Oil Painters Of America Blog

Making Your Own Linen Panels

May 20, 2013 by Howard Friedland OPA 10 Comments

Commercially made linen or cotton canvas panels are available, and they are very nice. However, making them yourself will save you money and they really don’t take very long to make.

Here are the materials that you will need with step by step instructions (and photos) on how to mount linen or cotton canvas to board.

There are various surfaces to mount linen or cotton canvas to, depending on how light you want them to be. For general use I like Gator Board. Gator Board is similar to Foamcore, however the outer substrate of Gator Board is a harder material and will not bend, Foamcore will bend so it should never be used to mount canvas. Gator Board comes in various widths and in white, natural (tan) or black. If you are traveling and want a thinner panel you can use 1/8^th inch Birch plywood, Masonite or Hardwood boards. Another extremely light and thin option is Media Board sometimes called Non Buckle board. It is very thin and you can stack numerous paintings if you are going on an extended painting trip. When you get these panels back to the studio you can then support the Media board with a heavier backing or Foamcore when it’s time to frame the painting.

Note: I recommend that you start making small sizes at first 6×8 to 16×20 until you get the technique and drying time down, then you can better handle larger panels 18×24 and larger.

Materials you will need:

A Roll of Pre primed Linen or Cotton Canvas

I prefer linen but you can use cotton canvas if linen is too expensive.

Gator Board, Masonite or Birch plywood. (Not Foamcore!)

I use 3/16 inch Gator Board for smaller sizes and ½ inch Gator Board for large panels. To find Gator Board or Media Board/Non Buckle Board try an art supply store or on line. For Masonite, Hard Board or Birch Plywood try your local lumber yard.

Miracle Muck Glue

Miracle Muck is water soluble (cleans up easily with water and it is also “heat re-activating”, which means that the low to medium heat of an iron or hair dryer, will allow you to peel up the canvas even after it has dried, if you need to remove the canvas from the board.

IMPORTANT! Be careful that the iron is not too hot or you can scorch your painting. Get a gallon of it from SourceTek. They will only ship when the outside temperature is safely above freezing. If they have a problem sending it, you can try your local art supply stores and see if they can get it.

Small 5 inch wide foam-rubber house painting roller with reusable (green flocked) rolls

These rolls may be sold separately. They give you a nice even smooth application of glue which is very important! Any paint store, or Hardware store should have it.

Large Utility knife

I use the kind that has segmented blades that I can snap off when they are dull.

Long metal straight edge for cutting
Roll of Masking Tape
Heavy Laminate Roller

The kind that they sell for pressing down Formica to counter surfaces. Hardware stores carry them.

Paper Towels

The Procedure:

Step 1
With a pencil, mark the Gator Board a bit larger than you want the finished panel to be. Example:

For an 8×10 inch panel cut it to 9×11 inches.
For small canvases an additional 1/2 inch all the way around is fine.
For larger sizes I recommend 1 inch all the way around. After the canvas is glued down and dried, this makes a nice, clean edge once the excess is trimmed off. However, if you have pre-cut boards to the exact size and don’t have any excess trim, it is not a problem.

Using the pencil lines for a guide, cut out a piece of Gator Board with the utility knife and metal straight edge. Make several passes of the blade until it cuts all the way through. If you are cutting Masonite or plywood, you may need a table saw to cut the material.

Step 2
Cut a piece of Canvas to the same size as the Gator Board in Step #1 and lay them side by side.

Note: If you cut the canvas from a roll, you might have to tape down the corners so it doesn’t curl up when you apply the glue.

Step 3
Pour some Miracle Muck out onto the raw side of the canvas and work it evenly into the canvas with the foam roller to get a thin and even coat with no puddles or dry spots.

IMPORTANT: You want a thin, even coat of glue rolled out from edge to edge.

Step 4
Pour a small amount of the Miracle Muck from the bottle onto the Gator Board.

Using the foam roller, roll out the glue evenly over the entire surface of the Gator Board. You won’t need to pour out as much glue because the board is not as absorbent as the canvas. (Make sure that there are no puddles or dry areas on the surface).

IMPORTANT: You want a thin, even coat of glue from edge to edge.

Step 5
Take the glued Gator Board and flip it over onto the glued canvas surface adhering glue side to glue side. You must do this while the glue is still wet. You will still be able to slide it around or lift up the board to adjust it if necessary.

Line up all the edges as best you can, so when mounted, the weave of the canvas is not crooked. Press lightly over the Gator Board with your hands so that both glued surfaces make good contact.

Then, turn the panel over to the canvas side (removing the tape from the corners of the canvas).

Gently pressing down with your hand again, (this time on the canvas side) starting at the center and moving toward the outer edges, smooth out any air bubbles that might still be between the canvas and board.

Step 6
Take the heavy roller and bray down the canvas to the board (roll from the center out to the edges again).

Step 7
When the mounted canvas is flat and smooth, turn it face down and put some books or other heavy flat object on top to keep the panel flat over night. Be sure to weight the whole surface.

You can stack several of them under the weights. If you are mounting a variety of sizes at a time, put the larger ones on the bottom of the stack.

Step 8
The next day you can trim off the excess ½ inch of material from the panel with the utility knife. Trim them to the finished size you want. It may take several passes to cut through but you will get a nice clean edge.

Once you do it a few times and get the feel of how much glue to use it should be a breeze to make a bunch at a time with no problem.

Good Luck with your project!

Filed Under: Education, Oil Painting Tagged With: Linen Panels

A Week Painting at Scottsdale Art School with Milt Kobayashi

May 13, 2013 by Nancy Boren 3 Comments

Nancy Boren was the proud winner of the $500 Shirl Smithson Scholarship. Click here to learn more about the Shirl Smithson Scholarship.

