To me, daffodils have always represented the beginning of Spring and all things "bright and beautiful." I grew up in Washington State where many daffodils and tulips are grown and harvested. It was a family tradition to load the car with family and drive to La Conner and other cities where the farms were. They never disappointed. Rows and rows of flowers at their prime in many shades. There was always a Daffodil Parade in the Spring to celebrate the flowers.
Technical Notes:
I've been trying to work out a problem I have with painting in oils for some time. It has to do with the application of paint onto the canvas or panel. This doesn't seem to be a problem for many artist judging by studying their work posted on blogs and online galleries. Often, for me, the paint hits only the top of the fabric (linen or canvas) and leaves a rather ragged appearance which I end up re-brushing until the surface is covered sufficiently.
It seems to me the problem is either I don't have enough paint on my brush or I need to use the right amount of medium mixed with it. I also thought it could be the brushstrokes I make or the use of the wrong brush for the job.
The problem is reduced when I use gessoed panels, but when I use canvas or linen it occurs frequently. I have added Liquin recently to my paint, and it has helped. I do feel brushwork is an area on which I need to focus. I love the oil works of Terry Miura, Barbara Newton, Andre Kohn, Nancy Franke, Lorraine Shirkus, Cathleen Rehfeld, Jean Ranstrom, Kim English, Robin Weiss and soooo many others I cannot list here to give you an idea of what I'm after.
I do understand that my level of accomplishment is far beneath what these artists and others can do. But, I would like to zero in on whatever it is that would help me produce a more determined, confident look in brushwork. If you are aware of resources (books, tutorials, articles, etc.) out there I'd appreciate knowing it.
Have a great week, and thanks for "listening."
Carol-
ReplyDeleteWe are in daffodil country here too. I am awfully close to the famous Daffodil Hill which blooms every spring. I am told it is beautiful (but crowded with people). Your flowers are lovely as always but that vase! I really like the shape and heft of it. Really nice.
As for your problem, I have the same issue with acrylics on plain old canvas. I suspect too little paint and possibly the wrong brush. I also work and rework the strokes which is an issue. Laying down the paint until it drags and then stopping may be a solution.
I also use an acrylic "flow release" medium to help things along which is does. If I could make this suggestion. The people whose work you admire might be a good resource for the answer. I don't think anyone would be unhappy to answer your question. And I bet you aren't the only one with this problem. You might also try the WetCanvas Forum.
Your strokes look lovely, flowing and well controlled to me. I would never have known that you this issue.
Let us know what happens:)
Thank you, Libby. It sounds like we've been addressing our issues in a similar manner. You're correct about asking some of the artists I mentioned for suggestions. The artist community as a whole I've found is very generous with advice and information. I'll also check out Wet Canvas. I appreciate your input.
DeleteAs you know, I'm not an expert in oils but I love this painting of daffodils, Carol. I can see your wonderful brush work and love your purple shadows. Your vase is perfect....!
ReplyDeleteVery kind words, Hilda, and I thank you. YOUR latest pastel portrait of Hyla is just amazing. She is darling and her smile is infectious. It must be so nice for your family to have sch a wonderful artist (you) in the family. What gorgeous work you do!
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ReplyDeleteCarol love the daffodils,and am responding to your blog with this because I am on my I-pad and they don't always get through to the blog
I have a problem with stretched canvas ,panels and boards as well, the easiest to cover with brush work are linen oil primed.the paint seems to glide across more easily, in my experience brushes seem to make little difference but A medium such as liquin helps. Most of all I do an underpainting and that helps greatly because of some of the canvas shows through it has color in it appropriate to the area. I always use a bit of thinner with that underpainting so it is fluid enough to fill in the depressions of the weave. I still follow Helen van Wyk's method of using straight paint unless I need quick drying or glazing. I don't know if this will help or not but it is the best advice I have to offer at this point, it will be great to see how others respond. Blessings, Jean
Helpful information, Jean. I must admit I sometimes fail to do an underpainting. I can see where that, of course, is a wonderful help in covering the surface. I berate myself for leaving out the basics I was taught at one time. Duh! I will certainly keep at it!
