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Setting up and working clean

Hello everyone:

Just finished stretching and gessoing 40 canvases.  Ready to paint for the year!!!

I’ve been meaning to address this cleaning issue for a while.  It is important to learn to work clean as a painter.  This enables you to paint in your house, a friend’s house or a classroom without wrecking your woodwork, furniture, floors and clothes from renegade paint.  It also enables another student to sit in your spot when you are not in class and not come away with damaged clothing.  Undetected wet oil paint, once it gets on your clothes, is an invitation to disaster.  If not caught immediately, it ends up on your car upholstery, it spreads to other clothes (if you put it in the wash and don’t know the paint is there) and sometimes finds its way under your shoes where you can now walk and leave a lovely paint trail.  Oil paint is a bit like poison ivy.  It’s one purpose in life is to attach itself to you without your knowing.

When I first studied with Liza Meade Steig in Cambridge, MA, I came to class in my paint clothes.  There was not much of me that wasn’t covered in paint and I was now going to paint in Liza’s dining room!  She explained very clearly to me that lords and ladies were able to paint in lace and velvet.  Just because I was in jeans and a sweatshirt was no excuse to use my clothes as a paint rag.  And there would be serious consequences if I got paint on her furniture. I was petrified I would leave paint somewhere in her house.  Because of this I became very aware of my painting environment and learned to work clean.

Paint happens but it can be controlled if we are aware of our environment.

My Setup

My Painting Set Up

Here is the set up that I use in my studio.  I have 2 surfaces at right angles.  The one in front of me contains a few spare rags cut up in very small pieces (big pieces of rag drag through the paint and then onto everything around you), my palette box with my palette inside.  I am right handed so I have a piece of folded, cut up Turkish toweling in the right bottom corner of my palette box.  This is where I wipe my brush of excess paint or scraped paint I’ve cleaned up before I add new color to my palette.  My little cup of clean turp is at the front of my palette.  I mix my colors in the center and always clean the center before I put my palette away in the freezer (oil paint keeps well in the freezer).

My turp can is to my right as I am right-handed.  It has a cat food sized can inside it with holes punched in.  The can is flipped over putting the holes on top.  This allows me to clean my brush on the cat food can instead of swishing it in the dredges on the bottom.  I NEVER leave brushes in my turp can.  If brushes are left in the turp can, the brush you are using with a ton of paint on it travels down the handles of your brushes already in the can leaving a lovely trail of paint that you will now get on your hands when you go to use these brushes again.  I clean each brush in the turp after I use it then place it on a piece of folded toweling on the area to my right.  This also holds my jar of unused brushes waiting at the ready, my cup of tea (it says “She Who Must Be Obeyed” – a gift from one of my students) and my container of liquid laundry detergent where I will place my brushes at the end of my painting session to be brought to my sink to be thoroughly cleaned and rinsed in lukewarm water.

I do not touch the paint with my hands.  Any paint that gets on my hands is cleaned off immediately.  Also, my cup of tea is not directly near my turp can.  This prevents me from dunking a paint filled brush into my cup of tea.  Guess how I know this!

This set up allows me to set up quickly and clean up quickly.  No paint on my hands, clothes or in my house!!!  Hope this helps.  Better to be painting than to be cleaning.

Ode to a Snow Blower

I wish I could say that I get to paint everyday.  Most days I do paint but, being a homeowner sometimes requires the doing of other things.  My latest adventure was procuring parts and tools for my 11 year old snow blower.   I really should be kinder to my machines.  I sometimes take them for granted when they just keep working year after year.  She has a really big  job to do living here in Massachusetts.  The driveway is a bit hellish with its lumps, bumps and rocks.  She finally demanded that I take care of her after 11 years of service by conking out in our last snow storm.  I’m sure our previous winter put her right over the edge.  The parts came in today and I spent most of the afternoon carefully putting her back together again apologizing over and over again for my neglect.  I do find it best to talk to my machines.

As an artist, I find my choices tend toward the cheapest way out.  So, I spent about $85  on the needed parts and decided to do it myself.  With my snow blower manual and my next door neighbor to help me loosen the bits (and show me the tools I should have) I managed to figure it all out.  I can’t imagine what I would have had to spend if I took her in to be serviced.  Never mind buying a new machine!  Here I am an artist at 60 years old with small engine repair added to her repertoire.  Hope this inspires some great masterpieces.  Here she is waiting for our next great snowstorm.

Another changed painting

I so love to paint over paintings.  But, I’m trying to paint over with the same subject matter instead of obliterating an entire painting.  This was great fun to fix.  The first still life was too simple, I think.  By adding a bit more and the drapery, it is a more interesting still life.  My friend Susan’s mother donated the sweet little pitcher.  Happy New Year, everyone!!