Last December, I was fortunate to be selected for a $500 scholarship from OPA to use toward attending a workshop of my choosing. Since I’ve long admired the rich, evocative figure paintings of Milt Kobayashi I elected to sign up for his recent class at the Scottsdale Artists School. The ocotillo and palo verde trees were blooming red-orange and yellow making April in Arizona a real joy.

“Stay attuned to opportunities and be open to change” was the advice we received throughout the week. Kobayashi views his once a year class in Scottsdale as a valuable experimental time for himself as well as his students, painting new models, trying new compositions, hearing ideas from his class. He also enjoys the opportunity for creative freedom — no thinking about producing work for galleries or shows. Back home in New York he paints late into the night, the solitary work time often giving his paintings an introspective quality. Every year he says he takes something valuable back to his studio from his workshop experience; maybe something tangible, like a new color combination or maybe simply a creative spirit rejuvenated by the wide open southwest and the bonhomie of simpatico painters in the lively class. He certainly doesn’t take home the actual demos he does — the class participants were avid collectors and there was good natured rivalry on Friday when names were drawn for the chance to purchase the five new Kobayashis.

The emphasis for the week was on composition and he encouraged the 18 students to try new arrangements of objects, repeating several times that there are no rules about placement except try to avoid aligning edges. He enjoys pushing the figure to the far edge of a painting, sometimes even looking straight out to the side, an arrangement few artists use. He painted with various color schemes: dark blue (Egyptian blue by Doak) and brownish orange (Mars orange and Mars Yellow he likes for their rich opacity), orangey red-green-lavender, black with a host of grays, and the last day, medium blue and rusty red punctuated by a large area of black. He loves black and is not afraid to make the commitment to use it boldly.

: Tuesday’s Model

: Tuesday’s Demo – In Progress

: Tuesday’s Demo – Final

He paints things how he thinks they should be, not exactly the way they look. Nothing is set in stone. He urges you to understand the form and why light is hitting it the way it is.

As he started to paint each morning, beginning with a tone of a warm gray, he seemed to let the design present itself to him. On occasion it was suggested by the shape and strokes of the initial tone, other times, it evolved from pencil lines over the tone as he played with placement of the objects he had in mind. On Tuesday, he decided to place the figure dead center with arms out stretched, making a cross composition. He further emphasized the centrality of the figure by placing a deliberate rectangle of blue right behind her face. He committed himself to his decision. When it came time to paint the mouth, he said with a laugh he was going to make it green, “just because I can.” He added a couple more touches of green so the color of the mouth would be repeated. The girl in the painting echoed his attitude of being attuned to possibilities and celebrating who she was.

In Kobayashi’s discussion of painting with cool and warm grays of similar values, he made a statement that distilled his decades of experience working in subtle tones: it won’t look muddy if you make the strokes crisp. When a painter starts to over blend it is easy for it to turn to mush.

Each afternoon for student painting time, there were three complex model set ups to choose from. These were orchestrated by artist Nancy Chaboun, who also participated in the workshop. Gorgeous fabrics, kimonos, fresh flowers, pillows, vases—if you couldn’t get inspired there, you couldn’t inspired anywhere.

Besides the great class at SAS, there was so much to take advantage of while in Scottsdale. I painted Monday evening in the open studio with a wonderful model, at no charge since I was enrolled in a workshop. Wednesday evening, one of the class members invited everyone to her lovely home for dinner where we also enjoyed her art collection which has an impressive number of Milt’s paintings. Thursday afternoon is Thirsty Thursday, put on by the Friends of SAS — great hors d’oeuvres and wine. Thursday evening is gallery walk for the Main Street galleries and the rest of my free time I spent plein air painting or photographing dramatic Arizona scenery. It was a fabulous art week.

After some hit or miss work the first three days, finally on Thursday I felt I did a painting that incorporated some of Milt’s advice.

In case I forget in the future to embolden my compositions, use lots of neutrals in the skin, or throw in a surprising color choice now and then, I only have to look back at Tuesday’s dead-center girl with the green lipstick to remind me–and that’s easy, because she hangs on my wall.

Filed Under: Education, Oil Painting Tagged With: Demos, Shirl Smithson Scholarship, Style, Technique, Workshops

Party Hearty! For the Fourth Year, American Art Collector Sponsors a Great Shindig!

May 7, 2013 by Rosemary Carstens 1 Comment

Pat’s oak

Friday night at the OPA national exhibition, American Art Collector (AAC) magazine will throw a party to be remembered. This year’s will take up Texas flavor and go all out—great food and music under the stars at Pat’s Hall, a historic Texas dancehall, surrounded by some of the most talented artists in the country. What more could you ask for?

As is always the case, the staff of AAC puts a lot of thought into producing their signature event, and this year is no exception. Editor Joshua Rose gives us the inside scoop:

On an earlier visit to Fredericksburg, we discovered a local BBQ joint called Cranky Franks. We immediately fell in love with their pulled pork and BBQ’d chicken and have eaten there on every subsequent trip. When we found out that this year’s party would be in Fred, there was no question who we’d have cater it.

And on a trip to Santa Fe, we met The Lonesome Heroes, an Austin-based country-western duo. They are wonderful singers, songwriters, and performers, and we all became friends quickly. We are very excited that they’ve agreed to come down from Austin to play for our party!

Imagine this—sitting on picnic benches under a giant, historic oak, drinking lemonade, eating some of the best BBQ you’ll ever taste and listening to the beautiful songs of one of Texas’s best country-western duos. We can’t think of a better way to spend a night in Fredericksburg, Texas.

