Showing posts with label oil painting teacher Denver. Show all posts
Showing posts with label oil painting teacher Denver. Show all posts

Monday, January 23, 2017

The Start of Something Colorful

"Purple Paint" 8x10 oil on archival gesso panel
This pinto horse painting is available at Framed Image Gallery in Denver

Beginning with audacity is a very great part of the art of painting. -Winston Churchill


Happy Monday everyone! As a painting teacher many new or "rusty" artists often ask (and rightly so) about the process of painting. More specifically, I'm asked: How do you start a painting? or What exactly do I do first?The truth is a variety of "starts" get the job done. That being said, here are four "sound beginnings" (for wet in wet oils) I find most helpful:  

1.Time for Toning?
I don't always "tone" or color wash my white canvas first but if you're the kind of artist who likes to leap and "just get going" this can be a good first warmup step. I say "wash" meaning a thin layer of acrylic (needs to dry) or "watery" oil paint (using Gamsol or other non toxic thinner.) 
I like warmer toning but you could tone in any color including black. You could also mix color into some white gesso and use that to tone--especially if you desire more tooth/texture on your surface.
2. Thin Darks to Thick Lights
Tried and true for most most occasions. Block in your darkest darks (thinly), then medium values and finally your lightest values (and thicker paint) at the end. I find the "darks first" reveal a light/dark design (i.e. notan) you can easily see from the get go. I find this is a safe, organized approach--also keeps me from using too much white too soon.   
3.Bright Color to Dull
Do you have a lot of "islands" or "spots" of bright color in your painting? If you've read Carol Marine's Daily Painting then you know she suggests starting with intense colors--imagine a bright pink bloom in a sea of dull green leaves. This approach helps keep your color notes cleaner as you work quickly with wet in wet oil paint--some might say a more "painterly" style.  
4. Colorful Under Painting
One of my favorites--But more time consuming because it can take some planning. Imagine a light blue sky painted over a peachy or magenta underpainting. Note this can be done wet in wet or over dry paint on a white (not toned) surface. Great if you like color surprises and "vibrating broken" color you seen in pastels.

In today's horse oil painting I combined darks first with bold color under painting. I hope that overview of "good starts" was helpful. How do you like to start your painting?

P.S. Speaking of new starts, I FINALLY created a studio page on Facebook so please feel free to follow me/friend me there as well. Thanks for your support!


Saturday, November 13, 2010

Juicy Trio

Happy fall Saturday everyone! First, thanks again to the Denver Art Club who invited me to demo this morning. It was an honor to meet all of you and I had a wonderful time sharing some watercolor tips. For those of you who've tried to paint and talk at the same time you know that can be a bit tricky, especially after a grande Starbucks mocha, but I hope I did OK. Thank you again for the warm welcome!  

Earlier this week, inspired by the Van Gogh master copy, I decided to paint a quick, relatively high key, impasto oil study of three green sunlit apples. (If you take a lot of photos like I try to, but don't necessarily find the perfect painting subjects, try adjusting the value key considerably up or down, you may be much happier with the result.) 


On another note, I just received my my first "front load" frames from King of Frame and am very pleased with the quality and value. I love the warm antiqued black finish with the metallic liner. (FYI, I could not easily locate the "front load" frames on the website but just asked for them on the phone.)  I can see why so many artists use them--they're the perfect match for the 6 by 6 oil on panel paintings.

Finally, for all my fellow Colorado artists, did you see this online ranking of Who collects art? If someone had asked me I probably would have guessed New York, L.A. or maybe San Francisco. But am thrilled to see Denver was the top market, followed by the Springs/Pueblo, with Portland, San Francisco, and Atlanta rounding out the top 5.  Now, the study doesn't include a lot of details, but as an artist I think it's great to see any good art news about your town. So on that positive note, I'm heading back to studio. Enjoy your weekend and happy painting!   

Tuesday, March 16, 2010

My Top 10 Favorite Art Studio Tools (so far)


Since I've been working a lot lately and have not had that much time to paint, so I thought I'd take a minute to share some of my studio must haves. Like many artists, especially those who work in multiple media, I'm an art supply lover who loves to try the latest colors, art tool, studio gizmos, etc.

But over time, I find that I have a few tried and true art studio resources and tools that I always go back to or buy in bulk. And most of these are quite inexpensive. Keep in mind that I regularly paint in oil, acrylic, and watercolor so some of these "studio helpers" work across media and others are media specific. Best of all, most are under a few bucks each.

1) Red sheets of acetate (usually available at art store in the drafting department). For those of you who used them before, you know they a great value finding tool.  Put them over any color photo or painting and they instantly "decolor" and help reveal the values. Ahh, the magic red sheet--my students know it well! Price: Under $1 for a small sheet.

2) Blue painters tape. I use the basic 3M brand from home improvement store. Yes, sometimes it's not as sticky as I'd like it to be, but you can use it for so many things and as a well-known TV designer used to say: It's a ruler on a role!  So if you struggle with astigmatism like I do, it helps keep you on the right track.  Price: $3-4 roll. Probably less in bulk.

