Synthetic brushes
I wrote about my antipathy toward synthetic brushes. This photo illustrates the point I made in the linked post. The four synthetic brushes on the left are old and misshapen. In my experience, synthetics quickly lose their shape and become good for little other than effects or glazes. The best thing about them, by far, is their cheap price. But this
In the studio 12/23/15
What better time to work on a summer-themed painting than in the middle of winter. Keith and Jane Aboard the Betty Jane is going slowly because I’m taking my time with the water. There is a lot of Lake Erie in this 48″ x 60″ painting. When it’s finished, the water on the right-side will be
In the studio 12/13/15
Today’s was the fourth painting session on Girl in the Purple Boots II. I think it’s far enough along now that you can get a sense of what it is about. I’m in my second pass with the painting. The first pass is a rough-in with local color (each pass can take a number of sessions).
About mastic-based mediums
Recently, I wrote about my experience with maroger–a mastic-based medium. Maroger was my standard medium for a period, although I haven’t used it in a number of years. I stopped using it because details are difficult and, because it is such a soft resin, paintings are prone to scratch or show other surface insults. My
In the studio 12/6/15
I spent most of my time recently working on new paintings that are still too raw to show. I am also working on a new cycle of pieces that are still in the drawing stage. I had to order a box of pencils. I also got some new sharpeners. I do not like the electric type.
In the studio 11/29/15
I’ve posted little this week. The flu sapped my energy and I preserved what little of it I had for painting and drawing. Most days, I got very little work done, and what I did exhausted me. But I am feeling better–knock wood. I had my first three painting sessions with Victory Park I during this
In the studio 11/7/15
When the painting ground (surface) isn’t up to snuff paintings take longer. The ground for The Photographer is one of the poor ones. A small change in the preparation can have a major effect. I’ll not repeat the same experiment again. It’s taking a long time to get the surface right–sensitive and firm. I spent
In the studio 11/1/15
The ground on this painting, Three Women (VW Bug), is wonderful. It’s a traditional oil ground applied over acrylic gesso. A traditional oil ground is essentially white oil paint with the addition of chalk. The chalk makes the ground more covering and absorbent than oil paint alone, even when sanded. It’s really great to paint on. I