Pat’s Hall

Amy Elliott Gause, AAC’s sales and marketing director, is equally excited about this year’s event: “We couldn’t have found a better place to host our annual party at the OPA National Exhibition. This just might be our best yet—and we are currently arranging for the group of elk who showed up last year to make a special appearance this year as well!”

All I can say is YUM—great BBQ and music under that vast Texas sky, good-looking cowboys, sexy cowgirls, terrific sponsors, and hundreds of creative friends who love to talk about art. My kind of fun—

As the song goes, “The stars at night are big and bright, deep in the heart of Texas—” See you under the oak tree!
View some photos from last year’s American Art Collector’s party

: Amy & Kathryn

: Tortilla Factory

Filed Under: Events Tagged With: American Art Collector, National Show

Southwest Art adds flair to the 22nd Annual National Exhibition

May 3, 2013 by Rosemary Carstens Leave a Comment

One of the top sponsors for Oil Painters of America’s national exhibition in Fredericksburg, TX, May 15-19, is Southwest Art magazine. Always quick to jump on the bandwagon and support fine artists and their work, they are once again offering two events you won’t want to miss.

First up, on May 15, will be the “Pampered” Paintout, 7:30 a.m. to 4:00 p.m. Kimberly Moore, SW Art’s regional sales manager, and her staff will be out in force to show the artists great spots to paint en plein air and to provide breakfast and lunch. If you attended last year’s debut Pampered Paintout in Evergreen, CO, you know it was one of the five days’ best painting parties. As Moore says, “It was a wonderful event and was so well received that we wanted to do it again! It gives the artists an opportunity to relax and paint while being pampered for a day with food, drink, music, and fun! SW Art loves working with such high caliber artists, and being able to host this exciting event is really a joy!”

Tasch House

This year, activities will take place in and around the beautifully restored Tatsch House at the Lady Bird Johnson Municipal Park facility. Built in the mid-1880s by master cabinetmaker Peter Tatsch, using local stone, it is reminiscent of early Fredericksburg. It was recorded by the Historic American Buildings Survey of the U.S. Department of Interior and the home’s detailed plans were placed in the Library of Congress in 1936.

But that’s not all! On Sunday morning, SW Art’s Editor in Chief Kristin Hoerth will interview this year’s distinguished Artist Sherrie McGraw at the Admiral Nimitz Museum & Convention Center from 9:00 a.m. to 10:15 a.m. Hoerth says she is very much looking forward to the whole week of OPA events, but especially to speaking with McGraw: “I’m thrilled to be able to sit down and chat with Sherrie. My conversation with Daniel Greene last year was enlightening and entertaining, and I have no doubt that this year’s interview will be just as compelling. We at Southwest Art are so pleased to be part of these events. The OPA has a long and distinguished history of producing wonderful shows that bring artists together and present impressive paintings to collectors, and it is our pleasure to help support these endeavors.”

See you all there in the best little art town in Texas!

Filed Under: Events

What can an artist do about it?

April 29, 2013 by Rick J. Delanty 14 Comments

"The Third of May 1808" by Rancisco Goya

“The Third of May 1808″ by Francisco Goya, 1814

Any American would have been shocked by it: the senseless murders of three spectators in the bombings fifty yards apart at the finish line of the Boston Marathon on April 15^th; over 250 injured, at least eight of them children; the death of an eight-year-old boy; the amputations of limbs for ten others.

It was one of the most violent terrorist acts on America’s soil in recent history, at the world’s oldest annual marathon. Thousands experienced it locally and firsthand, as the event traditionally draws over 500,000 spectators. Millions viewed it on TV, replayed in shocking detail on every major national network.

Film showed runners who had just completed the race running back into the course to help the injured. Police and first responders rushed to the aid of the wounded with blankets, gurneys, and medical assistance. Viewers at televisions across the nation could only sit or stand transfixed as they tried to comprehend the carnage of the innocents who had suffered the shrapnel of a death-dealing blow. In living rooms everywhere, far from the smoke and violence, we were unable to think, breathe, or even lift a hand, transfixed by the horror of an ultimately cruel attack.

I have had the privilege to run the Boston Marathon three times. The highlight, for me, was The Hundredth, or Centennial Boston Marathon in 1996, that set the record for the world’s largest marathon at 38,708 entrants and 35,868 finishers. It’s properly called the “Boston Athletic Association Marathon,” and is begun and run in cities largely outside Boston—in fact, runners don’t even see Boston until five miles after Heartbreak Hill, at 24.5 miles. In fact, in the early days of the marathon, what was printed on the finishers’ medals was the name, “the American Marathon.”

Long Beach Marathon

Marathon running is a thinking-person’s sport. Like painting, it allows you to think about anything and everything, but the need to focus is ever-present. And like painting, one needs to have a goal, a plan to reach that goal, and the skills, mindset, and conditioning to go with it. It offers victory to those who persevere.

But there was to be no victory that day, April 15th, for those runners on their way to the finish line at 2:49 p.m…. even for those who were turning that final corner onto Boylston Street to finally realize their dreams of completing “the Boston.” The bombings destroyed those dreams of the finish line in the same instant that they devastated the crowds gathered around that line. It was hopeless to go back, to wish it hadn’t happened. Only one question remained: “What can we do now; what should we do?”

That brings it all the way back, to each one of us. As artists, what can we do in the face of this disaster, and others, that threaten to destroy even the survivors?…that threatens to overwhelm all the good that exists in society, in any works of man and art, and which is powerful enough to reduce our creative morale to rubble?…so powerful that we might ultimately consider that the arts are nothing in the face of real evil, and that the artist and his/her artwork has “head in the clouds,” and is standing in front of tragedy without real weapons, or even an answer to man’s inhumanity to man.

