Reworking and "oiling out"

Each year my family looks forward to our annual beach week on the Outer Banks of North Carolina. I have written a lot about how much I love painting down there. A week never feels like enough time, but this year it feels like a lost luxury because the family made the tough decision to cancel our rental due to the risks of traveling during COVID19.

Needless to say I am feeling very nostalgic for the beach, and have spent a lot of time looking the painting, “Radiant Dawn,” which I painted a couple of years ago during another pivotal time of my life. This was the view from the bedroom balcony of our beach rental, and I hung it up in our living room to transport me back there in spirit. It was an emotional time for me but the awesome beauty of this sunrise lifted me up and gave me a deep sense of connection, hope, and gratitude.

But of course the artist in me started to analyze the painting each morning as I “enjoyed” it from our breakfast nook. While I love the sky, I found myself really wanting to rework the lower portion of the piece. I found it altogether too green and too dark, and it did not evoke the feeling of “dunes” to me. I remember WHY I painted it this way, (I didn’t want to make the painting too busy and detract from the sky) but it just wasn’t working for me.

Sometimes when I rework a painting I have to sand the area down or even first scrape down some of the built up paint texture ever so gently with a razor blade. Otherwise the previous brushwork underneath is too distracting. In this case the surface was relatively uniform. It was, however, a bit slick and required some “oiling out” to assist in the adhesion of the new paint layers. To rework a dry painting I may use a bit of my painting medium mixed with Gamsol, or even a light spray of retouch-varnish applied to the area. For this piece, just oiling out with Gamsol seemed to be enough.

“Radiant Dawn,” Oil on linen, 24x30” ©Jennifer E Young

I basically reworked the lower third of this painting, leaving the sky completely alone. (It may look like I did more to the sky, but that’s because I think I did a better job of color correction on my digital image this time around.) Painting everything in a close value range can be a challenge, but an important one to keep the sense of unity I was after from the start. Here is the newly adjusted piece, with changes that my family didn’t even notice 😂. Oh well! I feel happier about it, so I guess that’s what’s important.

P.S. “Oiling out” and reworking are generally not advisable to do over a final varnish unless you can completely remove the varnish layer due to possible problems with cracking that can ensue. I always use retouch varnish though, both for this reason and because personally I don’t find final varnish necessary.

Beach Week Bliss

What happened to June? It was a crazy, exciting month. To our surprise and delight, our 8 year old daughter had landed a bona fide cast role— as “Molly” ( the littlest orphan,) in the chlidren’s theater production of “Annie”. I soon founding myself chauffering her to daily rehearsals and painting orphanage set pieces, Hooverville set pieces, and various props in the production.

We had a blast during the whole experience, but by the time beach week (and July) rolled around (the day after closing the show!) we were all SO ready to return back to our normal, boring life. Not only that, but I was REALLY ready to return to painting—landscapes on canvas, that is.

My first, early morning attempt at it didn’t exactly go as planned, however. Little did I know when I hauled myself and all of my gear over the dunes and down to the shore at 6 a.m. that I was without a rather key part of my painting setup—the piece of my pochade box that attaches to my tripod and essentially holds my painting upright. As dismayed as I was, I determined to forge ahead.

I managed to complete a small 8x10” just-after-sunrise piece of the pier, propping the canvas horizontally the way you would a watercolor, on the edge of my palette. But it was no watercolor. The morning sun cast such a light on my oil painting at this angle that it was really glaring and almost blindingly too much light on the piece, making it hard to view or judge values. In any event, after a few minor adjustments “after the fact,” I think I managed to capture the “feeling of the moment” in spite of the struggle.

“Nags Head Pier, 6 A.M.” Oil on linen, 8x10” ©Jennifer E Young

I actually thought I had left that key piece of equipment at home, but luckily for me (and the next painting,) I found it, tucked in a compartment in the trunk of my car. Whew! 😅This gave me courage to venture a little further down the road, to find a public beach access and a traditional Nags Head cottage, complete with dunes, weathered cedar shingles, and a fishing boat temporarily moored in the distance between the two. I really love the traditional cottages of “Old Nags Head”, and this cottage “Sand Joy” seemed to embody so much of that local character.

“Sand Joy” Oil on linen, 11x14” ©Jennifer E Young

One other morning it was down to Nags Head Fishing Pier. It was a little too far from the house to hike with all of my gear, so I drove down and paid to park. Ironically, I ended up painting the beach and no pier at all. I had fully intended to paint that pier with its waves lapping and glinting under the pilings, but my eye and my heart kept drifting to the beach and the surf and those wonderful clouds that were forming on the skyline. So I wiped down my canvas and started anew. In such moments I just feel it is better to paint what compels you, rather than what you think “should” compel you.

