Wednesday, October 30, 2013

ARTiculations

Posted by: Dave
 

A lot of my readers have probably noticed that Kate and I like to plug some small businesses on our blog.  Why? Well, we are a small business and we like to get behind other small businesses who do right by their customers.  Recently, a new art store opened in Toronto in the exact same neighborhood in which I used to live.  Of course, this would only have happened AFTER I left because otherwise it wouldn't be ironic.  They recently tracked down my old favorite linen, L219 which I could no longer find.  It became my unicorn; my unattainable mythological beast.  I would hear whispers of its existence somewhere, then poof, it would vanish and only the rumors and tall tales would remain.  I would hear things like "I dun see a roll that was over 6 yards in length over yonder hills!" or "the rolls only come out at night to feed on farmers sheep and vanish by morning."  Well, ARTiculations found it for me, because they are awesome. 

So, why else is this store so awesome?  First off, because there aren't a lot of stores in Canada that carry nice professional grade art supplies.  Most products like oil paints and brushes you find at the chain stores here are made with recycled human hair from orphan children, truck tires, and even old newspapers.  This isn't really true, but it makes my point more interesting.  ARTiculations carries a variety of products that Kate and I actually use, like Natural Pigments paints, the L series of Linen which uses Lead priming, and high grade brushes. They will even be making those sexy panels we paint on soon enough so if you are lazy like me, you will have a source in Canada to order them from.  So, stop reading this and go buy some stuff.

Wednesday, October 23, 2013

Die fishy.

Posted by: Dave

So the painting of the fisherman is coming along...slowly.  I spend about an equal amount of time wiping the paint off as I do putting it up.  I am simply looking forward to finishing it at this point and moving on to my supremely awesome painting of Magpies I am going to do.

This brings me to a story which I will try not to present as Buzz Killington.  I got an email recently from someone who was asking what to do when they feel uninspired and have a distaste for their own work.  My response was, yeah, welcome to the club.  I try to be fairly honest with people on the blog (unless it's about how much I can bench press, then I lie...and say less so you all don't feel like sissies) so I want to be clear that almost every painting I do is similar to most people's relationships.  At first, I am all excited as it's the "getting to know you stage"  in the painting.  I fantasize about all the possibilities me and the painting might have.  Is this the one? Will I love this painting above all my other paintings of the past? During this stage I am doing preliminary drawings and studies.  Eventually it's time for a commitment and I get started on the painting and we are official boyfriend girlfriend.  Everything is great for awhile.  We have fun together, joke about how we should have gone bigger with the dimensions, etc.  Then, we start fighting.  It eventually escalates to me telling the painting what a jerk it is and how it doesn't understand my feelings.  Kate has to comfort me and tell me there are more paintings out there and maybe this just isn't the one.  I still sob and reflect on all the good times we had and how I don't want it to be over.  Eventually the painting takes me back and gets finished and we live happily ever after and I forget about how crappy the painting treated me.  Well, that was an awesome metaphor so you all better damn well appreciate it. 

I guess I should talk about technique or something now.  I find it helpful to wash my brushes....er......um, use medium, it's awesome.



First painting the face.  Still aways to go on the painting, but soon....soon.


Working on my next setup.  Super high quality taxidermy Magpies you ask?  Damn right.

Thursday, October 10, 2013

More Apocalypse-Surviving Panels

Posted by: Kate

A couple of months ago Dave shared his approach to making panels.  Now, I know you all think that Dave and I live in a state of blissful marital harmony, with him checking the oil in my car and me ironing creases into his boxers, but the truth of the matter is that we do have completely incompatible ideas about panel making.  I confess, the darkest moments of my married life have been when Dave has coerced me into helping him make panels.  Normally I try to schedule some sort of errand outside of the house so that I can be gone for a good ten hour period.  And I know you all are like, hey, she jokes around a lot on the blog, but guys, I'm f***ing serious about this one.  I have a couple of different ways of making panels that are different from Dave's approach and I'm going to share those with you now.

