A weeks worth of paint and canvas - Boldbrush

If you're an artist and have a website with FASO you know about the monthly Boldbrush contest. Everyone has their own take on it; mine is it promotes good front end exposure and if you browse a bit you get to see what other artists are up to. I like to enter in the last few hours so I land on the first page everyone sees visiting the Boldbrush site.....makes sense because there are a lot artists who enter. I have a short attention span as I suppose most others do when it comes to browsing. Well it's that time again.....do I or do I not put on a competitive hat and enter. Like it or not, art is competitive and difficult to avoid becoming consumed by in some form or other. I'm competitive in nature and it's taken me a while to understand it's not the healthiest reason to pick up a paintbrush. In this case it's free with the FASO site and a shame to throw free exposure out the window. Optionally we can also pay for additional entries if we feel especially frisky with ourselves and lady luck......

This painting was born out of a planned power outage the other day....6 hours of cold turkey. That meant no computer, no music, no Starbucks coffee..... So in strange silence broken only by outside noise I never really hear, I pushed paint all day, even after the power returned.

QUICK BLOCK OUT

 Shown on easel with photo reference

996 COMPLETED - study in blues and greys

 Garden Flowers 24x24 oil on linen (10-30-15)

I do few still life paintings but with only one session and a loose 24x24 canvas it seemed a good practice choice. The deep French Blue Hydrangea is one of my favorite flowers and always posed a painting challenge for me. The companion flowers long graceful stems compliment the more structured hydrangea. My unknown flower if arranged right has wonderful 3D possibilities which were captured a bit here by pushing deep shadows and pulling out strong highlights. 

 DETAIL

Garden Flowers is the last finished painting of October and probably a good candidate for Boldbrush. It won't win any prizes but I like it well enough as a single session painting.

REWORKING A PAST PAINTING

I've been fooling around off and on with leaf the last few weeks. Last year about this same time I did this little painting towards the end of a collection based on air as the prime painting intent. It was an interesting time because I was all over the place or so it seemed. But history always deems them as a collection of ideas that are either used, set aside or discarded as we move forward. A few weeks ago I got interested in some of those canvases again because of a renewed interest with gold leaf and some Koi I wanted to use this go around.

The Koi were in a lot of tree shadow and just glowed as they hit the light.....oddly so, on a very grey day. This particular painting is also from the same pond and reminded me of the day......so instead of starting a new canvas, I thought it better to use this canvas as a warm up.

This particular painting also had a very cool title, suggestive in nature "Incognito".

STARTING POINT

931 Incognito 62x48 oil on linen (10-13-14)

931-1 REWORK(10-31-15)

931-2 Rework (11-1-15)

931-3 Rework completed (11-2-15)

All done for now! It has a few more days to dry before going back in with my gold leaf details. The painting as it is didn't lead me exactly where I wanted to go but I like it well enough and want to remove the gold if I don't like it. When I start out doing something, especially like this crazy move, messing with a perfectly good painting, I don't always know why. But eventually I stumble through and I see it loud and clear.

A Weeks worth of paint and canvas - numbers in titles

I number my paintings because otherwise it would be a bloody nightmare keeping track of the buggers. So I know for sure I'm 5 paintings away from completing my 1st thousand........better than a guess, which would surely be exaggerated  or underestimated a bit. Tracking numbers and dates is a good thing. I didn't mind 3 numbers in my title but not excited about using 4; something about it feels unnaturally out of balance. I'm sure its just in my head, but I have been thinking about it because it's a lot of numbers in a title. Perhaps a number alone would be a simple solution, and everyone knows computers love numbers.....although sometimes the title is as important as the painting itself. My guess is I'll get use to using 4 numbers sooner than later.....perhaps a lower font to diminish it's importance.

