Monthly Archives: September 2013

Museum Etiquette

For me, standing in front of a painting is like listening to a concert or attending a play. I try to meet the artist on his terms and I open myself to the work to discover its secrets. Most of all, I enjoy looking at paintings; it gives me intense pleasure. So, if you see…

Review: Augusto Bordelois at CSU

The Cuban-born, Cleveland-based artist Augusto Bordelois is showing some striking works at Cleveland State U. The exhibition, titled “Based on a True Story,” is filled with large-format paintings full of bold colors and simple shapes that burst their frames and overflow the shallow space, as in the accompanying photo. The designs are strong although simple;…

In the Studio 9/22/2013

More recent work. The church is from a drawing I made in Colorado. I am using a mastic-based medium in this painting. In the past I used a jelly-type medium (Maroger), but stopped long ago. This medium isn’t jelly-like in the least even though it uses mastic. It’s an OK medium but not nearly as…

Update to Oil Paint Brands

I continue to update the survey of oil paint brands. I have been using a lot of paint from the small producer Blue Ridge Colors. I am constantly on the lookout for reliable day-to-day paints, that is, paints that are good quality and reasonably priced. In this pursuit, I’ve recently used Rembrandt, Winsor Newton, and…

In the Studio 9/16/2013

Here is a photo of paintings I’ve worked over the last several days. None are finished, although the bottom-most is nearest to being done. I’ve spent a lot of time on the drawings for 4 large paintings (for me–40″ x 50″), but I won’t show them until the drawings are done to my satisfaction.

Study: Making ‘The Call’ Part 4

OK, so where are we now? The under-painting is done and the finishing work is started. To recap, my process is divided into several stages: Design/Drawing: I draw the deign with pencil then fix it with ink. The drawing is a plan: I work through every area and identify any issues. I can change the…

Tip: Closer, Farther

Have you ever struggled with a passage even though you know the colors and tones are right? One corrective, especially when the tones are extremely close, is to ensure that closer forms are painted over those farther back. I don’t know how many times I’ve seen works spoiled when things farther away are painted over…