But before I get into my personal panel-making, I just want to tell you WHY you should make your own panels:
  1. Cost
  2. Complete control over dimensions
  3. Quality control 
Cost used to be such a big deal for us that Dave and I would have to have sit down conversations about large scale paintings.  Ordering a large panel from the US, including shipping and customs fees, was something we would have to agree to spend the money on.  Now we just laugh maniacally as we throw that aluminum composite panel through the saw blade.  Dimensions are super easy now too.  The other day I cut a panel.  Decided it was an inch too narrow.  Cut a new one from my endless stash of dibond.  No biggie.  Bam.  I can also trim down a painting part way through or after completion.  And finally, I'm really happy with the quality of my panels.  I prepare them myself, so I know that a lot of care went into them.  I'm not wondering to myself, was this store-brand panel primed with a reputable brand of acrylic ground, or is it powdered milk mixed with Elmer's Glue?

So let's make some panels.  The first step is to buy your panel material.  Skip the baltic birch and go right to your local plastics depot for a 4x8' sheet of aluminum composite panel (if you have trouble finding some, call up your local sign-makers and ask them who they buy theirs from).  Unlike birch, this stuff won't splinter when you cut it, warp, crack, or expand/contract with humidity fluctuations.  It is perfectly rigid, though very thin, and won't need bracing, making framing it a cinch.  It's also perfectly smooth.  If you are completely wedded to the romance of using "traditional" materials, get a divorce.  I don't care that plywood's been around since ancient Mesopotamia.  Aluminum composite panel is the space material of the future, the immaculate love child of plastic and metal sent to earth to save sinning artists from creating paintings on inferior supports.

Dave and I cut the aluminum composite panel with an 80 tooth carbide tipped blade on our table saw.  This often leaves a little tag of aluminum that needs to be gently sanded off with 60 grit sandpaper.  I then remove the plastic wrapper and lightly sand the factory priming with 320 grit sandpaper (or finer) wrapped around a sanding block.  I sand until the surface looks matte.  Now, before you apply your ground, it's important to have a clean surface.  So if your dog dragged his bum across your panel in that split second you laid your panel on the ground while you grabbed your priming brush, you need to clean it with some rubbing alcohol.  This will remove the dust, your greasy KFC fingerprints, and the oily residue that the plastic wrapper has left on the surface.  After cleaning the surface thoroughly, avoid touching it with your bare hands.  Let it dry, and then dust the lint from the cotton ball/paper towel off the surface with a clean house paint brush.


Sanding block
I sand in circular motions with very little pressure.

Clean off the dust and grease with some rubbing alcohol

From here I have three options: real chalk gesso, oil ground, or acrylic dispersion ground (aka acrylic gesso).  While Dave likes to use linen, I think this is a big fat waste of time and money.  Sorry, honey, but your frivolous expenditures will put us in the poorhouse ere long.  I used to love painting on oil-primed linen, but the fact of the matter is, it's all primed with zinc and titanium.  Even when they say it's lead-primed, dig a little deeper and you'll find out that the base coat was zinc and only the final coat lead.  I'm just flat out sick of not knowing what is in my art products, so I yanked the bandaid off and quit linen cold turkey.  I also was tired of running out of linen, of finding out that that last yard was speckled with inconsistencies and was completely unusable, the turn around time of ordering a new roll, and the cost of importing, etc etc...

ACRYLIC DISPERSION GROUND

Materials:
Aluminum composite panels cut to size
320 grit sandpaper
Rubbing alchohol
Paper towels
Brush or roller plus paint tray
Golden White Gesso
Saran Wrap to wrap the brush between coats.  'Cause who wants to clean that brush four times.

This is hands down the easiest of the two methods.  After sanding and degreasing the factory priming, I apply four coats of Golden White Gesso with a brush.  Just so you know, they are misusing the word "gesso" here, since it's not really gesso at all.  When in polite society, you should always call it a "ground."  I apply the ground with a brush, taking care that my brushstrokes are tidy and parallel.  My first coat is horizontal to the picture plane, and the next one vertical.  Repeat.  The reason for this is so that the final coat, which will be the most pronounced, is vertical and does not catch light as strongly.  All those horizontal strokes would cause a lot of reflections under gallery lighting.  This alternation of brush stroke direction creates a very fine faux weave texture that tricks people into thinking they're looking at linen.  I've had competent artists ask me where I buy my linen and how I glue it to my aluminum composite panel, so I like to think my approach creates a pretty convincing substitute for true linen texture.  It's lovely to paint on, too.

