with clear gesso that was scraped on; the third was sealed with two layers of white gesso and one layer of clear, all scraped on; and the last was sealed with three layers of white gesso, again scraped on. (I should probably go over what I mean when I say scraping on gesso in a later post.)

For my money, I think the third and fourth samples have the best surface, with the second coming in at a pretty close second. The first sample, with it's brushed on gesso, was a surface that proved to be far too rough and far to difficult to manage. It would probably be best when used with either thicker paint (perhaps an impasto) or a palette knife, as any level of detail is difficult to obtain.

Even though they're all small and quick studies that were used primarily as a tools test, I'm pretty satisfied with the results. I don't recommend using polaroids as reference, however. I'll post round two in the coming days.

All paintings: Oil on linen. 5" x 5".

Union Jackie

This painting is really a three part experiment, which is probably the least effective way to conduct an experiment.

The first part was the support - the canvas. When I was in school a professor told me that painting on linen was a heavenly experience. It's pricey stuff and I've never been able to afford it. I came across some reasonably priced stretched canvas in my favorite art store and couldn't resist the impulse. It was sealed with clear gesso, so I was thinking it'd be super toothy.

The second was the medium. Normally I use galkyd as my medium, but I rummaged out a bottle of oil that I mixed up near five years ago. I lovingly refer to it as Leyendecker Juice, as it's the closest approximation I've been able to find to the mystery medium J.C. Leyendecker used.

The last part was the color palette. I've been experimenting with a very limited palette (yellow ochre, cadmium red medium, titanium white, and ivory black) but sometimes you just need to paint something blue. So I introduced Payne's Gray to bias some things towards blue and the cooler side of the spectrum.

I consider this experiment a win; though later I realized that I couldn't tell if it was the clear gesso, linen canvas, or painting medium that I was responding to. I did some follow experiments which I'll be posting shortly.

Oil on linen. 11" x 14".

Ugly Mug Mondays! #5 and #6

Last week I didn't post a painting for Ugly Mug Monday because the moment I finished painting it I was all set up and loose enough to start work on the Steampunk Mailman. By the time I stopped painting that evening (and really it was 8 in the morning) I was too tired to take a picture and write up a blog posting. So, here it is.

It's oil on watercolor paper. It's something I've played with once before and didn't much care for it then either. I got some nice loose effects that I'm fond of, so I think it's something that I'm going to continue experimenting with. This time around I tried applying linseed oil quite liberally, but the paper still soaked that up almost instantly. Next time I think I'll actually soak the paper in linseed oil and see what happens.






This week's offering is back to casein on canvas paper. I'm really liking how that combination handles. I just start blocking in darks with a flat brush and correct as I go. I set up my black mirror to keep my values low and better controlled, since I've noticed my tendency to go more towards high key in my value structures. At any rate, it isn't bad for a 20 minute study.

I wonder what I'll come up with next week! The 12 week challenge is keeping me pretty busy, but it's all very exciting.

Found My Lost Shaker of Salt

I did this little painting last Tuesday as a means to experiment. The sad reality is that I only took one painting class when I was in school and I never did too much painting from life, or in this case, salt. Early on I realized I needed photo reference and I got in the habit of just printing off pictures that I needed before painting. So I set up a little still life of salt and drapery and got busy painting.

A year ago or so I picked up a trick from an "old pro" and had just kind of filed it away with the other nonsensical information in my brain. What this old salt (pun intended) shared was that after he does his drawing on his board he'll touch it up with gouache before spray fixing it. So, I tried it. I did a little underpainting in gouache (mostly to identify the shadow shapes and patterns) then I spray fixed it and let it dry. Then I came back on top of that with oils.

I think the most impressive thing I learned was how thin I've been painting these days. Effectively I ended up just glazing over the gouache for some rich and luminous effects. I'll have to keep it up, I really enjoyed painting from life and having a loose and free underpainting to work with.

5x7. Oil on masonite. 1 hour.

Ugly Mug Mondays!

Once upon a time I thought I would start doing self-portraits once a week. As with most things I had the thought and let it slip past me. Well I came back around to that notion just the other day, but this time I gave it a name. I don't know what possessed me to do such a thing, but I have named it:

Ugly Mug Mondays!

The plan is to post drawings or paintings that are of the self-portrait variety. Of my ugly mug. It isn't that I'm vain and that I love staring at myself in the mirror - or even that I'm that great of a model - but hey, I'm always available. Cheap and available. If nothing else, I always know where I am.

For the first venture, I broke out the gouache set again. I started with a quick and loose drawing on bristol then I spray-fixed it. Once that was all setup and ready to rock and roll I made a mess on top of it with the gouache. Messes are fun. Weird things happen when you make a mess and have the daunting task of cleaning them up, and in that weird space you learn. I can't wait to see what happens next week!

Overpainting.

Painted over my underpainting from the other night. One thing I can say for certain is the painting went a lot faster with the aid of an underpainting. However I feel it's almost overworked. I over-painted. (Rim shot.) There was a freshness in the underpainting that I think has disappeared in the final. Next time I'll slow down some and start with thinner glazes to preserve my preliminary work.

Oh well. What's done is done, and it's time to move on to the next one.

Oil on canvas board. About an hour.

Experiment No. 2593

A friend of mine did a doodle of a kid in a bath and sent it to me. There was something wonderfully naive about it that inspired me to branch out a little. I did this sketch in my faithful moleskine and kind of went about my business. Though, after I did Run, Fat Girl, Run (for which this picture served as a stylistic inspiration) I figured I would scan it and continue my exploration of Painter.

This time I set out to play more with the color mixing feature. I've been experimenting with a limited palette of yellow ochre, alizarin crimson, mars black, and white (more on that next time) and I wanted to know if Painter was smart enough to effectively mimic the results. Not quite, as it turns out. For the colors used in the rendering of the flesh things were pretty consistent, but the weird green I've been getting from yellow ochre and mars black was no where to be seen. All things considered I'm pleased with it's versatility. I had to give in when it came to the tub and the water though. There's just no way to get a blue from yellow, red, black, and white. Obviously.

Other than that, I think I lost some of the whimsical character from the sketch after scanning it into Painter. Originally she looked more like a kid in a bath, which was the point, but now that I'm talking about it that seems weird. But I digress, I think it's pretty solid. Things are coming along fairly well I think. I'm definitely willing to explore this direction for a while. Until next time! Thanks for looking.

Snap. Crackle. Paint.

A while back I drew this image and I've even tried to paint it a couple of times, but it never quite came out the way I was hoping it would. Though recently as I've been fine-tuning an approach, I thought I'd give it another shot. The greatest challenge of this piece was working on the crackle-pasted substrate. It behaves nothing like canvas and in fact is a little more absorbent than my beloved canvas.

All of that aside, I think it did well. The goal was to learn how to paint on crackle paste, and I'm well on my way to figuring that out. Initially I painted too thin, and while I didn't run into many adhesion problems, I did run into blending issues. Then I thickened up the mix a bit and instead started covering over the crackle. All in all I like to consider it a victory.

Oil on board. 10 x 12