Oil Painting

Making Your Own Linen Panels

May 20, 2013 by Howard Friedland OPA Leave a Comment

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

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

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

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

What Next?

March 11, 2013 by Deborah Elmquist 2 Comments

“Roots” by Deborah Elmquist 18×24

Every part of life can be looked at as being a stage. From the beginning of life to death and all the activities that we squeeze in between, we are at some predictable stage of the process of living. And just like life, painting has its own stages. And just like a young child who knows only the stage he’s in and has not a clue about what stages lie ahead until he arrives that is, so it is with being a painter and learning to paint and all that comes along the way and after.

The novice painter may set as his goal the ability to transcribe in paint what is in front of him. The novice truly believes at the time that if he can do that he will be happy. And for many painters, that’s as far as they get. For others, however, they quickly learn that just painting the image “as is” does not feed their expressive souls. They begin to search for ways to paint “better.”

For those who will paint better, this stage is both painful and exhilarating at the same time. Here’s where, if we are willing to search deep within ourselves and search for information on the masters of the past, we can grow into a richer life as painters; a life that will sustain us for a lifetime.

"Sew Many Memories" by Deborah Elmquist 18x24

“Sew Many Memories” by Deborah Elmquist 18×24

My journey into this stage began with looking for a theme. I quickly realized, however, that a theme wasn’t anything more than just painting things, lots of the same things, but in different ways. Looking for what brought me joy or bliss was the key to this next stage. Bliss came from two things, fabrics and light. For me the two are really related, especially with white heirloom textiles that had beautiful lace patterns and hand work. I became fascinated with the idea of light as it “rolled” across the “landscape” of the fabrics; it’s physical properties and spiritual connotations. I am intrigued by how the light behaves in the folds of the terrain of the fabric. Light is universal to all of us. The great masters of the past that I gravitate to used the element of light so well that it transformed their images into something almost spiritual. This is superbly shown in Sorrolla’s “Mending the Sails” and “After the Bath”. Both are light infused of something heavenly.

Is this stage the last stage? I think not. I won’t know until I’m ready to progress to the next level, the next stage. As Wayne Thiebaudd stated, “Great art is made up of three worlds. The world of Self, Reality, and Art. We artists are not communicating if our work is only one of the three. If too much about self, art is a one-sided conversation, if too much realism it becomes a mere visual recording. And if too much about art, then only artists are talking to each other.” These wise words make me know that my journey is far from over; I have not yet “arrived.” In the spirit of Ralph Waldo Emerson and Robert Frost combined, “It’s not the destination, but the journey and that makes all the difference.”

Filed Under: Oil Painting

David Gluck Interview

March 4, 2013 by John Pototschnik OPA 13 Comments

“There’s always one in the crowd”, as the saying goes…and Canadian artist David Gluck is the one.

David Gluck as Charles Bronson

When I received his responses to my interview questions, I found myself laughing out loud. I also realized that when you encounter a guy like this…it’s really important how you phrase the questions.

Is David Gluck a serious guy or a comedian? I guess that’s for you to decide. Even if he doesn’t take himself seriously, one thing is certain, that cannot be said when it comes to his work.

Preliminary head study for The Trapper

When I saw that his painting, The Trapper, won the very prestigious William Bouguereau Award in the recent Art Renewal Center International Salon, I was totally on board…a phenomenal painting indeed, and an award well deserved.

William Bouguereau (1825-1905) in his day was considered one of the world’s greatest painters. Many consider his paintings to be absolute perfection. But, as modernist thought replaced the academic, Bouguereau went the way of so many great artists…as did the training that helped produce them. Today, some of that solid training is being resurrected and we’re seeing the results. David Gluck’s work is one such example.

The Trapper - 30″x 24″ - Oil - (ARC International Salon, William Bouguereau Award)

The Bouguereau award is given to a figurative piece that displays a strong sense of emotion and theme. Assessing whether The Trapper really met these stringent requirements, Gluck said, “The figure; clearly a man. The theme; manliness. Emotion; pfft, men don’t feel emotions. The only emotions I feel are rage and hunger, which usually go hand in hand.”

How did he feel about receiving the award, “I was actually extremely honored to have received this award. I have been a long time follower of the ARC and they have continued to support my career.”

Wondering what he thought of the great William B…”As far as William Bouguereau goes, I know everyone is a huge fan of the guy, but frolicking wussy peasant children never appealed to me. I will say, his technical proficiency is one to be admired.”

And now, more from Mr. Gluck.