3) Speaking of something blue. I love blue shop towels on a role. You can also find these at home improvement store, hardware store, or even Costco. Much better than paper towel, IMHO. Because they are designed for oily clean up, they help keep my brushes cleaner and in turn I have to use less solvents.  Price: About $3-4 each in a bulk pack I think.

4) Covered palette boxes. Yes, those crazy plastic lids can be a pain the you know what, but I like how they are relatively easy to transport, deter curious pets, and in general keep your paint relatively fresh. I use these for all of my media in a variety of styles and shapes from round to the classic rectangle Pike palette with big wells for watercolors. Price: Varies $10-25. 

5) Color wheels. I've painted for over 25 years and am even known as a "colorist," but I still like to have a good size (think pie) size color wheel (as well as some smaller "purse size" wheels) on hand. A bit of a color safety net? Perhaps but when I get stuck sometimes, usually a quick glance over at helps me make a decision or a more interesting choice if I'm in a color rut.  Price: Usually under $10.

6) Old frames of a variety of shapes and sizes. I never complete a painting without popping it into a frame first to help me make those final adjustments. I try to keep the most common sizes on hand like a 8x10, 9x12, 12. x12, 12x16, 18x24, etc. in both a dark (black, dark brown) and light finish (gold, silver).

These studio frames don't have to be great quality and many are quite banged up and scratched. Next time you are at a frame shop ask if they have any "scratched/dents." And yes, I've spray painted some frames that had seen better days that a neighbor was tossing out. That being said, once in a while I splurge and buy a really high quality frame (more than $100) which are always nice to have in the studio. Along the same lines for watercolor paintings I like to have a variety of sizes of white mats on hand. Often you can save a painting by simply cropping it in different way.  Price: Varies based on your dumpster diving issues.   

7. Big tubes of white oil paint. I use both Permalba (a mix of Titanium/Zinc) and Titanium. Yes, large tubes (I find) have tendency to dry out, but I think it's worth it if you ever see these on sale to buy a few extra. Rarely do I have a day, especially when I'm teaching, that I'm not reaching for a big tube of white. And yep, I buy student grade white oil and acrylic paint. I've tried the professional white and personally can't tell enough difference. Price: $8-15, maybe less on sale.

8.Painting knife (I like the new stainless steel ones with the color rubber handles--very comfy), especially with oil, but I use them quite frequently for acrylic as well. As much as I love brushes, if I was forced to choose one tool for painting it would have to be a painting knife. Price: A few dollars on up depending on brand, size.

9. Art or painting apron--I've said it before. I love art aprons. I'm really not that messy but mentally I just feel ready to paint when the apron goes on. It's like my work uniform--but with crazy retro patterns. With summer approaching, I've seen some nice ones in the kitchen wares section of home goods stores. Look for lots of pockets--you will use them. And of course you can get more "serious" aprons from a variety of online art stores as well. Beret, optional. 

10. Hmm, at ten already. Isn't part of the joy of being an artist all the special equipment that comes with the job? I really can't pick just one more item, o I'll just list a few a extra studio accouterments came quickly to mind as far as daily studio use (and hopefully most fairly self explanatory):
  • Digital camera
  • Variety of easels (from large floor to small table top)
  • Scented candle (preferably natural or woodsy--helps "put me in the mood") and/or hot cocoa
  • Bungee cord (use to hold paper towel on easel)
  • Idea folder
Have  a great week in the studio! P.S. The spinning red brush holder (only $14.99)  is a utensil holder from Target and comes a in a variety of fun colors like this red (which I had to have of course), turquoise,  and lime.

Thursday, March 4, 2010

Good Day Sunshine

Yesterday I noticed the light levels are really beginning to get much stronger as spring approaches.  In the kitchen, I spotted the sun hitting a plate of pears and took a few snapshots for my oil painting study this morning. I was really drawn to the strong shadow patterns and organic shapes.  As I often do I painted this small 8x8 study on bright red toned canvas board--one of my favorite painting approaches. It's interesting to play with the "lost and found" red edges.     

For this study, I decided to do a quick (30 min) acrylic underpainting to help me map out where I wanted to go with my expressionistic colors. My favorite palette for working on acrylics by the way is the Richeson Lock Box palette. Sure, it could be larger and the donut-shaped inserts are rather funky, but I love the round shape (so I can mix around the color wheel). And it really does keep acrylics quite pliable for at least a few days and I live a very dry climate.  (Just wet the sponge inserts, lightly spray the palette with water and close the lid.)

Why bother with an underpainting for a small oil study? One of my new students is working on a master copy oil painting using the classic grisaille underpainting approach.  This layered classical method had me thinking more about approaching a painting in this way, which is not something I would normally do especially when I only have an hour or two to paint.  But the results can be well worth your patience, so while I've not done a traditional glazed oil painting with a lot of detail in a while and am thinking that will be my next painting.

For more information about my oil painting classes (located in Denver, Colorado) please drop me a line at the email above or visit me on Teach Street (search Scarlet Owl).