Fleeting Glimpses & Memories

I'm excited to start the 'Fleeting Glimpses & Memories' project! This is an adventure that has been in the back of my mind for quite some time. The idea of this project is to paint one 9 x12 each day for 30 days, of something that I've seen on my commute to or from my painting studio. I'm always traveling to the studio early in the morning and coming back around the time the sun is setting or after. I always see exciting things that I wish I could paint. They are fleeting moments and trying to paint them on location isn't really practical.
Night painting for me seems to affect my eyes. It's hard to judge color and the values are hard to control. I like the idea of working to recreate something in the studio from something that caught my eye for a moment in time. These paintings will be an exploration and there will be some inventing going on. I see it as a way to grow. I see it this way. If an artist works plein air, his skills as a plein air painter will grow. The same thing holds true for memory work. We get better at things we practice at! I'm even allowing you to watch me fumble and hopefully do some cool things with the landscapes that I will be painitng.

I really want to develop my ability to paint from memory, so this is the perfect way to do that. Using some rapid sketches to think about big shapes, some notes that I jot down about color and a reference photo to aid in the compositional plan, I will then dive into recreating what I saw and felt about the subject.

I'm fascinated about painting at twilight, the early or late evening, or even in moonlight. Sunrise is also high on my list of special times to connect with the landscape. More times than not, when it comes to sunrise paintings, I find myself standing in awe of what God can do with a morning and I spend more time looking than I do actually painting the view, but maybe this project will break that.

I know that I plan to take a hard look at intersections at night with traffic lights at some point during these 30 days as I am completely flabbergasted with the way the red, yellow and green changes in a traffic light influence the colors around it. There are many other thoughts going around in my mind and I am just going to take it one day at a time and see what inspires me as I go.

The paintings will all be 9x12's and sold unframed for $400 dollars. The paintings will be shipped at the end of the thirty day painting event. There is a $ 25.00 fee to cover shipping and handling. The paintings can be seen here; on FaceBook and also in Daily Paintworks, where they can be purchased.  

Click on the Daily Paintworks widget on my sidebar to be taken to the site.

It's my sincere hope that someone will be inspired by this project enough to want to attempt their hand at it and also that my paintings will touch someone enough, that they want to own it.

TODAY I painted a sunset (from the previous evening) of a stand of trees and a field in snow. It was exciting to try to reconnect with the scene in my mind and to just let the painting do its thing. In this one, I was intrigued by the combinations of muted yellow and yellow oranges against the gray purple snow

 More tomorrow!

'Last Light'  9x12

Making Panels

Many students and fellow artists ask me for info on how I make my panels. Today was a panel making day, so I decided to post something to explain my process.

I like 359 alkyd primed linen from WindriverArts.com. Owners, Mary Rawle and her husband Chuck are the nicest people you could ever buy linen from. Sometimes I use some oil primed Italian linen from the Italian art store. It really depends on what becomes available when I need more linen. I like gator board and I buy it from a place in Connecticut called ArtGrafix.com. They are extremely prompt and their website is easy to navigate. I use the natural kraft wrap gator board. Because I am in a studio in an old mill that has a loading dock, it's easy to buy the board one or two pallets at a time. The sheets come 15 to a pallet and they are each 4 by 8 feet. Usually there are a few other artists going in on the purchase and it's a nice way to get it in quantity and then divide it up. Don't worry, they also sell different sizes, 10 to a box and you can order a box of 30 by 40 inch gator board and still have it delivered by UPS.

When I decide to make linen panels, I choose a day and I try to make all I can in a day. I use a sheet rock T square and a utility knife to cut the big sheets of gator board. I prefer to cut them to different size panels that I use on a regular basis. In this way, I am making a lot of different sizes, but I might also have some left that I can make as I need them. I cut up my linen into the sizes that I use regularly too. Generally, I add about a quarter of an inch to each side, in order to have a bit of excess that I can trim off as I make the boards. This is important, especially when I am making larger panels.

The glue I use to mount the linen to the board is a fabric adhesive. I buy it from United Manufacturers Supply Company. If you search for fabric adhesive on their website, it will come right up. I buy it in the quart size and also in half gallons. The quart size has a nice dispenser tip and therefore is useful for applying it to the gator board.