Medicine - 20″x 12″ - Oil

How would you define your role as an artist? I fill up inconvenient blank spaces on a wall.

How does one find their individuality as an artist? It should come naturally. I found that living apart from most other artists and being primarily self-taught was helpful in finding my voice. Also, it helps to wear a hat.

Do you consider the process of painting more important than the result? Not at all, the result is what stands the test of time. Focus on the process is simply post-modernist thought.

What is the major thing you look for when selecting a subject? A fine balance between manliness and awesomeness.

How much of your work is intellectual vs. emotional…and how would you define the difference? I am not really a man with either quality, so I am unsure how to answer that.

Still Life with Meat - 14″x 11″ - Oil

What colors are most often found on your palette? My flesh tone palette is Yellow Ochre Pale, Vermillion, Ivory Black, Lead White, and Raw Umber. There is also a yellow stain that might be mustard, but I can’t be sure.

How do you decide on the dominating color key for a painting, and how do you maintain it? Using a limited palette makes it quite simple to harmonize your colors. I feel the color key is often picked in accordance to the mood I am trying to portray.

I love this one…

Do you paint in layers? I typically only wear layers when painting in a cold climate, but otherwise I wear gym shorts with no shirt while painting.

Does photography play a part in your work? Sometimes. I work from life whenever possible, photos when it simply isn’t an option.

Vanitas – 20″x 24″ - Oil

How much preliminary work do you do before beginning the final work? I would say at least half of a piece is in the planning. I always do a series of studies starting with thumbnails and preliminary drawings for tone and composition. I end with color studies before beginning on the final canvas. I try to leave very little to chance.

What is your major consideration when composing a painting? Composition of course is key. I try to work this out in the very early stages.

How does your work reflect your personality? Not very well. Most people are surprised I am an artist.

What constitutes classical painting and drawing, and why the resurgence at this time? Got me. Maybe it has to do with global warming or something.

You have the ability to paint incredibly beautiful works while using objects that are pretty common and not necessarily considered beautiful. What is the thought process behind that? Pretty objects and things don’t always make for a beautiful painting. It’s like the old saying…”It doesn’t matter what you say it’s how you say it”.

Hunters – 16″x 9″ - Oil

What advice do you have for a young artist/painter? Make your models bring their own towel to sit on. Otherwise you are stuck with a towel you have no idea what to do with.

What advice would you give a first-time collector? Buy my stuff.

If you could spend the day with any three artists, past or present, who would they be? My wife, Rembrandt, and Bob Ross. Actually, scratch Rembrandt, he doesn’t even speak English.

If you were stranded on an island, which three books would you want with you? One would be a choose your own adventure book to keep life interesting, Cooking with Beer, and maybe one super thick book to use as a seat.

Who has had the greatest influence on your career, and why? Easy answer, my wife. She is my primary influence being a fellow realist and the main contributor in inspiring my work.

Still Life with Seeder – 18″x 24″ - Oil

When you become discouraged and feel the well is dry, so to speak, what do you do? I call my good buddy Jack Daniels for moral support.

Why do you enter art competitions and how do you go about selecting paintings for them? I enter competitions to win sweet mullah. Apparently I enter the same painting in every competition.

Thanks David for participating in this interview and allowing me to share your fabulous, beautifully executed works. I’m sure we’ll be hearing more of you. I hope it’s good.

Filed Under: Oil Painting Tagged With: David Gluck, Interview, Oil Painting

Abstract vs. Realism

February 25, 2013 by Julie Gilbert Pollard 3 Comments

Hello, Painting Friends,

I’ve been getting questions regarding composition. I’m happy to be getting that question since composition is such an important consideration – it’s right up there at the top of the list! However, that spot at the top must be shared with the element of mood and excitement, the emotion & vision that is unique to each of us and that only YOU can bring to YOUR painting. The “Nuts and Bolts” of painting must be balanced with Individual Personality.

Regardless of whether you are a beginning or advanced painter, here is a practice of preliminary study that will advance your compositional skills AND infuse the element of emotional content into your paintings!

Abstract vs. REALISM

Here is my photo reference. The challenge is four-fold:

Realistically represent the rocks, flowers, sun and shade.
Convey feeling – the excitement of being surrounded by these glorious, golden flowers, the feel of the warm, spring sun and cool shade.
Express the reality AND the illusory in my own personal painting style.
Composition: maintain the first rule of composition & design which is asymmetry and create a value pattern.

To get loosened up, I painted this little abstract study – what an advantage it gave me!