Should we continue to stand, or run? Shouldn’t we feel defeated, then get angry, and seek revenge? Should we abandon our principles? If we do that, then we fall prey to the very behavior that we condemn in those who try to steal and destroy that which is good. In the wake of senseless acts like the Boston bombings, I feel all of those emotions—but that’s all they are. As an artist, I would rather attempt to do something positive, than to believe that there can be no response or action that is worthwhile, and helpful. So once again I have been considering the power of Art in light of this question: as an artist, what can I do to counteract this violence that exists in the world, this evil, this threat to all we hold to be true?

“Do not be overcome by evil, but overcome evil with good.” - Romans 12:21

“Blessing, Malachi 3:10″ by Rick Delanty, 24″ x 24″

Artworks have the capacity to convey a positive message, to reveal the truth of the unseen, to describe beauty, to define the good that still exists, to communicate between cultures and without spoken language, and to heal. Perhaps that is why occupying armies frequently seek to destroy first the artworks of those they wish to vanquish—to immediately banish beauty, order, and hope in the good from the oppressed.

But each working artist that believes in the power of Art to convey the good is like a Florence Nightingale on the battlefield, among the tents where the wounded lie, going from one victim to the other and ministering to the spirits of those who would otherwise lose hope. Grace and strength will always win out over malice and wickedness. There is power in benevolence, and hope in the sight of the loveliness of a creative spirit. Art that expresses the truth in kindness and gratefulness will disarm the rage, and advance the welfare of all who see it.

As artists, we can do good, and strive to create great artworks. To create at the highest level is a victory over all who would strive to destroy.

“Rachel” by Rick J Delanty, 14 x 11

Filed Under: Oil Painting Tagged With: Culture, Overcoming Adversity, Positive Thinking

Free Ways to Promote Your Paintings: Part I – Press Releases

April 22, 2013 by Susan Blackwood OPA Leave a Comment

Press Release Okay, we are kidding ourselves if we think that there isn’t a business side to art. There is and, as you know, artists need to wear many hats in order to have a growing career. One of those hats is “Marketing and Promoting your Paintings”. There are many ways to do this necessary aspect of your career. Some methods require big funds to accomplish and some methods are free. I will be writing a series of articles on some of the free ways that you can promote your paintings and gain recognition.

One marketing hat you should wear is the “Press Release Writer” …Now, this is where the artist pales at the mere suggestion of writing an article. Relax, press releases are one of the easiest articles to write and can make a huge difference in any event, workshop, or announcement. Here are the basics.

Start your article with these basic facts: Who, What, Where, Why and When.
Example #1: The oil paintings (WHAT) of Skokie artist, Elizabeth Jones (WHO), will be featured in “Light and Wonder Show ” (WHY) for the month of October (WHEN) at the White Rose Gallery (WHERE), Skokie, Illinois.
Elaborate upon the facts:
Example #2: Thirty floral paintings, emphasizing the inspiration of luminosity, will be on display.
Elaborate on the techniques or style of the paintings:
Example #3: Thick juicy strokes accent the brilliant glow of these impressionist paintings.
Bio on artist:
Example #4: Elizabeth Jones, known for her romantic expression of flowers, studied oil painting and design with nationally recognized artist, Howard James. She has been an associate member of Oil Painters of America for 5 years and has been juried into 3 of the OPA regional shows.
Reception:
Example #5: The Opening Reception will be October 1st from 5 pm to 9 pm. Artist, Elizabeth Jones, will be present to discuss her techniques. The public is welcome.
Contact info:
Example #6: White Rose Gallery is located 931 Niles Center Road, Skokie, Illinois. For more information contact Cheryl at 316-673-4196.

For this example, that would be the end of the article. It is 143 words long. It is a short Press Release, easy for the newspaper or magazine to fit into their layouts. But you are not done yet.
At the top of the article, you need to write:
For Immediate Release
At the end of the article, in order for the newspaper to be able to contact you and verify that this press release has originated in their area, you need to write:
For more information contact:
Elizabeth Jones (your name)
5140 Howard Street ( your address)
Skokie, Illinois 59715
312- 222-5555 ( your phone number)
Be sure to include a photo of one of your paintings that will be on display. Include the title, size and medium of that painting. Most newspapers are wanting digital 250 dpi images that are about 5 inches x 7 inches.

Here is the finished Press Release example: ( all names and information are fictional )

For Immediate Release:

The oil paintings of Skokie artist, Elizabeth Jones, will be featured in “Light and Wonder Show” for the month of October at the White Rose Gallery, Skokie, Illinois. Thirty floral paintings, emphasizing the inspiration of luminosity, will be on display. Thick juicy strokes accent the brilliant glow of these impressionist paintings.

Elizabeth Jones, known for her romantic expression of flowers, studied oil painting and design with nationally recognized artist, Howard James. She has been an associate member of Oil Painters of America for 5 years and has been juried into 3 of the OPA regional shows. The opening reception will be October 1st from 5 pm to 9 pm. Artist, Elizabeth Jones, will be present to discuss her techniques. The public is welcome.

White Rose Gallery is located 931, Niles Center Road, Skokie, Illinois. For more information contact Cheryl at 316 673-4196.

For more information contact:
Elizabeth Jones
5140 Howard Street
Skokie, Illinois 59715
312-222-5555

Write the press release based on facts, do not let it sound like an advertisement. Always write in the third person. Be aware that some newspapers are more prone to print press releases than others. In my home town, the arts have a separate insert magazine once a week that features what is happening in the arts, music, and dance. This is where art related press releases would be sent.

Submit your press release to neighboring newspapers, local magazines and, yes, national magazines. Many publications are now accepting press releases via e-mail, easy to use and to attach your photo. Call the publication first to find out the way that they prefer to receive press releases.