In between all this thinking, number 995 emerged from my white canvas and I suppose one could say it was born with its own social security number. After all it will have the tax man too........think about it.:=)

PAINTING 995 an exercise in yellow 

JITTERS 40x44 oil on linen (10-27-15)

A thousand paintings is a lot of paint and canvas to go through, not to mentions frames. If I count up the days, which I did out of curiosity, my number is 2,410 days working as an oil painter.....so about 2.4 days per painting. I guess all this numerical fluff is useful establishing bench marks or a glimpse into future possibilities - for me its a simple organizational necessity. I'm thankful organizational skills prevailed over leaving a scattered trail of work. It is also a valuable learning tool as a visible digital record of my progress as an artist--a record I can study at will.

Jitters stayed on the easel much longer than my average 2.4 days. In truth, a painting is done when it's done or when the energy field dissipates as it did with this one. What happens to it after is anyone's guess......no question they all have a future and over time develop a history. One of the side benefits of making art is a longer mortality than it's maker and occasionally I see some off to a good start.

I guess I've sorted my number problem out writing this post. It's clear to me the number and timeline is second only to the work of art itself when it comes to the history of a painting.


 

Six years and 817 paintngs later

I wonder if it's true, you have to paint 10,000 paintings to master something like painting. At my current rate it would take 54 years....scary thought!

Not sure where I left off with my last post but spent some time at the easel revisiting an old subject and one of my first Greenhouse Salon juried paintings, 153 Venice Dawn Tide 9-30-09.  Since I don't follow competitions anymore I'm not sure the new owners continued the Greenhouse tradition or not. Competitions were fun at the beginning tho. However, size restrictions typically left me out unless I painted exclusively for a particular show, which I often did when there was more time. It was important starting out to find out how you stack up or what you need to improve on and always hoping to see your name on the list....good old days. Anyway, I always liked this particular painting but not the cotton canvas surface it was on. It was also a time spent searching for the "right" surface. So 6 years and 817 paintings later here it is, the 2nd version (original version below it)

NEW DAWN TIDES

970 Dawn Tides 33x30 oil on linen (8-5-15)

ORIGINAL DAWN TIDE

153 VENICE, DAWN TIDE 20X24 oil on canvas (9-30-09)

Looking at both, there might be a good case for plein air verses studio work. Both 970 and 153 were studio paintings but 153 was Alla prima at a time when I painted outside almost daily. It was also a direct result of another painted the day after a fresh Plein air experience on the Hill (below). All used the same sky reference taken  as the sun descended. There is a certain freshness about the plein air days.......later I found LED lighting helped bridge the gap in my studio work. Although until recently I made it a practice to go out occasionally for a refresher course, which worked well.

THE REAL START OF BOTH PAINTINGS

123 LIBBY SUNSET 20x24 oil on linen (8-4-09) 

Juried into 2009 OPA Eastern exhibit

124 Libby Terrace 8x10 en plein air (8-3-09)

125 Libby Terrace 8x10 en plein air (8-3-09)

WHICH REMINDS ME OF ANOTHER TWO USING THE SAME SKY REFERENCE

324 WILD PONIES 20X24 oil on linen panel (4-25-10)

677 JAMES FROM BELLE ISLE 30X30 oil on linen (6-27-12)

Turned out to be a good evening back in 2009. At least (5) paintings from one plein air experience reference and (1) sky reference........ might revisit the hill again soon!

Water, Water Everywhere

The Richard Stravitz Gallery in Virginia Beach has a new exhibit starting August 8th entitled WATER WATER EVERYWHERE in support of the volunteer Virginia Beach Rescue Squad. One could assume it's themed about the Beach but it's not totally true.

So my project today is...."Chuck what are you gonna take"? Well best start with one they asked for......the obvious. This painting speaks to the obvious beach but it's draw is perhaps more about it's size at 66x60.

WATER WATER EVERYWHERE

 

851 OUR BEACH 66x60 oil on linen (8-9-13) 

Coincidentally almost a birthday painting to the exhibit....kinda cool! 