I did not concern myself with portraying any parts of the picture realistically. I squinted my eyes and sloshed in the colors and dark value pattern, then splattered white gouache.
Instinctively I set the bottom boulder at a slant rather than the horizontal direction in the photo, which improved the composition.
The quick, intuitive paint application allowed me the freedom to explore without worry the explosive action of the flowers contrasted with cool, blue shade that wasn’t exactly like the photo but what I saw in my mind’s eye.
While it prepared me for the “real” painting, it was fun!

“Dutchman’s Gold” by Julie Gilbert Pollard – Mixed Media – 14 x 11

: The Photo

: The Abstract Study

: The Realistic Painting

These three illustrations show the progression from photo-reference to abstract study to finished realistic painting. They have been “Photoshopped” so you don’t have to squint to see how the original value pattern has been carried through – but the darks also opened up to allow the viewer see into the shadows.

While I was using the abstract study to get in touch with the painting I had in mind on an emotional level, several extremely important Elements of Design were studied as well:

value pattern – see how the darkest value creates a solid foundation for the basic composition
asymmetry – asymmetrical design is achieved by placing shapes so that no shapes are centered nor equidistant
movement – the linkage of shapes and values lead the eye through the painting
repetition of similar shapes
variation of shape and size within the assembly of repeated shapes
color – color responsive to my emotional attachment to the location and memory of the day – and what I would call a “near-complement” color scheme

I consider this particular abstract study to be a finished painting in its own right. However, most of the studies of this nature I do are simply small sketch book studies. There are no rules except to relax and have fun with it. You simply must try it – it can make all the difference in the world!

Filed Under: Oil Painting

Is There A Heaven For Paintings?

February 11, 2013 by Jane Barton 10 Comments

Santa Catalina Sunset (o/c) – Jane Barton

I’ve painted so many bad paintings. I know I’m not alone. Ned Jacobs once admitted in a lecture to a packed audience of admiring artists and collectors that he probably only saved ONE in FIFTY paintings or sketches. The crowd gasped in horror. I just wanted to know where he leaves his garbage for pick up. Matt Smith advised the artists in a class I was taking to be sure to destroy any paintings–slash, paint over or burn ‘em–before we threw them out so we wouldn’t see these dogs in a retrospective years later. I have a book of Manet still lifes that proves this to be true. Someone decided to include every floral still life they could find, regardless of the quality or finish. Manet would have been appalled to see what was in this collection because even he had paintings not worth finishing. Of course, I tell my students to keep their early paintings, even if they’re horrible, just to see how much better they are than when they started. Sometimes we all feel like we’re not making any progress at all and it’s always good to have visual proof that we’re improving, even if it’s only a little.

Petunias (o/c) by Jane Barton

My problem is getting rid of anything. Ever. Sometimes I cut up canvases and give them to friends as bookmarks–the part is so much better than the whole. Recently, advised by a painter friend, I’ve started chopping up old paintings to find new ones, cropping out the unsuccessful parts and keeping the part that works. It’s surprising how freeing and fun this process is for me, and the result is often a painting I’m happy to hang. Then, of course, I hold onto the bad parts just in case those expert artist elves kindly sneak into my studio some night to fix them while I’m sleeping. Finally, there are many paintings that are so bad from edge to edge that I’ve started painting right over them–upside down so that I’m not distracted by the images–and that’s been a great exercise for me. There’s something about knowing I’ve already hit bottom that makes it easier to be fresh and confident on canvas. There’s nothing to lose. I’m recycling, which is always good, and I love the colors and ghosts that peak through the new painting, adding texture and interest. As Randy Nelson from Pixar University once said on learning and creativity, “…the core skill of an innovator is error recovery not failure avoidance.” I guess you could call this my recovery program for troubled paintings.

Who’s Counting? (o/c) by Jane Barton

So, no, good paintings don’t go to art heaven and bad paintings don’t sink into hell, unless that’s what you call the back of your paint closet. Good paintings live wonderful lives on the brightly lit walls of collectors and museums. Bad paintings usually never see the light of day, but I’d like you to consider that they might have an afterlife in “recovery” or “re-discovery”. Try it, until you decide it’s just time to thank them for their service and lessons learned, give them a dignified burial, and send those bad boys to the afterlife, so they won’t come back to haunt you.

Filed Under: Oil Painting

Importance of the Canvas

January 28, 2013 by Alan Wolton OPAM 9 Comments

“The Dinghy” by Alan Wolton OPAM

When asked how I paint, what is my approach, I tend to be quiet for a moment. I have no regimen, no rules. Each painting in its process is unique. There is one absolute, however, in every one of my paintings. And that is the power of the canvas.

