Happy Holidays!

I'm taking a few days off from posting to enjoy the season. Happy holidays to all, and wishes for a bright, beautiful 2007!

"Opening Night Bouquet" Oil on Canvas, 20"x16"

Caring for your paintings and prints

I recently had a client ask me if it was okay to hang an original oil painting in a master bathroom. Since this is a bathroom that would be used often for showering, I advised against it. It is best to avoid exposing oil paintings on canvas to extreme temperatures and extreme humidity. This is why museums store work in a climate controlled environment. While we all can't go around monitoring the minute temperature changes in our homes, we can still take some basic measures to ensure the artwork is properly cared for. Here are a few tips:

• Avoid hanging any work of art in direct sunlight for a prolonged period. Prints and works on paper risk fading, even when they are framed under protective UV glass. Oils can actually darken over time if exposed to strong sunlight for prolonged periods.
• Works on paper should always be hung under glass for protection. UV filtered glass is preferred. However, avoid touching the glass directly to the work of art, as glass may contain some acids and chemicals that are damaging to papers. Professional picture framers use acid-free matting or other materials as a buffer to raise the glass off of the surface of the artwork.
• As mentioned above, avoid extreme heat, extreme cold, and extreme humidity. All of these conditions can alter the condition of a work of art. Extreme temperature changes can cause painting supports to expand, contract, and warp. Oils on canvas can crack and chip if subjected to these constant insults.
• Carry oils on canvas by the frame, or the outer edge of the stretcher bars. Avoid looping your fingers under the stretcher bars so that they grip the painting between the canvas and the stretcher. This can loosen and stretch the painting away from the stretcher.
• Likewise, take care in leaning a canvas to anything, unless you are only letting the outer stretcher bar or frame touch the other object. Any thing leaning on the canvas itself can cause puckering and stretching of the canvas.
• It is a fine idea to lightly dust your painting from time to time with a clean soft cloth or brush. Dust with a dry cloth only; do not clean with any other substance (like water, solvents, etc.)
• In the unfortunate event that your painting is damaged in some way, contact a professional conservator in your area, as often repair and restoration is a viable option.

New giclee print offerings

Here are two paintings I completed recently that I am having reproduced as limited edition giclee prints:

"Off The Beaten Path II"

"Along the Route to Dieulefit"

 

My giclee prints are offered in limited editions in a selection of sizes from small to quite large. They are perfect for home decor as well as corporate art, art for hospitals and art for hotels. I expect the prints to be released in January 2007. Please contact me if you would like to be notified when they become available, or if you would like any additional information about the prints. To see my current print offerings, please visit this link.  For more information about the original oils shown here, please click on the images above.

My oil painting technique... A few Q's & A's

From time to time I will get questions from fellow artists about my approach to oil painting, so I thought I'd share some recent ones here on the blog, in case there are others who might have the same concerns: Q: How do you keep your colors clean painting in oil? Do you clean the brushes stroke after stroke? Do you wait for one coat to dry before applying a thicker one?    A: The best way to do this is to lay a stroke down and leave it be. I like to mix my paint on the palette with a palette knife in the studio, rather than mixing it around with my brush. When I paint en plein air, this isn't always the case, but starting out in oils I recommend it for keeping colors clean. Also, yes, clean your brushes often and wipe with paper towels. You need to have enough paint on the tip of your brush. Most beginners in oils don't do this and lay down a thin stroke, then see they didn't get the right effect and so try to paint over and over it a few times, giving a smeared, muddy effect. If you need to test the paint mixture to judge color notes or values, just dab a bit of paint on the canvas with your palette knive to test before laying on a bunch of paint.

You can paint either using a direct method or an indirect method. I paint using a direct method, where I am laying paint rather thickly on canvas, sometimes doing it all "alla prima" (at one go) for smaller canvases, or in consecutive sessions for larger canvases.  You can use a painting medium like Galkyd or Liquin, which speeds the drying and increases fluidity. There are also impasto mediums that help the paint sit up thickly and "stay put". But if you use these, use them sparingly or else it compromises the stability of the paint.

I saw Ken Backhaus and John Budicin demoing in oils recently and neither of them used any medium at all. They just laid the paint on pretty thickly and left it be.  It does take some practice to do this, though, and some confidence in handling your brushwork.   Indirect painting is approached differently, using glazes that build up through layering. With this method you WOULD let the painting dry to the touch in between sessions, painting thinly and gradually building up the paint layer. The rule here is to pain "fat over lean", meaning paint thick over thin, oily over less oily. Lots of portrait painters use this indirect method, which gives a beautiful luminous quality to  translucent passages such as skin.

Q: How do you keep your deep dark values clear cut separate from your light? That goes for structures as for skin tones. 

My dark passages and shadow areas are generally painted a bit thinner than highlighted areas. I leave the impasto (thick, raised paint) for highlights, which are naturally going to be more opaque because of the addition of white paint used in the mixtures.

The best way to keep your darks clean is to not move your paint around so much on your canvas once it's down. Think in terms of laying the paint down rather than smearing it around. Also, to keep darks dark, you can lay them in first and then lay in impasto highlights after. If you do it the other way around the light, which usually includes white will muddy and lighten the dark . If you do need to darken something, wait until the paint "sets up" a bit and becomes at least tacky to the touch before going back in with dark over light. If you've worked in watercolor before, this will be the exact opposite approach to watercolor!

New Gallery Photos

I thought I'd post some photos of the new gallery space, which officialy opened last Friday night. We were swamped the entire night so I did not get ONE picture of the actual event! It turned out well--hectic but fun. We're both still recovering from total exhaustion, but at least we made it through "phase one". Phase two is still to come--moving my art studio part into the building. We hope to have that accomplished by mid January at the latest. Front room:

This is the wall to the right as you walk in the front door. The flowers on the table are from our new landlord!

This is the left wall of the same room--A great spot for the paintings in my mini collection:

This is a view of the right hand wall as you continue on into the middle room.

Here's a shot of the same wall looking back into the front room:

Here is the opposite wall in the second room. The picture to the far left is an original oil painting of Tuscany. The pictures to the right are canvas prints on the walls, and paper prints in the rack. People were amazed at the quality of the canvas prints, which looked so much like paintings that I had to tell them they were prints and not originals.

   

Heading out from the 2nd room and into the third room. This is where the band played opening night:

Rounding the corner into this third room, here is my wall of Key West paintings:

   

   I had these paintings framed differently from the usual gold because I felt like the solid gold was too formal for this subject matter. I like the linen liner and the platinum colored frame with the bamboo motif for these sunny Key West pieces.

   This last room will undergo some changes. The front two rooms with the hardwood floors will remain gallery space, but we'll use this area more for work space (to be determined), though we'll still hang some art here. Down that hallway is a fourth small room and a bathroom with a utility sink.

   Jennifer Young Studio & Gallery is located at 16 E. Main Street, Richmond, VA, 23219. Currently we are open from 6 to 9 p.m. during the First Fridays Art walks, and other times by appointment. Please call 804-254-1008 (1-877-DIAL-ART toll free) to visit the gallery or to inquire about the paintings you see on the website.