“Nags Head in July,” Oil on linen, 11x14” ©Jennifer E Young

After that I ran out of white paint and was bummed to find the only art store on the island apparently closed for the July 4th weekend. As a result, I was “compelled” by necessity to just relax the next morning or two and enjoy the sandcastles and porpoises, which, let’s be honest, isn’t exactly suffering. I took a lot of great photos, though, so I am sure to revisit my time there in the coming months in my studio. Hope you’ll stay tuned for that inevitability!

P. S. I have a couple of upcoming summer shows in the very near future, including one at Lewis Ginter Botanical Gardens that opens tomorrow night. I have written indepth about them in my latest newsletter, which you can check out here. I hope you can join me at the openings if you are in the area!

New auction listing, "Shadows of the Pier" original oil, 8x8"

Today's auction listing is for a loose, impressionist painting of North Carolina's Outer Banks. I painted this little 8x8" oil "en plein air" over the summer during our annual vacation down there. It's a special place and it's a trip I look forward to all year long!  This auction will end on Wednesday, November  8th at 8 PM US Eastern time, or 5 PM Pacific. 

"Shadows of the Pier", Oil on linen, 8x8" SOLD!

A Room of One's Own

Yesterday on social media I posted the video of my long-awaited studio completion. If you weren't tuned in to that, I'm including it below. Today I'm also sharing a few more photos and some details because I'm really excited to finally have a permanent home to create my work.

Yes, the garage-to-studio is complete! Hurrah! 😄 I feel as if I have been moving for nearly two years, because, well, I have. So just the very thought of not having to shuffle my supplies and equipment from one place to the other is a most delicious concept to me.

It doesn't have the cottage charm of my former studio,  but it's open and airy and has North light and storage, so I feel like I'm in luxury any way. Here are the bins we had built:

We built them "up" to keep the work off of the floor, even making use of the space over the water heater. 

I'm using the same hanging system for hanging art as I did in the last studio, using picture rail and a hook and rod system from Walker Display. But my favorite feature is the shelving that runs along the perimeter of the space. 

This came about because I had a strange cinder block bump-out that ran along the walls of the garage, and the carpenter suggested capping this off with some shelving where I could perch works-in-progress, wet paintings, or other unframed art. He also ran this same shelving over the doors and windows I had framed in, in place of the the old garage doors. 

This space is just slightly east of due north studio lighting. But as you can see, when the sun goes down I still need supplemental lighting. For that I have installed Daylight LED tube lights and tracks. At some point I may install a couple of additional short tracks over my framing and auxiliary painting area, but I have enough to get me up and running. 

In keeping with tradition, I maintain my usual impeccable timing, and have completed the studio just in time to leave for two weeks on a plein air painting trip to Maine for an artist's residency. So, as excited as I am for my new space, it will have to wait to get junked up until I return! 😉  Meanwhile, God and internet willing, I hope to blog from the road during my travels. 

Marinating, then celebrating!

I completed this painting (or so I thought) a short time before we left for our annual summer trek to the beach. I really liked it, for the most part. And having considered it finished, I stuck it up on my studio wall before our trip. After our return though, I started looking at it with fresh eyes. Some things that tugged on me before were now really starting to become more bothersome. But I decided to let it marinate a while longer as I was distracted with other projects. 

Finally, I decided that while I liked the overall mood in this piece, I did not like the little closed umbrella to the left of my grouping of sunbathers. It kept pulling my eye away from where I wanted to go, and it was sort of an ambiguous object sitting there. Still I wanted something near that spot that would perhaps pull the painting together a little better. So I began flipping through my trip photos for some ideas and inspiration, and came across a snap of a little boy digging intently in the sand. I sketched it out quickly in a nearby notebook and set to work. 

There wasn't a lot of built up texture where the umbrella was, so I only had to scrape it down just a little bit with a razor. Then I proceeded with a little "oiling out"  (in this case with just a little gambol and solvent free fluid) to help the new paint layer adhere to the older but still very fresh under layer. Here is the revised painting with the little boy. I also brightened the sky a bit more as it was feeling a bit intense and heavy.  

"Surfside", Oil on linen, 20x24" ©Jennifer E Young

Here's a detail of the figures: 

"Surfside" (Detail) ©Jennifer E Young

I don't know about you, but I like this much better, and I find it finally worthy of celebrating with a frame and a signature.  :)