I always use a very high quality, pre-primed, heavy-duty linen canvas by a leading manufacturer. I also choose a very coarse linen. Why? When observed very closely, the surface of such canvas is a series of round bumps linear in both directions.

Once I have suggested the drawing, or perhaps more correctly the positioning of my masses, I like to color the canvas with a wash of chosen color. I never use pure turpentine, only because it denies any body in the pigment in places on the canvas where no other paint will cover this wash which, without the addition of oil, will not survive time.

At this point in the procedure, I have no white or opaque colors on my palette. The result is an effect as pure in color as a watercolor on white paper. Often the most gorgeous colors are dark and intense. Here I might bypass the wash and apply the pigment without medium. Then because I require a lift in the tone or lightness of an area, I use a knife to scrape off most of the paint. Now because the canvas has all its multiple mini-projectories, the paint will be left only in the recesses of the canvas. So, actually what happens is that the white of the canvas bumps is seen through the applied pigment. From very close, it appears spotty, but from afar, the eye reads a lighter value of a delightful dark pigment which has in no way lost its transparency or luminosity. Also because the paint is so recessed in the canvas texture, one can apply either a scumble or impasto without drying time.

At this point, I normally choose to scumble, also because being so thin and adhering to the canvas projectories only it will harden quickly. Until I really have my picture talking to me, I don’t choose to paint wet in wet.

What I’m describing is more for large canvasses in one’s studio. Plein air small works don’t belong to this category. Small plein air, one tends to go in fully loaded. There is too much wind and way too many bugs to do anything else.

Scumble over transparent wash (as seen in the lower quarter of this detail) never totally covers the original. It is such a delicate touch as to barely release paint from the bristles of the brush. Yet the same stroke with additional pressure will release an impasto load.

In “The Dinghy” (50×60”), the transparent wash was used over most of the canvas. If the wash includes Stand oil (pre-oxidized linseed oil), it will become satisfactorily sticky in half an hour or less, depending how much warm air it can be subjected to. Then a certain amount of darker tube texture pigment is added, followed by a lot of knife scratching. A smooth canvas or the smooth side of a board will not suffice here.

Scumbling, a very light touch to the canvas with a large flat brush using undiluted paint, will offer numerous effects but never totally cover the wash or the scratched areas. Otherwise, why bother to put them in, in the first place. Every stage is part of the finished painting.

Now comes the impasto. For some reason or another, lumpy paintings have become the vogue. The idea of a lump on a canvas is that under angular lighting, a lump will catch the beam of light and visually leap off the canvas. Now this is great for highlights in high-toned colors. If the painting is ultimately varnished, your lumps will “shine” as well under spotlights. If you don’t want shine or glitter, don’t lump. Lumps in a dark area glisten and totally destroy the intensity of the dark. Recently, I saw a show where the whole painting was lumps. Wonderful for the manufacturer but a disaster to the painting – and the viewer!

The broad area of brilliant bright red is pure tube color applied with a latex gloved thumb. Latex gloves were used on the petals only.

Impasto? There are many ways of applying paint. I personally dislike knife application. Although in some situations, it makes a clean simplicity as in colored continental houses. Applying loaded paint with a brush, not necessarily small, is effective. A brush round or otherwise can be turned or rolled so that it either releases an impasto or scumbles depending on the pressure applied.

Painting florals is interesting. A knife is good, but it tends to lose the delicacy and femininity of a petal. As petals of a rose, for example, are so perfect a non-textural finish is needed. No shadows are required in a petal under the sun. A brush stroke will leave fiber striations, which cast minute shadows. A latex gloved finger will give you a petal beyond your expectations. But use a new finger for every application. Otherwise, you will have the most devastating mud pie!

There is no need at any stage of a painting to apply any pigment which will not be seen in the finished work. One can, of course, rub color over another color to create a secondary value – but let’s not get too complicated!

Filed Under: Oil Painting Tagged With: Canvas, Oil Painting, Scumbling, Style, Technique

Making Your Own Linen Panels

Materials you will need:

The Procedure:

A Week Painting at Scottsdale Art School with Milt Kobayashi

What can an artist do about it?

How Important is it to really Know your subject?

Ponderings from an Oil Manufacturer

What Next?

David Gluck Interview

Abstract vs. Realism

Is There A Heaven For Paintings?

Importance of the Canvas

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