Tag Archives: art

Making temporary fixes to a painting

Far Horizons, original painting, acrylic on toned canvas, 20 x 24, Kit Miracle This is the original painting with portions of the toned canvas (raw sienna mostly) showing through as well as the original charcoal sketch on the canvas.

A few weeks ago I posted about changing the background of a painting.  I took a standard flower painting from a traditional dark background to a colorful reddish-orange background to a mixed background.  Someone asked me if I made the changes on the actual painting.  Yes, I did.  I like the painting but I’ve long passed the point of where every one is precious to me.  As the artiste, I feel it is my right to paint how I wish and what I wish.

However, I’m going to show you a neat little trick which will allow you to make temporary changes to a painting.  Here you can try out new ideas, new approaches without making permanent changes.

I have a large roll of acetate film which I used to use for wrapping large matted but not framed paintings, particularly watercolors.  This kept the paintings clean and protected them from fingerprint smudges and other dirt.  Great to use in art bins or wherever you want to display your work in public. You can buy acetate in rolls or sheets.

The painting that I’m demonstrating with is titled Far Horizons.  It shows my granddaughter looking out over the Grand Canyon. Not only does the painting depict the distant views of the Grand Canyon, but the deeper meaning of a young girl looking out to the future.

Although I love the composition of the painting, it somehow didn’t seem to give the impression of really far horizons, as anyone who has visited the great canyon can attest.  So I wanted to try to lighten the background as a test.

Far Horizons, 1st step. A clear acetate sheet has been taped over the canvas. No painting has been done on the acetate yet.

First, I cut a large piece of acetate and taped it to the painting.  Then just started loosely painting over the acetate with acrylic.  I lightened both the distant sky, and made many changes to the rocks with lighter colors.  I even added some more highlights to the girl’s hair and jacket.

Far Horizons, 2nd step. Here you see that I started with the sky and have been painting directly on the acetate sheet. The whole idea is to test out some lighter background colors in order to push it back.

Detail of step 2 showing some loose strokes of lighter colors.

Far Horizons, final step of the acetate painting over the original painting. I even touched up the highlights of the girl’s hair and jacket.

This is the actual painting on the acetate. I’ve put a plain piece of toned paper behind it to better show you the actual painting.

I plan to set the painting aside in order to evaluate whether I want to make any of these changes permanent.  If not, I haven’t done any damage to the original painting and can leave it just the way it is.

This technique works well for both acrylic and oil painting.

Painting in 3D

I recently had some work in an exhibit which was limited to works 8  by 8 inches.  That is pretty small.  So I decided to challenge myself by adding another twist.  I ordered three canvasses 8 x 8 by 2.5 depth.  It was almost like painting on boxes.

I’ve painted edges of canvasses before but this deep was extra challenging.

Kit Miracle – White Dahlia 3D, acrylic, 8 x 8

White Dahlia, left side

The first two paintings were of flowers, of course.  I paint a fair amount of flowers as you know.  Here it was fun to plan what part to focus on and which parts to wrap around with the painting.

Kit Miracle – Sunflowers 3D, acrylic, 8 x 8

Sunflowers 3D, left side. You can see where the flowers were carried around the edge of the deep canvas.

Sunflowers 3D, right side.

The final painting was really outside of my normal subject matter.  A goldfish bowl with a couple of fish swimming around.  I actually had great fun with it, especially carrying the fish bowl around the sides, top and bottom.

Kit Miracle, Goldfish Bowl 3D, acrylic on canvas, 8 x 8 I love the way the fish on the right is looking directly at you. Or so it seems.

Goldfish Bowl left side

Goldfish Bowl 3D, right side

Goldfish Bowl, top

Kit Miracle – Goldfish Bowl 3D – bottom

I guess some artists are more comfortable painting the same thing time after time, but I find that I like the challenge of trying something different.  What do you think?

What a difference a background makes

Lilies with brown background. Acrylic on canvas, 16 x 20. Kit Miracle

I often treat myself to a bouquet of fresh flowers when I’m at the grocery.  They just make me feel good and remind me that spring will be here soon (another three months).  This week’s selection included some beautiful lilies and other flowers.  Of course, everything becomes a subject for painting to an artist.

I started this painting yesterday and worked on it some more today.  Although the first image with the dark background is pretty classic, it was nice but didn’t move me.

