Friday evening studio photograph.


image

I’m building a display table for my Long Series paintings. This is a test to see if it will stand, and to give me a rough idea if it’s going to look something like what I have in mind. The legs will have cross supports. There will also be a plexiglass cover, and I’ll probably paint it black.

Painting in oils again.


Oil painting.

Oil painting.

It’s been awhile since I’ve worked with oil paint, and I’m enjoying the reintroduction. I like using palette knives rather than brushes, and I use brown wrapping paper to create texture and soak up some of the paint’s oil. I enjoy the fact that I really don’t have complete control over what the paper is going to do, and it is always a surprise when I pull the paper off and see the canvas for the first time. Sometimes it’s a complete disaster, but more times than not it works.

The painting is pretty much done. When it’s dry I will make a varnish using damar resin, turpentine, and stand oil. The varnish will be thick and bring up sunken colours.

Inspiration. Inspired by a Long Series.


24x24 inch canvas.

24x24 inch canvas.

I’ve started painting with oils again. I love all types of paint but nothing smells as beautiful as oil paint. I bought a 24×24 inch canvas with the intention of translating some of my Long Series of 12×12 inch paintings into a larger format.

Like.

Long Series.

There are many of my Long Series paintings that I want to use as inspiration for larger paintings.

One I like.

Long Series.

I’m not interested in an exact copy of the paintings, but rather I want to use them as starting points for new work.

Stencil.

Stencil.

I started by cutting a piece of brown paper to use as a stencil.

Gesso.

Gesso.

I poured gesso into the opening of the stencil.

Circle.

Circle.

I poured and let the gesso flow until the stencil was covered. When I removed the stencil I had this circular puddle of gesso.

Cutting into the gesso.

Cutting into the gesso.

I placed a wooden form in the centre of the puddle and let it sit for the day. Yes that is a wooden cheese box, and the cheese was fantastic.

Let dry.

Let dry.

When I removed the cheese box there was a circle cut in the middle of the gesso. I let the gesso dry overnight, and the next day I found I had a problem that I’ll talk about in a later post..

I’m working in oils again.


painting with paper.

painting with paper.

The other day I picked up an old painting and began painting over it. I roughed in a composition using blues and white oil paint mixed with a bit of stand oil. After I had everything blocked in I crumpled up a sheet of brown wrapping paper and placed it over the painting.

Peeling.

Peeling.

I left the paper on the painting overnight and the paper soaked up some of the oil. I carefully pulled the paper off.

Texture.

Texture.

The surface of the canvas is left with a rich texture, and some areas are matte and some are glossy.

What I hoped for.

What I hoped for.

In some areas bits of the old painting show through, but the effect is what I am looking for. The painting is far from done, and I will continue building up and removing layers with this technique.

First stage.

First stage.

I’m thinking I’ll keep it mostly blue, but with a bit of red and green too.

Studio days.


Cheating.

Cheating.

I taped five 12×12 inch paintings together, and painted a large red splotch over them. It was cheating I know, but it saved time and when I separated them the result was interesting.

I’m fast approaching 875 in this series of 1000, 12×12 inch paintings. I hope to finish strong, and make the last 100 really interesting.

Easter cat.

Easter cat.

I’ve also been working on a couple Easter paintings. This is a cat with rabbit ears on his head. I like his unamused expression, and resigned to his fate body language.

Yesterday in the studio.


Raw material.

I place sheets as of paper as drop sheets under the paintings I’m working on. The paper catches all the paint that splatters, And eventually gets marked up with pencil and ink. Often I find the drop sheets on their own can be quite beautiful.

Raw materials.

These sheets will eventually get used in different ways. They get transformed into paintings or collages. I tend to keep all scraps of paper if they seem interesting, and this does cause a general air of chaos in my studio.

Wavy rainbow.

Eventually the drop sheets get turned into something like this detail. This painting has a layer of thin transparent rice paper laminated to the surface. You can still see what is underneath.  I work the top layer with watercolour and gouache.

Studio time.

My daughter loves to work in the studio, and here she is painting a picture of us driving in our old car to the beach.

Easter painting.

Even though I have several piles of things I’m working on, I decided to start a new painting. Something for Easter.

Easter cat.

Then I thought I might as well start two.  Cats with bunny ears. Screams Easter.

From start to finish.


Most of the painting is blocked in, and I can start working on details. I want to create a texture for the skin of the zeppelin. I first paint the zeppelin black. Over this I paint white gouache. While the gouache is still wet I place a piece of paper towel over the surface. I gently roll over the paper towel, and this will lift some of the paint and create a texture. If it doesn’t work the first time I try again. The texture of the paper towel  creates a nice effect that I can use for the skin of the zeppelin. Details will be added over this to create the finished zeppelin.