Storm Clouds 3/11/16

This was the view out my office window a few months ago, one nice and half stormy afternoon. I tried to enhance the sense of depth in the painting, fixing what the photo lost. The photos I took looked flat, and lost how the layers of clouds moved into the distance. Some parts were also messy in the photos, so I moved clouds around and took some out.

Storm Clouds 3/11/16, oil on panel, 6x12 inches, finished.

Here's the progression from sketch to finished painting. This painting was done with no medium in the bottom layers, so the paint would stay wet and be blendable all day. The top layers did need a little Neo Megilp medium added to give transparency to the color, and make very thin glazes possible. For instance the blue sky has a very thin layer of pure blue over it that makes the color more intense.   

Storm Clouds 3/11/16, painting process.

I found a new tool to use for the under drawing this time, watercolor pencils. Regular pencil smudges too much to be used under oil paint, because graphite is non-polar just like oil paint, so they're attracted to each other. But I like a detailed drawing to start from and pencil is a natural fit for that because it can be very precise, and faint enough to not show through the paint, unlike ink or charcoal.

Starting sketch with watercolor pencil.

Water-soluble graphite doesn't interact with oil paint, so the drawing stays put nicely. The drawing can be painted over with water too, and the color gets much darker. I tried that at first, in the top left corner of the painting, but it wasn't really helping so I didn't do it anywhere else.

Storm Clouds 3/11/16, detail.

Here's a little detail from the left side of the painting, showing the smudgy grey clouds in the front, cumulus clouds behind them, and the background layers of clouds.
This painting is currently for sale in my Etsy shop here.

Preparing Paper for a Drawing

I used to just start drawing and not worry about keeping the edges even and clean, but now I'm much more particular. I really like the crisp look of sharp edges, and the picture can be framed without being covered by a mat. Deckled edges on nice paper can be shown off too, and generally I think it looks more professional.

An example of clean edges on a charcoal drawing, and deckled paper.

For most drawings I buy big papers, usually 22x30 inch, and cut them to be exactly the size I want. This way I'm can make unusual sizes and aspect ratios.

Laying out the big paper and measuring for cutting.

First I measure out and mark the cut lines with pencil. Then I double-check the measurements and look at it from a distance to make sure the corners are square and the lines are straight.

Drawing piece cut out from the big piece.

Some kind of straight edge to cut against is essential, and a fresh razor blade. I try to keep the metal of the straight edge over the drawing side of the cut, so if the blade slips it won't cut into the picture piece. Sometimes I've had to put newsprint under the straight edge to keep it from scratching soft paper.

Artist tape placed around the drawing edges.

After the paper is cut I measure the outlines for the drawing and add light pencil lines. Then I put down  artist's tape outside the lines, this tape has nice soft adhesive that won't tear paper when it gets removed. It seals well enough to keep out charcoal and pencil dust, and has peeled off easily even months later.

Newsprint cut to fit around the back and edges of the drawing paper.

Sealing the back and sides of the paper with newsprint keeps off stray charcoal dust and keeps corners from getting bent from handling.

Bottom side labelled.

Since I usually leave extra space at the bottom for a signature, and try to put the deckles on the bottom, I make sure to mark which side is the bottom. One time I accidentally drew a picture upside down, and only realized when it was finished and unwrapped. So I now label the top and bottom before closing up the newsprint.

Newsprint taped down and sealed with masking tape.

Then I use regular masking tape and seal the newsprint to the artist's tape, being super careful not to  touch it to the drawing paper.

Artist tape and masking tape.

After shredding too many papers pulling the tape off of finishing drawings, I don't use masking tape any more. Even the painter's grade tape can stick unpredictably. Masking tape also has a bad habit of getting gooey and gross after a few months too.

Toy I

Toy I, with the model.

I wanted to try some still lifes based on my favorite colors, Prussian Blue and Alizarin Crimson, with little toys and items from around the house. This is the first finished picture in that series, it features one of my favorite model horses that I've had since I was little.
This painting was done on canvas, but I wanted the bottom white part smooth, so I built it up with many layers of gesso and sanded it smooth. After that was smooth I poured on Prussian Blue mixed with Galkyd and let it form the drips.

Toy I, oil painting on canvas, 12x24inches, finished, 2013.

GIF of Toy I, showing some of the layers that went into the horse.

GIF of Toy I, showing the layers that went into the whole painting.

Toy I, with the model.