Each time you win an award or are juried into a regional or national show, you need to write a press release. Not only are you getting the word out to the public about your achievements, but in the process, you are introducing the editors of these publications to your work and your career. In time, this could definitely develop into an article. Press releases will awaken the general public to your work and your career. The more they know about you, the more likely they are to step up and purchase your paintings, take classes, etc.

So these are the basics. Most newspapers welcome an independent writer to aid their reporters’ efforts to keep their publication interesting. Try it! You have nothing to loose and “career recognition” to gain!

Filed Under: Business

How Important is it to really Know your subject?

April 15, 2013 by Hodges Soileau OPA 12 Comments

SoileauOPA-Hodges-Old Port Gulls-24x18 oil on linen

“Old Port Gulls” by Hodges Soileau OPA

I am often asked the question, “Is it important to really know the subject you are painting inside and out.” First let me say that it certainly does not hurt to know the subject, but artists can paint subjects that interest them without knowing very much about them, if anything at all….except for the fact that they are interesting visually. One could know everything about a subject, or even be an expert on the subject, and not be able to depict it as well as one seeing it for the first time.

In my opinion, observation skills and a visual interest in how something looks with light on it is what is most important. A personal example might be that I love to paint boats and water, but I know very little about boats except which end is the bow and which is the stern. From observing, I am aware that the shape of a lobster boat is different that that of Shrimp boat, or an Oyster boat, etc. I have a passion for painting boats because I like the shapes and the way they look in water. That is only one example of many subjects that artist choose to paint that do not require expert knowledge to do reasonable representations of them.

SoileauOPA-Hodges-Working Lady 16x20 oil on linen-copy copy

“Working Lady” by Hodges Soileau OPA

Another example might be Equine paintings. I’m sure many who paint horses are in fact experts, and some even specialize in that genre of painting. Being an artist that paints eclectic subject matter, it is one of my favorite subjects… but again I do not believe it is a prerequisite to know horse anatomy by name, if one has observation and drawing skills. My passion, or interest for horses started as a young boy. I always had horses growing up, and loved them then and carried the interest in that subject with me until now. I know a little about them, but I am by no means an expert… and for me, it never was about being an expert on this subject! It is about the way they look… the strength, and beauty of their movement… a noble beast.

By the same token, one can do a very reasonable rendition of the human form without ever taking an anatomy class…..of course anatomy study does not hurt, and I certainly would never discourage any one from studying the human anatomy. Any knowledge gained can be helpful…..particularly in checking one’s self if there is an issue, but it is not an absolute requirement. Artists have done a very good job over the years without studying anatomy, if their observation skills are strong. I believe the artist should be interpreting their observations and not simply copying them. Copying is for cameras. Another problem with relying on knowledge instead of observation is, if one is observing the subject, and something looks vague, fuzzy or not clear as in a shadow area….one should paint that image as they see it, and not use their intellectual knowledge of the subject and make it a clear statement. It will not look appropriate to that particular situation. Example….something dark in shadow value, if made to light and sharp will jump out of the shadow. Another foreseeable problem with using knowledge of subject rather than observation is that one could fall into a formula, and everything starts looking the same. If one is using anatomy knowledge for example. All figures should not be exactly alike.

SoileauOPA-Hodges-Lula-Belle and the Preacher Fisherman-24x18 oil on linen

“Lula Belle and the Preacher Fisherman” by Hodges Soileau OPA

I have even heard this in reference to portrait painting. One artist (A) who meets his subject for the first time can do an excellent portrait, and even possibly stronger interpretation than one artist ( B) who has spent time with and painted that same subject again and again….if artist (A) has stronger observation skills….in my opinion.

One could compile a never ending list of subjects that this might apply to. By no means am I implying that one should not learn all one can about the subject they choose to paint….if that is one’s interest. This is only my opinion on this subject, and does not necessarily reflect any universal opinion or idea on the subject. I do find this an interesting topic, and I do believe strong observation skills trump knowledge of a subject as it relates to painting.

Again thanks for listening to my Cajun ramblings.

Filed Under: Education, Oil Painting Tagged With: Oil Painting, Subjects

Learning To Draw Like An Angel (Michelangelo)

April 8, 2013 by Rosanna Hardin Hall 3 Comments

Classic Bust III, Pencil, 10 x 8, $600.

After long wishing and planning to study art in the center of the Italian Renaissance, I am keeping my wish alive. I arrive at the Florence Stazione (train station) and walk for three blocks to the Florence Academy of Art. At last, I find the bell cord, the lock clicks, and the door opens into a small entryway where bicycles line up. Through an archway, I can see a garden as I enter the art studio to the left. Standing at his desk is Daniel Graves, an American painter and the director of the academy. He welcomes me with a hug. Strangely, I already feel at home in my new city.

The Florence Academy Of Art

I don’t know what to expect at the academy. Following the 19th-century French Academy which developed neo-classicism, Daniel sets an agenda for new students like me. Immediately I am assigned to draw an exact copy of a finely defined pencil drawing of a man wearing a hood. He very much resembles the Florentine poet Dante.

I draw exact dimensions and values of white through scales of gray to black with a HB (hard black) drawing pencil. Each stroke must be crisp by keeping my pencil sharpened with a mat knife, pushing from the tip of the lead, back along the shaft and up into the wood. I shave away until I have a long lead with a pinpoint-thin tip so I can make sharp, distinct marks of lead.

