Thursday, June 30, 2011

More information on mediums. This is a handout I gave my class last semester, and it may take a little of the mystery out of the mediums. Jane Flanders gave me information from a book she had "What every artist needs to know about paint and colors" by David Pyde. I really enjoyed his sense of humor as he discussed the materials. It may be a good book for your reference library!

Further reading on ‘mediums’:
The various oils used as mediums in oil painting are known as drying oils. The term is useful as a reminder that different oils have different drying times and properties. These mediums are mixed with oil paint both to modify the way the paint handles straight from the tube (for example, make it thinner or lengthen the drying time) and to alter the character of the paint from what you get straight from a paint tube (for example, make it transparent or opaque, gloss or matt). Ideal mediums are colorless, permanent, flexible, and do not influence the color of a pigment. Learning the particular properties of a drying oil is part of the essential technical knowledge an oil painter should have. *Remember that when an oil paint feels dry to the touch, it will still be drying under the surface for some time, which is why the principle of painting fat over lean is so important in oil painting.
Linseed oil is made from the seeds of the flax plant. It adds gloss and transparency to paints and is available in several forms. It dries very thoroughly, making it ideal for underpainting and initial layers in a painting. Refined linseed oil is a popular, all-purpose, pale to light yellow oil which dries with in three to five days. Cold-pressed linseed oil dries slightly faster than refined linseed oil and is considered to be the best quality linseed oil.
Stand oil is a thicker processed form of linseed oil, with a slower drying time (about a week to be dry to the touch, though it'll remain tacky for some time). It's ideal for glazing (when mixed with a diluent or solvent such as turpentine) and produces a smooth, enamel-like finish without any visible brush marks.
Sun-thickened linseed oil is a created by exposing the oil to the sun to create a thick, syrupy, somewhat bleached oil, with similar brushing.
Sun-thickened linseed oil is a created by exposing the oil to the sun to create a thick, syrupy, somewhat bleached oil, with similar brushing qualities to stand oil. Pour some oil (about an inch) into a wide dish, cover it with a propped-up lid (i.e. to minimize debris getting in, but so that the air can flow through). Stir every day or so to prevent a skin from forming on the top. How long it takes for the oil to thicken will depend on how hot the climate is where you live. Test the thickness of the oil when it's cool, not when it's still hot from the day's sun. Pour it through a sieve or cloth to remove debris before you bottle the oil.
As linseed oil has a tendency to yellow as it dries, avoid using it in whites, pale colors, and light blues.  Stand oil and sun-thickened oil yellows very little.
Poppyseed oil is a very pale oil, more transparent and less likely to yellow than linseed oil, so it is often used for whites, pale colors, and blues. It gives oil paint a consistency similar to soft butter. Poppyseed oil takes longer to dry than linseed oil, from five to seven days, making it ideal for working wet on wet. Because it dries slowly and less thoroughly, avoid using poppyseed oil in lower layers of a painting when working wet on dry and when applying paint thickly, as the paint will be liable to crack when it finally dries completely. Poppy seeds naturally contain about 50 per cent oil.
Safflower oil has the same characteristics as poppyseed oil, but dries a bit faster. It's made from safflower seeds. Sunflower oil also has similar characteristics to poppyseed oil. It's made from sunflower seeds.
Walnut oil is a pale yellow-brown oil (when newly made it's a pale oil with a greenish tinge) that has a distinctive smell. As it's a thin oil, it's used to make oil paint more fluid. As it yellows less than linseed oil (but more than safflower oil) it's good for pale colors. Walnut oil dries in four or five days. It's an expensive oil and must be stored correctly otherwise it goes rancid (off). You may want to refrigerate this oil.  Walnuts naturally contain about 65 per cent oil. 
Boiled oils are oils that have been heated and mixed with a dryer to create a faster-drying oil that gives a glossy finish. They tend to yellow and darken with age, so are best limited to lower layers in a painting and darker colors. If you're not sure what effect an oil is going to have, rather take the time to do a test than 'lose' or 'damage' a whole painting.

Wednesday, June 29, 2011

June 29/ Lewis and Clark Park/ Kaw River/ Pleasantly breezy and in the mid to high 80s.

View of the Kaw River and I-70 over the river.

Jim P. with a view of a bridge/highway.

I parked the car in the shade and set up to paint.  Now if Debbie P. was with me, she would still be searching for a good spot to paint.  

Jane had a great location in the shade.  Her view of the underneath of the bridges was complicated but fascinating.

Jane's vast supply of paints.  

Jane looking comfortable with her set up.

Peggy's view.

New tip for the day.  Jane had a 'el cheapo' plastic scrapper she was using to rule straight lines.  Worked like a charm.
99 cents and straight lines with all that architectural subject matter.

Channel 4 news was there to photograph the flooding.  The trucks were barricading off the entrances.

Look closely and you can see Jane in the shaded area.

Jane's finished 11 x 14 oil.

Tuesday, June 28, 2011

More directions to Kaw Point paint out June 29.