SOMETHING NEW

968 REDHEAD 20x20 oil on linen (7-20-15)

SOMETHING NOT SO OBVIOUS

 964 RED REEDS & BLUE AIR 60x48 oil on linen (6-1-15)

 SOMETHING TO GO WITH A BIG ONE

965 BLUE IRIS & MORNING MIST 30x30 oil on linen (6-6-15)

SOMETHING THEY HAVE

888 MORNING PROMISE 20x20 oil on linen (2-8-14)

&

893 SPRING WATERS 24x24 oil on linen (3-5-14)

&

919 SUNLIGHT & LILY PADS 44x40 oil on linen (8-25-15)

SOMETHING I LIKE TO PAINT

963 SUMMER MIST 56x48 oil on linen (5-18-15)

&

966 SUMMER SHOWERS 20X20 oil on linen (7-13-15)

&

967 OCEAN HEAT 20x20 oil on linen (7-15-15)

SOMETHING TO STOP WITH

427 PRECIOUS 14X11 oil on linen (12-31-10) 

&

425 CATCH ME IF YOU CAN 14x11 oil on linen (12-26-10)

All that's left is to find a small rental truck. One of the problems with big work it requires more than the family SUV to lug around. 

A redheaded beach toddler

Sunday: I decided to pick up my brushes and do some honest work for a change. There's a group show next month about water. I picked this little redheaded toddler and his mom playing in the sand as an add-on to my beach collection. After awhile you collect a few themed paintings like this that if put together tell a story. Have to look at that when I get a chance. 

9:15am time to start - this, like the last few will be a 20x20 linen canvas.

END OF DAY

968-1

 968-1 Redhead detail

Mom pretty much took the whole day and some parts turned out to be a challenge and a half !  I was tired by the time I got to the little redhead and really had to push to finish the transition outline edges on both.

Monday: I'm ready to go a second round with a fresh eye - and today the painting is dry thanks to mixing in Griffin alkyd white with my normal oils.

8:32am time to paint!

END OF DAY & COMPLETED PAINTING

968 REDHEAD & BEACH PLASTIC 20x20 oil on linen (7-20-15)

I pulled another one of three kids playing in the surf when looking for this one - in this case the little redhead was hard to beat. There's still time for the three amigos.....might try that between getting ready for the group show.

Three Amigos - girls in pink

REDHEAD is already available as a Giclee on Fine Art America  and my website under "Available Paintings".

More water and Friday is here again

Tuesday saw the start of another 20x20 seascape. The reference was from a beach trip a few years ago and as an extra topping I changed the mood dramatically by adding morning heat from the rising sun. However, the reference reminds me this collection is more about indirect light than an eye popping sun.

 REFERENCE

END OF DAY

967 - 1 The camera doesn't love it like the eye - looks harsh.

My foreground wave was problematic from the start. Scraping it off was impossible. The heavy paint application dried within hours thanks to Griffin alkyd titanium white and Neo Megilp. Not sure how I feel about that, but when mixed, it does help regular oil colours set up quick - add Neo Megilp and it's even faster.

Wednesday 6:52am - early, but was time to fix it!

COMPLETED PAINTING

 967 OCEAN HEAT 20x20 oil on linen (7-15-15)

Perhaps a tad darker on the photo but the wave feels more true for the extra time spent on it.

Tonight is Crossroads bi-monthly opening night where a lot of art enthusiasts gather to enjoy themselves for a few hours. My little part is mostly framed Giclees now with a few originals mixed in and called The Private Collection Giclee. That will be a bit of a change from the past. The publisher did a wonderful job so I'm sure most won't notice the change.......except perhaps the prices;=)

If your in the area stop by 6 to 9 pm 2016 Staples Mill Road, Richmond, Va. 23230 804.278.8950

OCEAN HEAT is already available as a Giclee on Fine Art America  and my website under "Available Paintings".

Gotta get back to it!