I apply the glue by squeezing it out of the bottle onto the gator board in a circular motion. You don't need tons of it, but you need enough to get the job done. Practice makes perfect. You will get a feel for it right away. The adhesive will tack up fairly quickly so once I apply it, I quickly spread it around. I just use an old bristle brush that I cut down slightly so that it is a bit stiffer for moving the adhesive. The adhesive looks somewhat like Elmer's glue but it isn't. This glue hold great, but can also be reactivated by heat which means that if it ever became necessary to remove the painting to adhere it to another panel, it can be done. It is a PH Neutral adhesive and it's completely archival.

Once I spread the adhesive around, I check that I got glue up to all the edges and then I place my linen on it and I use an old wooden ruler to press down on the panel from the middle to the edges to make sure it lays flat. I am careful not to press so hard that I squeeze all the glue out at the edges. If this happens, I am pressing too hard or have way too much glue on the panel.

Then I flip the panel over, and using my utility knife, I trim off the excess canvas. If I don't do this while the glue is wet, I will get a wavy buckle effect along the edge of the panel. It has something to do with the glue drying, causing slight shrinkage. Then I place it on a flat surface and put something on top of it to keep it flat. It doesn't have to be real heavy. I've gotten to the point that I put it under my cutting mat and place a book on top and it's ready to paint on in about 10-15 minutes.

I want to point out that I can make a 30 x 40 painting panel using this method and I can do it a heck of a lot faster than stretching a canvas. I have gone as big as 40 x 60. Making your own panels might use up some painting time, but I get satisfaction in constructing my own panels and I can make them for half of what it costs to buy them already made. In my book, every artist should concern themselves with cutting costs where possible. It's also a nice project to do with another fellow artist. One rainy spring, I made panels for 5 consecutive days with a good painting friend and by the end, we both had put together enough panels to last us for more than a year! I am providing a link here to a very simple YouTube video which shows the process.

In my next post, I will be starting a new project.

On my 30 minute drive to the studio each day, I see early morning scenes that would make great paintings, but the effects are fleeting. Then on my drive back home, the late afternoon light turns to twilight and again the effect is magical, but I see just a fleeting glimpse. It's just a moment in time. I would like to commit these to memory and paint one every day for 30 days beginning on Tuesday, March 4th. I will post these on this blog with a link to Daily Paint Works, where they will be available for purchase online for $400. Each painting will be either a 9"x12" or an 8"x10"  I hope you will have a look!

The Winter Gang

Every winter, for a number of years, a group of painter friends have gotten together here in Woodstock to paint throughout the cold and snowy months of January, February and March. 

It's a good time and it helps us to keep painting outside through the long winter. I love painting snow, but I admit that it is difficult sometimes to get out there when the forecast is talking about really cold temps. But when you get together with a group, you are all in it together for the day and it brings an element of fun to the challenge. 

We do things right. First we meet for a big breakfast and some good conversation before we paint. Sometimes on a particularly cold morning, when you are sitting there by a roaring wood stove eating eggs and gulping down a hot coffee, you look outside at the shriveled landscape and ask yourself what the heck you're doing there. Then you look around at all your friends, some of whom have driven almost two hours to paint with the group, and the idea of getting out there seems to feel a little better. The breakfast time helps prepare everybody and the conversation topics are always interesting and there are always a lot of laughs.

We usually start on the first Saturday after the new year and make it a point to get together every weekend until March 20th, which is the first day of spring. This year we decided to start early, before the snow flies as they say. We also changed the painting day to Sunday as it works out better for everybody. There is no snow in the forecast yet, but autumn is still giving us some hints of her beautiful color and the November skies are filled with fast moving, ever changing cloud formations. They are a real delight to the human spirit and at no other time of year in New England will the clouds push their way through the skies and call so much attention to themselves.

Today's weather was cold and then warm and then back to cold. It kept this up for most of the day until mid afternoon when the sky turned dark and a big breeze picked up indicating that some rain was imminent. We knew it was coming but some of us couldn't put the brushes down until it suddenly opened up and poured. Here are some images from the first couple of painting days. I promise to put down the brushes once and awhile and get more shots of actual paintings in the future.