Pear and Grapes

Pear and Grapes

White Still Life

White Still Life

Fixing Paintings #4

Chair At Tower Hill before

Chair at Tower Hill (before)

Chair at Tower Hill (W. Boylston, MA) has been reworked twice.  I painted something in the distance to fill up that big space, added lights, some greenery in the black pot and a few more details.  I’ve always been fascinated by light (or lack of it).  Sometimes it works.  Sometimes it doesn’t.  The point is to have fun in the discovery.

Chair at Tower Hill

Chair at Tower Hill (after)

Fixing Paintings #3

Squash Before

Squash (Before)

Another Redo!  What was I thinking?  I needed a nice bright background to enhance the dull squash.  Blue is a hard color to use as a background but I love the new blue background.  Since I was repainting the painting I decided to throw in some more light on the squash bodies.

Squash After

Squash (After)

Fixing Paintings #2

Rocks and Grape Hyacinths before

Rocks and Grape Hyacinths (Before)

I loved doing this little 11 x 14.  It really needed some light added to it to contrast more with the dark.   Gives everything a fresh new look!  This painting is called “Rocks and Grape Hyacinths” – a little wildness in my front yard.

Rocks and Grape Hyacinths

Rocks and Grape Hyacinths (After)

Fixing Paintings #1

I’ve been in the mood to redo some of my paintings. They might look ok on my easel but sometimes they don’t work when I hang them on a wall.  I pooked up this little 11 x 14 of Three Chairs at Tower Hill (in W. Boylston, MA).  I lightened the background, the floor, the chairs.  Now I can hang it on a dark wall and it will show up!!!!  It’s much happier.

Three Chairs At Tower Hill (Before)

Three Chairs At Tower Hill (Before)

Three Chairs at Tower Hill

Three Chairs at Tower Hill (After)

Before and After

Sometimes I just don’t like a painting I’ve finished.  It’s fun to work on but when I hang it on a wall it doesn’t do anything.  My favorite thing to do is paint over paintings I don’t like.  I try not to do that anymore.  However, I thought I could break my rule this time and use the same components – just put them in different places.

  I didn’t like this purple one.  I didn’t like the composition or the light.  I like the pink better.  It’s more fun – not so depressing.

Wisteria and Birdhouse

Old Window and Lattice

Old Window and Lattice

Old Window and Lattice

My latest painting.  Someone gave me an old window that I propped up against my deck lattice in my garden.  It has managed to become part of the landscape and I loved the way the light was hitting it.  And, I was intrigued with its weirdness.  Why did I paint this? Who knows. Just liked the composition and color. Some of my students decide against painting something because it “looks too hard.” If I looked at things according to the level of difficulty – I would never paint. I pick my subjects because something about the subject intrigues me. If the painting doesn’t succeed I can always paint another. But! I have learned something whether the painting succeeds or not. You can see this painting and others on my website at www.artkatcards-paintings.com/Art_Gallery/Landscpe_Paintings/OldWindowandLattice.htm.

How attached are you?

How attached are you to the artwork you are working on?  Have you already decided on the outcome?  Have you already picked out a frame before it is completed?  Do you know where it’s going to hang in your house?  If you have answered “yes” to any of these questions – you are too attached to your painting. A painting has a life of its own.  You create it but then it starts to create itself.  If you can’t listen to what your artwork is telling you then you are in for a painful and long struggle.  If you can imagine for a few seconds that your painting ends up with a tear in it – totally beyond repair – does your life end?  Do you plunge into a massive depression spewing poisonous negative energy about the room?  Do you get sick, decide to never paint again?  Then you are TOO ATTACHED TO YOUR PAINTING!!!!!!  An artist has to practice detachment.  If one corner of your artwork is perfected but the rest of your painting still is in a state of becoming – then you need to expect that your perfected corner will have to change as the rest of the painting progresses.  Artwork is not a bunch of pieces put together.  It is a series of relationships, a series of corrections.  Every part of the painting has to relate to every part of the painting.

If your artwork is not doing what you want then maybe you need to consider doing what it wants.  And consider what you perceive to be a mistake might just be a way for you to learn a new skill, a new way to apply paint or even the answer to a problem in the painting you are trying to solve.

If your psyche is plunged into the heart of doom because your teacher has asked you to make some changes to what you thought was finished – you are too attached to your painting!!!  Try to be a little open to the fact that this might just be the way to learn something new.  If you have the attitude that you are always learning and that you will figure out and solve the problems – your painting skills will progress rapidly.  The pit of doom mentality simply slows your growth.

Learn to let go.

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