July, like last month, seems like a speeding train with no stops to change. However, I am in the mood to jump off for awhile and smell the paint fumes again!

9:35 It's been awhile so 20x20 is a good starting point. I'll pick up where I left off on my air collection and see what happens. Plus I need some water paintings for a group show at the beach later this month. 

END OF DAY

966 Summer Showers 20x20 oil on linen (7-13-15)

I like the warm morning summer light in this painting. This Virginia beach view catches the morning sun rises and in the evening captures wonderfully reflected sun on the clouds. It could easily be an endless painting subject for any artist.

SUMMER SHOWERS is already available as a Giclee on Fine Art America  and my website under "Available Paintings".

The Private Collection Giclee

Good news, my new Giclee website is up and running!!

Many thanks to the FASO team for doing such a wonderful job modifying one of their enhanced templates to fit my needs. I'm sure as time moves on it will see many more modifications, but for now it's perfect!

Yesterday I did a (12) photo-merge on one of my favorite James River paintings #691. Never really managed a good photo before so yesterday was my chance to make it right.

 A NEW ADDITION TO THE GICLEE COLLECTION

 691 THE JAMES 40x44 oil on linen (7-17-12)

Moving targets!

Got a few of those circling the old art cave. It seems every move since I started this dividend thing has caused a ripple of other ideas to extend the concept. All related, all worthy, but before you know it you're racing down another path besides painting. Refreshing as it is, my painting is suffering for it. I don't think there is a solution to it other than continue on and make it happen! Usually you get stopping points after that. So all my time is devoted to doing just that.

Setting up my gallery/showroom with giclee's set it in motion faster than it should have. However, doing it and some simple marketing material I needed, quickly exposed loose ends and concept gaps. I ordered a nice 3-fold brochure to use as a concept piece. Have not received it yet and it's already out of step. Doing it was incredibly useful tho. It caused me to curate, make choices on what to use or not!

I realized how Fine Art America plays in this game - FAA is a great platform for prints of paintings collecting dust, sadly forgotten, but still shine when light hits them. We leave a trail of work as we move through different phases......at least I do. Generally, my paintings start selling in the second year. By that time I'm somewhere else. Unless there is some compelling aspect to a painting or its in a gallery, I forget it! I think this is a second chance for those paintings to shine.


The Private Collection Giclee is my baby because its about the cream, the quality, the presentation of originals or Giclee's capable of handling any BEST WALL. One of my main speaking points here and elsewhere is "Paint large and for the best walls". Of course few get the point or the reason to do it in the first place, so better for me because I do:=) Also, nice that there is a slot for anyone who wants to be an artist!

For me it took a lot of paintings to learn how. I started small and mastered each size until I could paint larger than standards 6x6 thru 30x40s. It took 3 years, everyday, before I had anything worthwhile and I'm still working on it.

I would have to paint (24) $500 paintings and a gallery would have to sell (24) to make what selling this one painting below did. It was one effort, one sale and took way less wall space.....I rest my case!

JUST SOLD!

806 Koi & Lily 48x44 oil on linen (3-22-13)

No question its possible to paint (24) 8x10s in the same time but I would still have them and so would the gallery.....they don't really sell any better and take up a lot of wall space trying! No question they have value and certain appeal, but in the end it's just clutter! Generally, people who can afford original art are looking for a special work to hold a special wall, not a montage where the eye has no place to rest.

BTW, I believe that to be the primary goal with the majority of the people who walk into any gallery....excluding artist and perhaps collectors, another moving target!  

About to see it on the walls!

My long term dividend plan covers (3) working fronts.

• Licensing - publishing company's 
• Global broad market - Fine Art America 
• Gallery quality giclee for those special paintings.