Classic Bust I, Charcoal, 18 x 15, $700

I never press the pencil into the paper to make a darker mark. Instead, I stroke one line next to another on a smooth white paper. Each mark falls crisply in place. The more I stroke, the darker the definition of a shadow becomes. On the other hand, when I have gone too dark, I erase and begin again with a freshly sharpened pencil. I love to draw and am so engrossed that hours pass without my noticing the time. I lay a string as a plumb line vertically to line up the head. I use the plumb line, as well, to establish the tip of the shoulder in relation to the chin line. And this measuring of angles and spaces continues throughout the drawing. By the time the drawing is completed, I have sharpened my pencil 100 times.

Classic Bust II, Pencil, 8×6, $500

Main Drawing Room

Finally, I graduate to the main drawing room where classical plaster casts stand on pedestals against black velvet drapes. The room is painted black and black curtains cover side windows. The daylight streams through north skylights onto the statues. No unnecessary reflected light interferes with our tasks of drawing exact replicas of the statues.

Classic Bust III, Pencil, 10 x 8, $600

I stand back eight feet from a statue, alongside six other draftsmen who stare at their individual statues. The room is quiet, although some students are playing their tape recorders with ear plugs. I listen to silence as I mount on my easel next to my statue an 18”x24” sheet of heavy charcoal paper. I stare at a lovely Grecian female in classic pose and wonder if I will ever be able to replicate her beauty of lines and shadows.

Female Nude (Classic Pose), Charcoal, 25 x 16, SOLD

Working With Charcoal

That is when I begin to use charcoal in ways I had never known. For one thing, I am instructed to buy Fusam NITRAM, a vine charcoal made in France of the highest consistency. It comes in hard and soft. Fine charcoal which is difficult to find in the United States can make the lightest delicate gray marks with feather touch. It also can be sharpened with a mat knife from tip to shaft.

With the finely sharpened charcoal I stand back to get a sense of how wide and tall and how dark and light my drawing should be to duplicate the original. I hold my plumb line in order to eyeball a point on the statue. Then I move the line horizontally so I can mark the same spot on the paper. I stare at that point as I carefully walk forward to the paper and touch the spot with my charcoal.

Running Pose, Charcoal, 24 x 18, $700

I continue to eyeball the plumb line horizontally and to establish the vertical angles and alignment of body parts to give the figure a natural and classic stance that is not stilted. The hardest part of replicating a statue is to place the shapes and strength of shadows. I begin to recognize geometric shapes which crop up in any composition or design.

To help me see values without reflections of incidental light, I use a black mirror (vanity mirrors are usually backed with silver) to establish the exact values of half lights and shadows. Correct lighting indicates that the figure may turn toward and away from the light source and into the shadows. It is like dancing, writing poetry, and singing in symphonic variations. I hold the black mirror at an angle where I can see the statue juxtaposed next to my drawing in progress which I compare to the plaster cast. The mirror cuts out glare and I then adjust the art to match the true values in nature.

Classic Nude Drawing, Pencil, 9 3⁄4 x 6, $600

In all, the drawings are precise and time-consuming. As a result, I am learning to see infinite detail of light, shadow, line, and pose. I draw with great care. This eyeballing, sharpening of charcoal and walk goes on every morning. My drawing and touch on the paper improves during the three months I live in Florence. Quickly, I correct my major flaw of drawing objects and people larger than they are in proportion to other objects.

When I am not drawing, I wander into museums and churches to converse with Michelangelo, Ghirlandaio, Leonardo da Vinci, Fra Angelico, Masaccio, and Pontormo. These great Florentine draftsmen guide my left drawing hand.

Filed Under: Education Tagged With: Drawing, Michelangelo

Andy Thomas Interview

April 1, 2013 by John Pototschnik OPA Leave a Comment

Andy Thomas

I first met Andy Thomas more than 20 years ago while participating in the Midwest Gathering of the Artists Show in Carthage, MO. His talent was obvious, so to see his career explode as it has in recent years as a painter of western themes, well, it’s really not that surprising.

His paintings now garner well into the five figures.

Spirit of the MGA – 40″x 30″ – Oil
Thomas captured, in his trademark style, many of the participants in the Midwest Gathering of the Artists Show with whom we became friends. I’m depicted with the highwheeler, indicating my love of cycling.

Mark Smith, co-founder of the Greenhouse Gallery of Fine Art in San Antonio, TX, and exclusive representative of Thomas’ work said, “Andy represents one of the most talented and creative painters working today. He has gained wide respect for his portrayal of the horse and its historic role in the old west and, as a result, has become one of the most sought out and collected painters of the historic time period known as the Old West. Collectors respectfully refer to Andy as a great “story teller” and compare his paintings favorably to the works of Remington and Russell. Through his paintings, Andy allows the viewer to be a participant in the scene rather than a spectator”.

Bad Whiskey – 24″x 48″ – Oil
At the Coeur d’ Alene art auction in 2009, this painting set an auction record for Thomas’s work, selling for $110,000

Things could have turned out quite differently. I remember being notified in 1996 that Andy had been injured in an explosion while working in his shop. His hands had been severely damaged. I couldn’t believe it, and feared the worst. Later, in an attempt to return to painting prematurely, he further injured his right hand. That’s when he took up painting with his left hand, producing some amazing work. Now that both hands are fully healed, he is able to paint equally well with both hands simultaneously while working on two different paintings…doubling his production…just kidding.

Bad Deal – 24″x 36″ – Oil

Andy didn’t begin his professional career in the fine arts. After graduating from high school, he went to work for Leggett & Platt, Inc. in their Marketing Service Department, an in-house ad agency. During this time he also attended Missouri Southern State College, graduating magna cum laude with a degree in Marketing Management in 1981. Employed for 16 years with the Fortune 500 company, he advanced to become its staff Vice-President before finally resigning his position in 1991 in order to pursue painting full-time.