When coming from the West (from Kansas):

Take I-70 East & North along the Kaw River-Strawberry Hill area to James Street Exit #423. Follow James Street to 1ststop and continue straight ahead following signs to Fairfax Blvd. The bottom of the ramp is # 1 Fairfax Blvd. Look for the Kaw Point sign to your right. Turn right at the sign marking River City Drive. Head through the parking lot to the concrete flood wall.

When Coming from the East (from Missouri)

If heading West on Lewis and Clark Bridge (I-70 from KC Missouri), take the Fairfax Exit #423 on the right and down the ramp.
Immediately when you reach the bottom of the ramp you are at #1 Fairfax Blvd. Look for sign on your right on electrical pole on the east side of street; and turn right immediately after the sign into a parking lot (this area called “the Levee”). Head east, into the parking area about 100 yards to the concrete seawall. Turn right, going south now and follow the seawall about 100 yards to the first “Breach” in the flood-wall. The sign at the breach says “Riverfront Park at Kaw Point now under development-Please do not drive off blacktop roads.” Enter the “breach” on the left, through the ten foot wide opening, into large parking area behind seawall. Park along riverfront near iron fence.


Saturday, June 25, 2011

On the topic of mediums....

I received this note from a fellow painter.

After attending the Kim Casebeer workshop I purchased some Galkyd Lite.     You get an immediate benefit after adding it to a pile of paint in that the paint flows on more easily.  But in a very short time it starts drying and makes your paint sticky and unusable unless you add more Galkyd and start the process all over again.  The more I use it the less I like it.  For me, the Liquin  works much better.

I also purchased the Galkyd Lite medium after the workshop with Kim.  I used the medium this week painting at the Nelson, and had the same results.  Very sticky paint palette within minutes, and unusable paint.  Kim did suggest adding turpenoid or Gamisol to  the Galkyd if it starts to get thick in the container.  I also added Gamisol to the medium/paint mixture, but I was pondering over why I would use the Galkyd when the Gamisol worked just fine for me.  Adding a medium changes the vascularity of the paint one is trying to improve or control. Kim was using it with her 'underpainting' which allowed her to use less paint and cover larger areas.  As we watched her mix up her paint, I even asked her why such a small amount of paint for such a large canvas.  She said she would get the coverage by mixing the Galkyd lite with the paint, and she did.  We were also in her studio, and not battling winds as I did at the Nelson.  This is part of the learning curve in workshops.. she made everything look easy....and usually it's not!  If anyone has a comment on these products, please leave a note.  Maybe I have missed a trick in using the Galkyd lite properly.  Or, maybe the best results are in the studio with this product, minus the wind, sun and heat.  I also prefer Liquin as my medium of choice, but maybe there is that 'learning curve' with the Galkyd Lite that I am impatient to wait for!

Friday, June 24, 2011

Location for next week and a few great photos of the area.

If coming from the south, cross the Lewis & Clark viaduct, Get in Right lane and take Fairfax Trfwy exit , That is first one you come to.  As soon as you are on the Trfwy there is a so called street to the Right between yellow building and truck parking area.  There is a blue box going up the elevator on the left of you, turn in there to the Right, there is  also a sign.    From the North take the Fairfax Trfwy almost all the way to the end there will be an overhead walkway you will go under, at that point get ready to turn Left . Now go to the end of the street or whatever it is maybe a hundred yards or so and bear Right and there will be a small opening in the concrete levy wall, go through that opening and you are there.  To your Left you will see the memorial or info place, there is a walk way there down to the river.  Stop short of the river it is running swiftly.  Kansas customers traveling I 70 they would take the James st exit 423 B just before turning on the viaduct.  That turns into Fairfax then follow the other folks.

These are images Jim took of the location.  It will be a dandy.  Hope you can meet us to paint.

Thursday, June 23, 2011

Jane Flanders will be in Booking It To Brooklyn

If you happen to be in NY before July 8, stop by and see Jane Flanders work in this show!  Congratulations Jane for being invited to show in NY!

Booking It To Brooklyn:
A Library of Texas Contemporary Art
(With Some Friends Who've Joined Us Along the Way)

Curated by Darin M. White

Produced and Directed by Rex Hausmann and Hausmann Millworks
in conjunction with CENTRAL BOOKING
June 24th-July 8th, 2011