The basic building blocks are in place except the last one where I see it on the walls! I'm through the proof stages and tomorrow my first (9) full size giclee's arrive from the printer. Next week I hope to have them hanging on my gallery walls. The plan is to mix original works with canvas prints as a single exhibit with the expectation of broadening my affordability without resorting to small works as my only option. I'm not totally sure this is a gallery option tho. I think most would rather sell originals. However, from a designers standpoint, a challenging project to make it visually work for any market. . My kinda thing with some presentation and style..:=)

I'm after visual quality without canvas embellishment for this particular group of reproductions. If it looks good on the walls it will mark the beginning of  THE PRIVATE COLLECTION.... my own special after market design project. 

THE PRIVATE COLLECTION will be the same size, high quality reproductions on canvas as the originals and presented equally. They won't be displayed in typical bargain bins or behind mats. They will be framed, on the walls and available framed (or not) in different sizes on special order.

My Richmond Gallery is the testing pot....not looking too bad so far.

 A FEW WORK-IN-PROCESS  PHOTOS

My canvas prints went beyond my expectations..... not shiny or cheap looking. The canvas surface marries well to the reproduction.....perhaps my biggest concern. Aside from some minor colour adjusting I have a product...:=) Those big crisp100mb plus tiff files were worth every cent. I just hope my own photo-merge files hold up as well......

In frames on the walls they look good.....you have to look very close, 6 to 12 inches close, and then it's still a hard call. In other words, there is nothing contrived to make the mind say NO........

Every painting shown is available in print. Some of these are the originals. So that part worked well together.

STRETCHED AND FRAMED

All three are canvas prints

This is a small sampling of the canvas print line of available works. How to get that across and have visible inventory in the same setting is the next challenge. No question there's a lot of work left but the concept is shaping up nicely.

The retailer has the responsibility to show how a product is intended to be used first and foremost...... canvas prints stacked in endless bins are less appealing and about price. However, if  also seen on a wall framed, then those bins become about selection and personal preference.  Just have to figure out how to do both and do it in this space!

Photo merge

WOW! Photo merge, what a tool and simple to use in Photoshop! I been playing with this since last Sunday morning 8, 10 hours a day. Each time I learn a bit more beyond some basic stuff I got from it in the first place. By simply taking (2) shots using photo merge I can double my digital capture even on small 16x20 works. What were good with a single frame become exceptional high resolution print worthy files. For larger work the easiest and fastest way is breaking it down to smaller sections and merging those separately. The largest project so far was a 60x48 canvas which required (20) detail photos merged into groups of (4) and finally merged as one which resulted in 98mb digital capture. It has to be done left to right. Aside from some cleanup noise, like white dots in shadows it's a very clean operation.

THE CLOSER TO THE ACTUAL WORK, THE BETTER! Right now my camera is set at 36" with my adjustable lenses, even closer.

The only issue so far, photo merge requires something identifiable to merge with......large expanses of an almost single colour won't work for bigger canvases......even the camera has a hard time getting focus points in that situation.

I believe a hand held scanner could be the real answer which moves into the 3D canvas printing arena. Still in research mode there.
  
Photoshop has a video under HELP that gives you the basics.

CROP EXAMPLES OF 36X30 PAINTING

 

CROP - ONE PHOTO RESOLUTION 

Digital capture 300 dpi - 3010x3612 pixels - 5.86mb

 CROP MERGING  (9) DETAIL PHOTOS

Digital capture 300dpi - 6610x7932 - 29.7mb

LARGER CROP - ONE PHOTO RESOLUTION (36X30)

LARGER CROP MERGING (9) DETAIL PHOTOS

What is so exciting about all this is how it will print full size at 36x30 using a high resolution 300dpi merged 29.7mb print file as opposed to a single frame 300dpi 5.86mb camera file (which it won't).

For example, Fine Art America is a global full service sales platform for the broad based market and their maximum upload is 25mb, which is adequate for most small to medium paintings like this one at 36x30 - perhaps even larger. It's the perfect venue for all those paintings sitting in dark closets to shine again.

I would certainly use the largest digital capture possible for any gallery quality work tho.