Lilies with orange background. Acrylic on canvas, 16 x 20. Kit Miracle (Apologies for the glare from my easel light.)

So…..I decided to try some different backgrounds.  First I painted a bright, orangey-red background. This really added some pop to the painting.  But it seemed very flat to me which is probably what I didn’t like about the first painting background.

Lilies with blue and orange background. Acrylic on canvas, 16 x 20. Kit Miracle

Then I added some variegated shades of blue to the background, leaving the orange at the bottom. Much better and it ties in with the blue vase.  (I have many cobalt blue vases of various shapes and sizes which I’ve collected over the years.  This is why you see them in so many paintings.)

The flowers are essentially the same although I may have touched them up here and there. So, which background do you like best?  Dark brown, orangey-red, or blue and orange?  They each bring something different to the painting.

Hummmm….I wonder what a lime yellow-green would look like?

Evolution of a painting

Barry, portrait in acrylic on linen, 28 x 34. Kit Miracle

Except for plein air painting and sketching, it’s pretty rare that I create a painting by just diving in and slapping some paint on canvas.  Yes, I know, movies and biopics of artists give that impression.  But really, it’s hard work and, for me at least, requires a lot of preliminary work.

When I’m doing a portrait, which is to me the most difficult to achieve, I always begin with some preliminary sketches.  Generally I begin with some charcoal sketches.  Sometimes one is enough but more often it’s several.

Barry, preliminary charcoal sketch. Kit Miracle

After that, I may try some color sketches on canvas paper or panels.

In this case, I had recently been gifted with some art supplies by a friend who was moving so I proceeded to a conte crayon study on pastel paper.

Barry, conte crayon. on pastel paper.

The next step was to do a larger oil stick pastel, also on pastel paper.

Barry, oil stick pastel on pastel paper. Kit Miracle

The final painting was created on a large stretched linen canvas 28 x 34.  I had already primed it some time ago with a dark neutral background and some splashes of color in the center.

I sketched in the main figure with charcoal.  Then, sanded the primary area and gessoed it again.  Then sketched over that again with charcoal.  A little spray fixative set the charcoal so the painting process would not pick it up.  I decided to leave the background unfinished with just the initial undercoats of paint.

The figure is painted in acrylic very loosely but with attention to detail in the face and hand.  The primary difference with painting a human portrait as opposed to painting a building or landscape is that if you’re off a brick or leaf in the landscape, no one will know. But if you’re off a quarter of an inch on a nose, you have totally missed the mark in capturing a portrait.   At least in my opinion.

What do you think?

More paintings from the Snake River

Snake River, Idaho, II, watercolor, pen and ink, Kit Miracle

Tomorrow (Veteran’s Day) is the final day of my landscape painting class.  We have been using watercolor with pen and ink added for details.  It’s been a great class but a little challenging for me.  I usually like to include something man-made in a landscape painting to give it that human touch, as well as to provide scale.

Most of the paintings we’ve done this class have been pure landscapes without any notion of a human in sight.

Tomorrow’s painting will involve a subject with a water feature.  Looking through some of my thousand of photographs, I decided to add a water feature since this is pretty common to landscape paintings.

Here are two simple compositions of the Snake River in the southeast area of Idaho.  The paintings are created with about five or six colors, but certainly less than eight.

Palisades Reservoir, Snake River, Idaho. Watercolor, pen and ink, Kit Miracle

One shows the reservoir lake as the viewer is looking into the sun. The other shows the Snake River with the sun at the back of the artist.  Both are relatively simple landscapes but should be challenging for a class of beginners to try.

Painting the Snake River

Final, Snake River painting. The final step is to use some pen and ink to add some details but be careful not to add too much. I suggest that you zoom in on the image so you can get a better idea of what I’ve done. It’s really just a lot of scribbling and very loose calligraphy.

I mentioned last week that I’m teaching a watercolor landscape painting class. I let the class choose which subject they wanted to paint and they selected the colorful sunset.  Well, it seemed easy but was a little more difficult than they thought.   I’ve painted that scene three times and none of them have turned out exactly the same.

So, I thought I would try to find something a little easier for the class.  One of my selections is this scene from a trip we took out West several years ago. This is the Snake River in Idaho near Palisades Reservoir.  Such beautiful country out there.

Snake River, original photo upon which the painting was based. As you can see, I eliminated many of the shrubs in the foreground to better draw attention to the river and the mountain.