DeleteHi Carol,
ReplyDeleteMost of the artists you admire have mixed their paint to a creamy consistency first...or they buy a brand of paint which is soft in texture. (No different to working with hard and soft pastels- the soft ones cover better)
The basic rule in oil painting is " fat over lean " which means starting by thinning your paint with just a little Gamsol or solvent and the next layer use the full paint.
When you begin by rubbing oil over the canvas you have started with fat layer first. Fine if you only paint one layer.
Read the warning label on Liquin. It is wonderful stuff but have plenty of ventilation. I am sure with you being a pastel painter you are really careful about your personal safety habits.
You are such a good artist you will be able to do wonderful oil paintings. It will just take time to learn how to mix your favorite neutral colors as you cannot just reach over and pick the one you want. For me though that is part of the enjoyment. I let my palette do the work by mixing and comparing on the palette before the canvas. Some artists mix on the canvas. It is all good, but do remember the principle - fat over lean.
Forgot to mention how to make your paints a more creamier consistency. Add a little refined linseed oil. If doing a transparent wash type base add the Gamsol and I always place a few drops of refined linseed oil in it. Too much dilution with a solvent can weaken the bonding of the paint to canvas.
ReplyDeleteCarol, this is soooo beautiful! the colors sing to me!
ReplyDeleteBren
Carol, this painting is soooooooo beautiful! The colors sing to me!
ReplyDeleteBren
Thank you, Brenda. Those are VERY kind words. I loved your posts about your trip to Nova Scotia. What beautiful works you did there.
DeleteBeautiful painting, Carol! The blazing yellows and oranges against the lavender grays really sing! You are so good at color! I'm honored to be included in your group of brush-stroke painters. I'm still going through a long experimentation period to get the kind of effects I hope for—also have trouble with gessoed canvas. Even though it's coated, it absorbs the first layer of paint or underpainting. I have coated it with acrylic matte medium to make it slicker, also tried oil primer over the gesso. All of it is an extra step but easier than the ordeal of sizing and priming raw canvas, which I've also tried. I've also worked on oil-primed linen canvas sheets that come in a pad. I used to use Liquin and Gamsol mediums but have gone back to oil (Grumbacher) painting mediums or linseed oil and Gamsol thinner. What feels best now is to use earth tones with thinner and medium, loosely suggesting the composition in bold strokes—to cover the white but not worry if some white shows. There are 2 very short Tibor Nagy time-lapse videos on youtube that have been helpful in staying loose from the start. Then use much thicker paint with medium for the actual color in shorter strokes (marks) and even more paint for a long stroke. Then, of course, refrain from smoothing. The biggest help for me is to be mindful to not draw or describe with paint. Check out this painting by Derek Penix: http://images.faso.us/contests/8/31788org.jpg Wish I could be this loose!
ReplyDeleteThe hardest thing for me is getting used to how messy the canvas is and to resist perfection. Long way to go . . .
By the way, I crashed and burned with pastels—so much harder than it looks!
Lorraine, this is truly such an informative comment, and I appreciate the time it took to write it. I am grateful for a description of your process, and am a Tibor Nagy fan myself. He amazes me. I will watch the You Tube videos and check out the Derek Penix painting. What a wealth of information you are! You always excite me and make me want to try different things and try harder. I thank you from my heart for all you've given me!!
DeleteLove this piece Carol! The colors and the composition are fabulous. Love all those interesting shapes you've created with the shadows too.
ReplyDeleteThank you, Susan. I'm delighted that you like the painting. The shadows in the photo reference caught my eye, too.
DeleteGorgeous Spring colors and wonderfully painted daffodils , also love the light purple shadow that gives the painting 'spark' ! I always do an underpainting first, it helped me solve this problem that I too encountered.
ReplyDeleteThank you so much, Jane! Very good advice that I will certainly follow for my next oil painting. So many people I've talked to really are committed to underpaintings and feel that they start one off on the right foot.
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