The raking light here really exaggerates those brushstrokes

Just wrap that brush.  I've left house painting brushes like this for over a year and the paint does not dry.  I wish I could do this with my oil painting brushes.
Another approach would be to apply the acrylic dispersion ground with a roller.  I'll admit I haven't ventured into that frontier yet.  I've seen some samples of rollered panel that other artists have produced and I am absolutely not into the bobbly eggshell texture.  Now you could sand that, of course, but be sure to use sandable acrylic if you do.  Attempting to sand regular acrylic ground results in a lot of eraser shavings and a bad sand job.

OIL GROUND

Oil grounds have been around for longer than acrylic dispersion grounds and they too are super sexy to paint on.  I've dabbled with a few brands over the years, the most recent experimentation being with Natural Pigment's Lead Oil Ground (whatever brand you use, make sure there is no zinc in it!).  The disadvantages to the product are that oil grounds take longer to dry, and lead oil grounds in particular can make a bit of a mess.  Panel making is a bit of controlled chaos, with smudges and drips winding up in all sorts of random places in your studio.  I just feel a bit stressed when working with lead oil ground.  However, the Natural Pigments product is really nice to paint on and I see why so many people do.  My extremely small data sample tells me that it doesn't grip quite as ruthlessly to the aluminum composite panel and the acrylic dispersion ground does, though, so I think if I were to make panels this way regularly, I would start off with one coat of acrylic dispersion ground before layering up my oil ground with the same vertical-horizontal brush stroke effect.

GESSO (the real stuff)

Materials:
Aluminum composite panels cut to size 
320 grit sandpaper
Easy Gesso
Water
Stirring stick or spatula
Rubbing alcohol
Container, preferably with lid
Bowl
Brush
Orbital sander plus 220 grit paper
Dust mask
Newspaper

This method is more work than the former, but I believe that that is only the case because I'm still mastering it.  I'm certain that a couple of batches from now, I will have this down pat.  I use Easy Gesso by Natural Pigments.  It's even easier than the name implies.  They should call it Baby's First Gesso.  I think that if you want to try out gesso to see if it's for you, you cannot go wrong with this product.  The instructions are basically: Measure out gesso.  Add water.  Allow to sit.  Reheat.  Apply.  You don't need a double boiler or anything.  So if you want to take gesso out for a spin to see if it's for you, go ahead and skip the insane and complicated recipes that you'll find on the various artist forums, and skip the scavenger hunt to find a double boiler and a thermometer and a Bunsen burner and an RV and a secluded stretch of New Mexican desert.  Just fish an old yoghurt container out of your recycling and make a batch of Easy Gesso.




It's hard to know how much surface area your batch will cover, so have a bunch of panels ready to use and play it by ear.  Lay down some newspaper to make clean up easier.  Four to eight coats, stirring gently each time before applying.  The first coat will go on very thinly, but each subsequent coat will feel meatier.  You can sand in between layers if you're sanding by hand, but it's far easier to sand at the very end with an orbital sander (trick: rest the sander on the surface of the panel before turning it on.  Derp).  I use 220 grit paper.  If you sand by hand you will have to use something finer, like 320, and you will have a remarkable deltoid in your dominant arm by the end.  And just so you're prepared, there will be a lot of dust.  There will be about ten times more gesso dust coming off those panels than you put in the damn gesso mix to begin with.  You will sand and sand and sand away until your tears of frustration drip onto the panels and give the sandpaper the moisture needed to do that final wet polish.  Or at least that is my experience.  Periodically you should hold the panel up to oblique light to check for ridges or imperfections.  I find that a bright sunny day is the best time to sand gesso.  Nothing beats a bright sunbeam coming in through a window for laying bare any irregularities.

Once the surface is smooth, I brush or wipe off the loose dust and seal the surface to reduce absorbency.  You need to do this last step because gesso is simply too absorbent to paint on otherwise.  Besides being an unpleasant paint surface to work on, the oil in your paint will get sucked into gesso, leaving your pigment resting underbound on the surface, and resulting in a weak paint layer (underbound means a paint does not have enough binder in it to make a strong paint layer).  To reduce absorbency, you have a lot of different options--you can use any drying oil, or a resin like Canada Balsam.  Personally, I use shellac, which I make with flakes from Natural Pigments prepared according to their instructions.