This is a classic landscape valley with pretty clouds and blue sky, a nice piney mountain, a river, and some trees up front leading us into the scene.  I only used eight colors for this painting,  three brushes, and my fade-proof ink pen.  The paper is Arches, French-made of 100% cotton rag.  The painting time was about two hours.

To see a step-by-step view of the process, click here or go to Artworks and scroll down to Snake River Landscape.

Juicing up your painting colors

Bill’s Gate, Autumn, watercolor, pen and ink, Kit Miracle

I’m teaching a class in landscape painting, watercolor with pen and ink. Last week I asked the students which picture they preferred, the regular photo or the one with the juiced up colors.  They all agreed that they liked the one with the brighter, more emphasized colors.

It is often a difficult choice for artists who paint in a realistic style, of whether to paint exactly what they see or to change things to suit themselves.  I tend to change things to suit me.  Personally, I like paintings with a little extra pop in color.  Not to go garish, but to just add an extra emphasis.

Below are some comparisons between the original photos, the juiced up photos, and the final paintings.

Which do you prefer?  Would love to hear your comments.

Autumn sunset photo before enhancement.

Autumn sunset with color saturation.

Autumn Sunset, painted with the enhanced colors. Watercolor, pen and ink, Kit Miracle

East field in fall, before enhancement.

East field in fall, after enhancement. I wanted to emphasize the warm autumn colors in the trees in the distance.

East Field in Autumn, watercolor, pen and ink, Kit Miracle

Florida Keys before color correction.

Florida Keys after photo saturation.

Florida Keys painted from the color saturated photo. The water down there is actually a turquoise color but it’s a great place to spend a morning in the shade.

Wickliffe Road without color enhancement.

Wickliffe Road, Watercolor, pen and ink, Kit Miracle

 

 

 

Why get an art critique?

My work table in my studio, finishing up the final painting in my Intimate Spaces series. This one is called Ogling.

I recently finished a series of paintings that I’ve been working on all year.  Intimate Spaces – Beach Series, focuses on my observation that beach goers often stake out their territories – putting up tents, setting up the umbrellas and lawn chairs, bring out the coolers – and then for some reason think that they are magically invisible if they’re in their little plot of sand.  They’re not, of course.  The artist / observer can see them.  Guess I’m somewhat of a voyeur.

I planned out this set of paintings in early January and have been diligently working on them throughout the year.  The smallest is 16 x 12 and the largest is 50 x 34.  By the end, I’ll admit to being pretty tired of painting sand and sun and sea.

So, now that they’re all done, I can sit back and relax, right?  Nope, now comes the proofing process, something akin to allowing bread dough to rise. I’ve been going through them one by one, looking for mistakes and omissions.  But this is the time ask a trusted colleague to view them and give me some feedback.  To get a critique.

Lest you shudder at the thought of someone criticizing your work, let’s be clear; there is a big difference between a critique and criticism.  A critique is designed to evaluate the attributes of the artwork, not the artist.  Criticism is often much more personal and tends to evaluate the artist.  A good critic knows the difference.

So what does a good critique do?

  1. It gives the artist an outside perspective, presumably in an objective manner.
  2. We are often too close to our work and can’t see glaring mistakes. A good critique will often point out flaws.  This could be in composition, execution, unclear passages, whatever. Some critics will make helpful suggestions but it’s up to you whether you wish to incorporate them into your artwork.
  3. Or a critique will evaluate that you’re hitting what you’re aiming for. Yay, you!
  4. Did you the you accomplish what you set out to do?
  5. Finally, distance yourself. You are not your artwork, no matter how much sweat and effort you have put into it. It is still up to you to decide whether or not to take any suggestions and make changes.

Many art schools and colleges will have group critiques, usually led by the instructors or the students themselves.  However, if you are beyond this, you should seek out someone whose opinion you value. We work alone so much that it’s helpful to touch get an objective, outside opinion. The whole point is to help you improve as an artist.

Does your high school have an art museum?

The impressive entrance to McGuire Hall. I wonder how much those giant blue vases weigh?

I had an opportunity to return to my hometown Richmond, Indiana this past week where I stopped in at my high school to visit beautiful McGuire Hall.  In addition to a lovely theatre space, this wing of the high school hosts one of the few in-school art museums in the country, Richmond Art Museum (RAM).

