Almost ready
I put the final toned ground on the linen-cotton blend canvas that I recently wrote about. The canvas is dry, indeed, it was dry the same day I applied the ground, but it still needs to cure for a few days. Dry to touch doesn’t mean really dry. When it’s done curing, I’ll sand it
Commercial canvas
I spend a lot of time preparing canvases–stretching, priming, and grounding. The process works well for me but it’s time-consuming. I would gladly buy commercially-prepared canvas but my experience with it has been bad. In the past, I’ve paid premium prices for inferior products. The art supply market is filled with hucksters and amateurs. Knowing
New series–4th Street
The two series that have preoccupied me over the past several years are still moving along. One of them, Playhouse Square, I started deliberately. After launching the series, I continued to take photographs in the target area for some time. The other series, Along Main Street, just happened. Many paintings in both series are finished,
Doak’s canvas
Doak sells a linen-cotton blended canvas. A 10-yard roll is $440. It’s a good deal if it’s any good. Has anyone used Doak’s blended canvas? If so, can you share your evaluation? Doak sent me the sample that you see in this photo. The ground on it seems OK, but when I talked to him
Good flake white
Utrecht flak white continues to surprise me with its good performance. Considering its modest price, it’s a good value. I am using it throughout this painting titled The Fair. It covers well and handles crisply. When thinned it retains strong covering strength. An excellent flake white. I ordered another tube this morning. I’ve just started
Preparing a canvas surface for oil painting
This is a companion to my canvas stretching post. After you stretch a perfectly taut and square canvas, you’re ready to prepare the surface. Our goal is threefold: protect the canvas protect the paint create a perfect surface Why do we have to protect the canvas? Oil is acidic, so if you paint directly on
Stretching canvas
While it’s true that I didn’t learn anything about painting at art school, it isn’t true that I didn’t learn anything at all. I learned a lot about printmaking, and I learned how to stretch canvases. That canvas-stretching skill has stood me in good stead. I can’t think of a single instance when the technique
Knot-riddled stretcher strips
Art supplies are absurdly expensive. Artists have to pay Cadillac and boutique prices regardless of the quality of the goods, which varies widely. What’s worse is the cynicism of manufacturers. You can buy ‘genuine copal varnish’ that contains no copal–none. You can buy ‘genuine flake white’ that contains no lead–none. The list can go on and