Materials:
Shellac
Anhydrous alcohol or methyl hydrate (the former is safer)
Ventilated area
Coffee filter
Water bottle
Jar
Small-mouthed jar
Marker
Make up sponge

Place a given amount of shellac flakes in the bottom of a jar, level them out, and mark the height of the shellac on the jar with a permanent marker.  Next, fill up the jar with methyl hydrate or anhydrous alcohol to a level that is twice as high as the height of that mark.  This a is a quick and dirty way to get the right ratio.  It should be left overnight to dissolve, after which you should filter it.  I use a coffee filter tucked inside a funnel made out of half a water bottle (this later goes right in the trash).  After filtering it, I keep it in a very narrow mouthed jar, which makes it easy to wet a make up sponge with it.  Apply it quickly and lightly, in rows.  Two to three coats does the trick for me.  Observing it in the light you will see how satiny or shiny the surface becomes.  If you should decide you've put too much on, you can always sand a bit off.  The panel is ready to work with immediately, although I usually tone it first.  To tone a panel, I mix up some paint--usually raw umber and a bit of lead white, dilute it with OMS, and apply with a large brush.  It will need a day or two to dry.

Caper jars are the best for storing your shellac.  The shellac flakes have not yet dissolved in this picture.
CLOSING THOUGHTS

Gesso is pretty challenging to paint on.  Because I'm still trying to figure out the perfect amount of shellac to create an optimum level of absorbency, I haven't done any major paintings on a  gesso ground yet.  All of the major paintings you have seen on my blog this past year have been painted on acrylic dispersion ground.  Meanwhile, all of the studies and oil sketches were painted on gesso grounds.

Alright, you may go now.



ADDENDUM:  Aluminum composite panel has many brand names.  Your local retailer might carry Dibond, or Epanel, or Alupanel, or Omega Panel, or something else entirely.  Most suppliers seem to carry 3mm panel.  In a panel three feet across or so, you will notice a little bit of flex.  Once framed, the frame will act as a brace, but you could also avoid this problem by using a thicker dibond (4mm or 6mm).  If flexing is major (something I haven't experienced first hand yet because I don't work very large) you might want to consider avoiding a fragile ground like real gesso, which will crack, and stick instead to a lead oil ground or acrylic ground.

UPDATE 2017: I've gone through and made some small improvements to this article.  I'd like to admit that I've dropped chalk gesso entirely (it was a fun experiment) in favor of the acrylic dispersion ground, which really can't be beat for ease and turn around time.  I can get a couple dozen panels completed in a few hours spread out over one or two days in a big panel prep marathon and it's super easy and doesn't make much mess.  Who could ask for more.

Wednesday, October 9, 2013

Gone Fishin'

Posted by: Dave

I have been lazy on my end of the blog, but my little snuggly cuddlecakes has been picking up the slack on updates.  I have been working seven days a week painting and tattooing, so I have had very little down time.  Today I am taking a personal day to write this so you all know I haven't forgot about my adoring fans.

I am pretty close to a finish on the painting of Tara and I am pretty happy with the results.  I tried a new linen for this one which worked out pretty well from New York Central Art Supply.  The other new product I finally got around to trying was the Venetian Medium, which is made with leaded glass, from Natural Pigments.  Like running out of coffee cream and that weird rash we all get, "sinking in" is my number one first world problem.  To create the atmospheric textural effects I usually get in my backgrounds, I use quite a bit of OMS to move the paint and keep it transparent.  The problem with this is that it creates a weak bond to the underlying paint layer and goes very matte when it dries.  Adding some Venetian medium really helped both problems.  Because it is made with leaded glass, it is transparent, but doesn't have to be quite as thin an application to look transparent.

The other painting I FINALLY got back into was the fisherman.  It became a dishes in the sink scenario for me.  I kept getting asked about it so much I finally just had to suck it up and stop avoiding it.  Basically, the painting was simply scary for me as I had never done anything like it before, and like a blind man at an orgy, I knew I was going to have to feel things out (awesome Naked Gun reference).  The good news was that when you do a ton of prep work it does go much much faster.   Below are some of the studies leading up to the piece and the work in progress

 Drawing study

Color study closeup


Work in progress.  Sorry about my photography skills on this one.  It is pretty much the opposite than a dating site profile picture, the image is way better in real life I swear.

DOTD close up
 
DOTD in all it's sunken in glory