111 Front Street
Gallery 210
Brooklyn, NY 11201
Closing reception: July 7th, 2011 as part of "First Thursday" art walk

A collection of contemporary works from San Antonio, Los Angeles, New York, Kansas City & Philadelphia.
Organized like any good collection: varied tastes, materials & subjects form prose of an odd exotic sort.
Please enjoy the chapters enclosed. Happy reading. 
In an exhibition that was curated in around a week, we find a story of Rex Hausmann
of Hausmann Millworks: A Creative Community. The-GO-man, the get-it-done-guy,
fire-but-making-it-all-work. 1/4 Italian, 1/4 Mexican,
1/2 German and all San Antonian, Hausmann has a new story for everyday
of the week and they are all good. Hausmann Millworks is a 44,000 square foot millwork
manufacturing building in San Antonio Texas, that has been transformed into
"A Creative Community" of artist studios, galleries and provides opportunities and real life,
art and business education to its artists. This exhibition includes mostly San Antonio
artists and tells the story of how they and other friends have come into the conversation
and are now Booking It To Brooklyn. From Marilyn Lanfear and Larry Graeber who's work
spans five decades, to LA artist Kiel Johnson who is showing in various museums to
Mel Latimer and Casey Ruiz who are just getting their feet wet, the list of artists and
artwork are as varied as America itself. Exhibited in Brooklyn's Central Booking Art Space
in Dumbo. The show revolves around the galleries theme of art books, prints and works
on paper with some more conceptual notions. Don't be surprised if this list of artists
changes before the opening, it is par for the course. The show may end up in Tunisia
for all we know...with bells on.
Darin M. White

Chapter 1: Foundations
David Almaguer 
Arturo Almeida
Jonathan Cowan
Chapter 2: New Friends
David Alcantar
Larry Greaber
Marilyn Lanfear
Ansen Seale
Chapter 3: An Unusual Pair
Louis Vega Trevino
Marc Wiegand
Chapter 4: New Horizons
Mel Latimer
Kevin Rayhons
Casey Ruiz
Chapter 5: Some Friends Dropped in For a Visit
Michelle Carollo
Jane Flanders
Jimmy Greenfield
Kiel Johnson
Don Lisy
Alison Stigora
Shannon White
Chapter 6: The Lady with Embroidered Shirts & A Man with a Cactus
Leigh Anne Lester
Joseph Adams
Gallery hours altered for summer schedule.
Contact Rex Hausmann at 210-884-6390 for times or for appointment.

Marilyn Lanfear Marilyn & the Law 1982 Revolver, book, promises 5" x 14" x 10"

Kiel Johnson Sincerely Yours 2009 Ink on paper 17.75" x 24"

Larry Graeber Colorform Book 1998 Font Cover: Paper and ink 16 Pages 11" x 10"

Ansen Seale Congress 2011 Digital print on maple veneer 48" x 48"

Nelson Museum Lawn/ June 22/ 8:30 - 11:00/ WINDY and 78 degrees

A picture perfect day to paint outside.

Underpainting.  This painting blew off my easel three times.

I finished it at home and wrapped the paint around the canvas.  This style of canvas is so thick, it wouldn't fit on my easel clips, thus it was blowing off.

Jim Love in the distance.

Jim Pettijohn's area he was painting.

Jim love painted the new Dendrite sculpture and a Henry Moore sculpture.

Jim's view

Jim P. and Jim L. trading painting stories.

In the distance Jane is returning from her location on the Nelson lawn.

Jane Flander's 

Jim Pettijohn's painting

Sunday, June 19, 2011

Location Set for June 22

Installation of the new sculpture.
We had a rain out for the Nelson Museum earlier this summer, so we have re-scheduled it for June 22.  Here are my suggestions for parking if you would like to paint from the Cleaver Blvd. side of the museum, which has the wonderful shuttle cocks.  Basically the museum is cradled between Oak and Rock Hill Road.   47th Terr. is one block South of Cleaver Blvd., which is a nice shaded one way street.  Taking Rock Hill South, turn right on the first street which is 47th Terr.   Locust St. is at the other end of 47th Terr., and also a one way street going South.  Locust does not allow parking on either side.  If you park on 47th Terr. and walk to Locust, the park which is across the street (Cleaver Blvd.) from the Museum lawn, there are a number of great shaded areas to set up.  This will give you a panoramic view of the Nelson lawn and the shuttle cocks AND the new sculpture that was just installed a month ago, on the corner of Cleaver and Rock Hill.
Due to the summer heat, we will meet around 8:30!  Hope to see you there.

Wednesday, June 15, 2011

Loose Park/ June 15/ 8:30 - 11:00 AM/ Sunny and mild

A view of the scene Jane and Peggy painted.

Jane's work

Overlooking the rose garden for Jim's scene.


Jim's palette

Jim painting in the rose garden area.

A huge hawk in the sprinkler!

Jane's work

Jane Flanders beginning her painting with a rosie wash of color for her underpainting.


Jane, comfortable in the shade.
Finished painting, with a little imagination adding our Airstream!

Sunday, June 12, 2011

Joshua Been Workshop in Salida, CO: Day 2 and 3

Joshua 'blowing up' a small study.

The workshop 'en plein air'.
Everett Ranch

On Day 2 we went to two new places, first along the Arkansas River at the Big Bend and later at the Everett Ranch. Day 3 was at the Riverside Park in Downtown Salida, CO. On the last afternoon, Joshua demonstrated how he "Blows Up" his Plein Air studies using both the study and the original photo on a computer screen. There is also a large mirror on the wall opposite his easel which he refers to frequently just to get a different perspective on his painting.

I really felt the workshop was quite good. Joshua has an infective energy and a way of helping you simplify complicated views and understand the complex relationships of Shapes, Values, Edges and Texture. Thanks Josh.