Grizzly Mountain – 30″x 40″ – Oil

I’ve always accused Andy of having a photographic memory because of his uncanny ability to record things he has seen or experienced. He denies my claim, but there is something extraordinary in his ability to capture a moment in time…to tell a story that is capable of transporting folks to another place and time. If he had lived in the old west, cowboys would have paid him to join them by the campfire and spin a yarn. His vivid memory and imagination enable him to create paintings pregnant with action and drama…paintings sought after by a growing number of collectors.

Desiring to learn more, Andy graciously agreed to an interview which I am pleased to share with you. I think you will find it interesting.

What would be your definition of art? I gave this a great deal of thought my first year as a full time artist. As I looked around and identified what I thought was art (including architecture, movies, comedians, choreography, etc), they all had two elements. The first was communication. That is, they all had to be received by the viewer or listener. The second was they were original in that there was no formula used. Sometimes I would find myself thinking “Gee, that’s great and I don’t know why”. So, I define art as creative communication. The real question for an artist is, “Who am I wanting to communicate with?”

Horse Thief – 24″x 36″ – Oil

You define yourself as a painter of history, how do you go about translating the written account into a fully realized painting? Painting an actual event is a challenge. If I am true to factual history, many of my creative tools are taken from me. Still, I can be somewhat creative and use my craft and research to produce a work that people appreciate. Historically based paintings that are not a specific event are much easier. I get much of my inspiration from reading personal journals and memoirs of the time because they are full of feeling and impressions.

James Gang – 24″x 36″ – Oil

Your western themes have really caught on with collectors, why do you suppose that is? There’s a little boy inside me who wants to be a cowboy someday. I suppose that makes me paint westerns with enthusiasm.

How did you find your individuality as an artist? By painting many styles and subjects until my own style emerged.

Do you consider the process of painting more important than the result? No. The final painting is always my ultimate goal. However, I’m always amazed how indifferent I am about a painting that is finished. It is the past and I am looking forward to the next painting. Luckily, my buyers don’t feel the same.

Johnny Saved the Girl – 40″x 30″ – Oil

Journey to the New Home – 24″x 36″ – Oil

What part does photography play in your work? I use many photos for background reference but really only paint directly from photos for rifles or pistols and sometimes for hands. In the course of painting a figure, I often pose myself and take a photo to check anatomy or clothing wrinkles.

Does plein air painting play a part in your work? Plein air was one of the many types of painting I did to develop as an artist. I never learned to enjoy it and I only do them now for the fellowship of other artists.

What is the major thing you look for when selecting a subject? I have learned to fumble around with ideas until one gets me excited. Lots of thumbnails and color studies.

…And the Band Played On – 36″x 48″ – Oil

What is your major consideration when composing a painting? That’s tough to answer. I will say this; If my little thumbnail looks like a good composition, the color study will have a good composition as will the finished painting.

How thorough is your initial drawing? Very, very loose. I really let details emerge and develop as I paint. Sometimes I move arms or legs many times in the process.

A piece currently on the easel shows the initial drawing with grid lines on a toned canvas.

Current work on the easel shows the preliminary color study which has been reversed for the larger work. Also shown is photocopy of study and a preliminary figure study.

Describe your typical block-in technique. My usual procedure starts by taking a photograph of my color study and printing the image on an 8.5″x 11″ paper. I then draw a 16 square grid on the photograph. I prepare my large canvas by staining it with a brown/black mixture (ultramarine blue and transparent red earth). I use the same mixture to brush in a 16 square grid on the canvas and redraw the color study.

At this point, I usually block-in the whole canvas with thin color and soft edges. The washed in canvas should have the correct color, value and composition of the finished painting with no details. I then begin the slow process of finished, detailed painting by working on individual figures or small areas and working around the canvas.

How do you decide the dominating mood for a painting, and how do you maintain it? My paintings are narrative, storytelling affairs and the mood of the painting is part of the story. The mood is controlled by the choice of light source, the deepness of the shadow areas and the body language and expressions of the figures. Since I use figures often, body language is important. I never paint a man just standing. My men stand in defiance, or in fear, or with boredom, etc. That’s what I try to do, anyway.

This is typical of small preliminary color studies Thomas does as preparation for the larger work.

What colors are most often found on your palette? Ultramarine blue, transparent red earth, Venetian red, cadmium yellow deep and zinc/titanium white are always on my palette. I keep cadmium yellow light and cadmium red available but rarely use them. My vision is color weak so this limited palette suits me.

What are the key points one needs to know when creating a true sense of atmosphere? Light source, light source, light source.

You have a strong affinity for illustrators of the past, why is that? I think they were the best artists. They did paintings that fascinate me. They have not had a chorus of art historians promoting them.

So, if you could spend the day with any three artists, past or present, who would they be? Howard Pyle, Charles Russell and Frederic Remington.

What advice would you have for a young artist/painter? Here’s the best advice that was ever given to me. I asked an artist I greatly admired the same question, hoping he would tell me something like “paint horses, you can make good money painting horses” or “go to this show and you’ll sell out”. Instead, his answer addressed my artwork; “Whatever you see as your weakness, attack it. For example, if you can’t paint hands, practice until you can”. I followed his advice. The same artist, when I asked him what was the most important thing about a painting, immediately said, “The reason you wanted to paint it in the first place”. Perfect answer. The artist was John Pototschnik.

What advice do you have for a first-time collector? My experience shows me that people who only buy artwork they personally like are forever happy with their choice. I was always uncomfortable when people looked at my work for decorative or investment reasons. I do know that a painting that you enjoy doesn’t require maintenance or your time like so many other things we buy.

Land of the Apache – 24″x 36″ – Oil

When you become discouraged and feel the well is dry, so to speak, what do you do? I look at other artwork. For instance, I spent a great afternoon the other day making a list of my favorite all-time paintings and printing slick copies of them off the internet. I never really finished the list and before I was done I had ordered two more art books. But I had fun and was ready to paint.