This is the entry hall for McGuire Hall. The wooden doors on the right lead into the theatre. It is so elegant that it’s difficult to believe this is a public high school.

The Tortoise fountain by Janet Scudder

I marveled at the marble floors and carved wood doors and trim, the Tortoise fountain by famous sculptor Janet Scudder, and the current exhibits.  They were featuring an exhibit of the works by local artist John Elwood Bundy (1853-1933). Famous for his many depictions of local scenes, especially the beeches and other sylvan scenes, at one time his work could be seen all over the area including libraries, businesses, restaurants and other locations, public and private.

Winter Landscape by John Elwood Bundy, one of the many paintings currently on exhibit at Richmond Art Museum.

Part of the exhibit by regional painter John Elwood Bundy including oils, watercolors and drawings.

The Richmond Art Museum (RAM) permanent collection is currently displaying a very nice collection of American Impressionists, regional artists and the famous Hoosier Group.  William Merritt Chase’s self-portrait is on prominent display as are other of his works.

This gallery displays some of the impressive paintings in the permanent collection.

More of the permanent collection on display.

William Merritt Chase, self-portrait.

As a student, I remember walking past these famous paintings on my way to art classes which were held in this wing.  I thought every high school had an art museum and only learned differently many years later. I remember being sent out of class to “draw something” and sitting on one of the marble staircases making my little watercolors.  I’m sure this influenced my choice of career in art making.

Richmond has a long history of support of the arts and they still have an active art scene.  There are many wonderful old homes in town and the city still holds much beauty, from the exquisite Whitewater River Valley, to Glen Miller Park, their rose garden, the famous Madonna of the Trails, and Earlham College.

Although regional art museums don’t get the same attention as do big city museums, if you’re in the area, I urge you to stop by the Richmond Art Museum which is open to the public.  I’m sure you’ll find this small gem a pleasant surprise.

Art and Fear

Art and Fear, a small book with a powerful message.

The only work really worth doing – the only work you can do convincingly – is the work that focuses on the things you care about.  To not focus on those issues is to deny the constants in your life.

I just finished reading for the umpteenth time one of my very favorite inspirational art books, Art and Fear: Observations On The Perils (and Rewards) of ARTMAKING by David Bayles and Ted Orland.  This small but mighty book has been in print since it was first published in 1994.  It always ranks high on the lists of books on art making.  So why is it so difficult to describe, except to say read it?

I think it’s because the authors address the secret, deep down challenges of art making.  Whether you are a visual artist or musician, writer or dancer, they seem to be able to tap into those questions that we raise in our souls.  What are we doing?  Are we any good?  Who says?  Does anyone really care but us?  What makes a serious artist?  Do we actually need talent or is just plain perseverance and hard work enough?

The authors portend that these questions only really have arisen in the past couple of centuries.  Before that, artists knew their role and their expected work, whether working for the church or their clan.  Few artists had the luxury of just creating for themselves.  You joined the guild that your father belonged to and that was that.  You accepted that you would carve stone for the rest of your life, doing the best that you could.

Now we have so many options available, that we’re often left blowing in the wind, twisting from one attraction to another.  If you do settle on one or two outlets for your creative efforts, you will still probably be working alone (excepting for those artists who are part of  larger group projects.) Maybe even after you’ve put hours, days, weeks, years into your project, you are still faced with the fact that no matter how skilled you may be, someone will come along, probably younger and glitzier, who will garner all the accolades for the next new thing.  Maybe they whip up a frenzy over their spray painted graffiti turned art or that they’ve stuck a bunch of miscellaneous objects together with snot and string (and I’m not saying that those things aren’t art), and you’re looking at your studio stocked full of precision master drawings or paintings, and wondering, Was all my effort worth it?  Doesn’t anyone appreciate real art?

In the end, art is hard work.  You have to keep after it, often (usually) for very little reward.  You work long hours, usually alone, for …what?

That ultimately is the question that this book – answers is not the right word, maybe explores. It will make you think. There are so many quotable quotes in this small tome.  The battered, used copy that I purchased years ago has underlines from at least two other readers (who the heck uses red for underlining?), plus a name label in the front.  Plus my own stars and underlines.  What the other readers thought was important may not be what I focus on.  Or maybe I do now at a different time of my life.

Whatever your art making form and wherever you are in your art making journey, I highly recommend this book as a great prompt for deep thoughts that you will want to return to often.