Finally, Andy, if you were stranded on an island, which three books would you want with you? Atlas Shrugged (because of the message and because it would take being marooned to get me the time to reread it), and True Grit (better with each rereading). My third book would be some sort of survival guide so I wouldn’t be hungry while reading the other two.

Thanks Andy for a wonderful interview.

www.pototschnik.com

Filed Under: Education Tagged With: Interview

Ponderings from an Oil Manufacturer

March 25, 2013 by Colleen Maxey 4 Comments

Colleen-Maxey- From the Train berwick Upon Tweed Near Border Area between England and Scotland

A View From the Train

I am writing this from an express train traveling from London to Edinburgh. It is the third week of January and the snow is unusually deep here in Britain. I am on an adventure from my home base at Jack Richeson and Co., Inc.in Kimberly Wisconsin to visit retailers and suppliers in Britain and then on to the famous Paperworld Exhibition in Frankfurt Germany where I will visit with more suppliers and potential suppliers as well as have never ending cups of Coffee and Tea with Retailer Friends and Competitor Friends I happen across at the Exhibition.

When I first considered making a contribution to the blog, it was with the thought of talking about the amazing and exceptional way Richeson manufactures our Oil Paint. I say that a bit tongue in cheek, because as a salesperson I know virtually every manufacturer will say the same. From my comfortable perch on this train I feel far more inclined to delay what I truly believe is a justifiable “sell job” for a future blog. Instead I would prefer to share with you a secret about the many many manufacturers and retailers that make or sell the many ranges of Mediums you use in the pursuit of your passion.

Scenic Brook in Northumberland near Unison

The secret – we love making and or selling paint! Most of us are passionate about what we do. In my work I have the pleasure of talking to Retailers and Manufacturer Competitors from all over this globe. I am struck by a common thread ……the vast majority (there will always be exceptions) are not in the business of manufacturing or selling artist materials to become wealthy. Make no mistake….yes …..we all want to make a living….put a roof over our heads and feed our families…..but get wealthy…….not in Artist Materials. Rather for the majority I believe it is for the passion of serving the artist. For the passion of the art.

You see……many are artists in their own right who have ventured into the strange land of making or selling art materials out of a desire to stay close to the artist community as they earn a living and yet while under cover of darkness they pursue their art after working hours. I also know many folks involved in manufacturing who got their start as frustrated artists desperate to improve the quality of a medium but were frustrated with the materials available to them.

Visiting the Unison Factory Northumberland England

Others are “technicians” such as myself who admire artists, love spending time with those with artistic talent….feeling that somehow if we spend time with these amazing people that just by being in their presence and basking in the glow of their talent, we could have a bit of it rub off on us. Speaking for myself, I love seeing the world through the eyes of my artist friends. They have taught me to see colors and shapes in a mystical magical way I had not been able to see them previously.

There is however a dark side to the secret I share with you. An ugliness has been creeping into the passionate Retailer and Manufacturer’s pursuit to serve the Artist Community. The never ending push to drive down the cost of artist materials over the recent years is at risk of seriously impacting quality. You may well ask……Is competitive price reduction such a bad thing? After all…..I confess…..I too must shop for the best value I can afford.

Fir in the pub B and B after my long train ride

The answer I believe is “it can be a bad thing”….. competitive price reduction crosses the line of being beneficial when quality is sacrificed. As the market pushes price lower and lower quality eventually diminishes. I recall a phone call I received on day from a very frustrated University Instructor. She had just purchased one of our 12 inch manikins from a local retailer. It seems she paid somewhere around $8.95. She felt the need to express her disappointment in the quality change over the last twenty years. It just wasn’t what it used to be….and she was understandably irritated. I agreed with her. The quality of manikins is NOT what it was twenty years ago. Twenty years ago the same manikins cost $24.95. As price was forced down, quality went out the window in order to produce a manikin that could sell to artists at $8.95. The market would no longer accept a manikin even at a high quality that was significantly more expensive than $8.95.

Crossing the Border from England to Scotland January 2013

Personally I despise where the market is driving the quality of materials with lower and lower prices. I know many others in the Retail and Manufacturing end of the business who feel exactly the same way. Our company as well as many others fight to maintain the quality of our color, brush, and easel line. Purist Retail friends ache to offer quality materials, however the word on the streets is the consumer wants price at any cost. By that I refer to the cost to quality. In addition retailer after retailer are disappearing from our Main Streets as the drive to the bottom forces them to close their doors.

So where is all this rambling on a long train ride from London to Edinburgh heading? It leads me first to reflect on my own guilt at too often purchasing solely on price and neglecting quality, only to later grumble and moan because the silly thing has not functioned or lasted as I expected. I chide myself and renew a commitment to purchase the finest quality widget or thing I can possibly afford for the money available to me.

English Pub B and B near Unison Pastel factory

Secondly it leads me to urge you to demand the highest quality artist materials available for the pursuit of your art. Your reputation as a painter hinges on more than your talent. The person buying your work expects it to survive on the wall for years and years to come. Learn all you can about the materials you desire to use. Imagine – you, a spouse, or a friend are a passionate golfer. High quality gear is widely accepted as desirable to accomplish a good game. Why would you settle for anything less to accomplish a well done painting?

Enough rambling from my seat on a train in the British Countryside. Next time I will expound on our passion at Richeson for producing only the finest Oils available at a price that is affordable without the need to take out a second mortgage!!!!

Filed Under: Oil Painting, Travel Tagged With: Business Strategy, Colors, Oil Painting, Paints

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Ponderings from an Oil Manufacturer

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