First painting since the move!

After re-reading my post from yesterday I started to feel like a wimp, complaining about the heat and all. Then I tried it and realized that heat stroke does not improve your art one iota! All kidding aside, it was boiling lava hot outside on my patio. I only lasted about an hour before I decided I'd have to leave it until the next day, and pick up where I left off. And so I painted this piece over two sessions, noting the time of day and returning to wrap up at the same time this morning.

"A Taste of Summer" Water soluble oils on Linen, 12x12"  Jennifer E Young

This little outdoor still-life setup includes the herbs and flowers I brought from my old place, as well as a big beautiful housewarming gift from our new neighbors (the pink and orange spray behind the basil). A  marriage of old and new,  I felt it was the perfect subject to kick off this new beginning.

I experimented with this painting using Cobra water-soluble oil paints by Royal Talens . I was inspired to try them when I started following the very talented painter Mark Hanson's discussions about them on Facebook and on his blog. I have friends who use water miscible oils, too, but having tried them before without success I haven't been compelled to try them again. But when Mark suggested that his migraine headaches may have gone away after switching to these oils, I took notice and decided to try this new (to me)  line of paints myself.

I have suffered from insomnia for years, and yet ever since we moved to the new house, I have only had two bad nights. That's pretty incredible! Coincidentally, with the exception of yesterday and today,  I have not painted since we've been here. Is it possible there is some other reason for my new-found improved sleep? Absolutely. But it's also possible the fumes were getting to me and I didn't even realize it. It has also bothered me for a while that I am eating as much organic and natural food as I can afford, I'm also inhaling volatile organic compounds on a daily basis in my work. And if we ultimately decide to set up my studio in our current attached garage, water soaked paper towels are going to be a lot safer than ones soaked with mineral spirits, odorless or not!

I first tried water-soluble oils several years ago. I believe they were Winsor & Newton's Artisan series. At the time I found the handling too gummy and tacky and not to my liking at all. I may not have given them a fair shake though, because in recent weeks I have read that you really should not thin your paints with water or it will produce that tacky, gummy effect and make the paints rather dull and cloudy looking. Instead, Mark advised not to rinse off your brushes too much with water, but to just wipe off the brushes as much as possible in between color mixture sinstead, and save the water for the final cleanup. If needed, use a water miscible oil painting medium created specifically for these paints rather than water to increase viscosity.

That advice made a world of difference and I found myself painting without fighting with my materials. There was a slight difference in the handling and a few old habits to overcome, but nothing so difficult as to put me off. I would say they did not flow as easily for me as my traditional oils, and the color intensity was a tad weaker, but not by a tremendous amount. On the other hand, they have absolutely no odor and seem like they would be great for travel.

From what I have read so far, the drying time may be a bit longer than what I'm used to. But that should not be an issue for ole' Pokey, here. I do hope they dry well and evenly, without any dull passages or great shifts in color or value. I will report back on this if I notice anything remarkable. I look forward to experimenting more with these paints. I really hope these will be my new go-to paints, and that I can ditch the OMS once and for all!

Advice: Don't ever help an artist move

Given that this is an art blog, I kind of have a thing against posting without pictures. But since it has been a while since I have posted at all, I felt I should give an update and reaffirm my presence in the land of the living. We have moved!   I have spent the last few weeks clearing out, packing up, moving in, and then doing it all over again with the studio. There is so much stuff!! My advice to you, if  you happen to know an artist who is moving, is to steer clear of them and don't come back until the dust settles! Moving an artist is the worst. I am thoroughly over it, mentally, that is. In actuality, though I am still slogging through  boxes, (and boxes and boxes!) and trying to set up a household. I have my eye on the prize though, and  am looking to the future.

I have no studio yet, and I think I can safely presume that this will be the case until at least the fall. That is probably OK since I am still trying to find out where I packed the toaster. But it would be more OK if I could look forward to painting outdoors. But though summer has just begun, it is already so blazing hot outside right now that even the cats are panting in the shade by 10 AM. Hopefully there will be a break in the weather soon.

We have a larger property now,  mostly in full sun. When we bought this place we envisioned building a studio with similar features to the last one, but with ample northern natural  light and in the exact location we desired (which was not the case in the city).

We still may end up doing that, but at present we are actually considering converting the pre-existing garage rather than building an entirely new structure. It is already north-facing, with foundation, electricity, and plumbing intact.  (What's not to love?) It could save us a considerable sum, and If I put my office in the house (and who really needs a formal living room any way?) I would have my own little wing, with a larger studio workspace and an office connected by a short hallway, just through the back door.

So that's where we are right now; mulling it over and consulting contractors. We are looking into a good solution for a "wall of windows" as well as an entry door, some supplemental (artificial) lighting, and some built-ins for storage. If it works out as we imagine it to, it could come together much more quickly and less expensively than the last studio build. Here's hoping, any way!

At first I was resistant to the idea of not having a free- standing office/studio. It was what I was used to, and it served me well for several years. But I am coming around to the idea of having the studio connected to the house, so I can enter it at all hours if I want to, without having to don boots and a parka to do so. I am also liking more and more the idea of a separate office.  I can easily allow myself to be interrupt- driven, and it will be nice to have that extra layer of impulse-control built in.

I posted ad nauseum about my last studio build, and since this will be a different animal, I will try to do the same this time around.  I hope to be posting again soon, too--about painting! And with some pictures to boot! In the meantime, if any of you out there have built a studio from a pre-existing garage and would like to chime in with some advice, I am all ears.

Super cheap wet panel holder

This week as I am plodding through the daunting task of packing up my studio, I have storage on my mind (as in, where the heck am I going to put all of this stuff?!) Granted, a number of these boxes are my office supplies and files, but let's face it; artists have a lot of stuff.

And so we painters are always trying to come up with nifty and cheap storage ideas that will protect our paintings when they are wet and keep them organized when they are dry. With that introduction, meet my cd storage racks turned painting panel holders:

Wet Panel Storage

This is about as low tech as you can get. Two CD holders are tied together with twist-ties on either side.

Wet panel storage

These are also great to have in the car for plein air paitning trips. I put the whole setup inside of a box lid sized to hold them for added stability and reduced mess. It will hold painting panels up to 12" and keep them neatly separated from each other so that they don't touch.

Granted, CD holders are becoming a little harder to find as we move further into the digital age, but they are still around. If push comes to shove, a letter sorter from an office supply store will do.

art storage tips

A perfect morning at the river

The last couple  of times I went out plein air painting, I faced some pretty gray wet days. The gray days are, for me, always the hardest. Things don't flow as easily with those close value ranges, and I don't get as excited about composing without the drama of the light. Don't get me wrong. I love a painting filled with gorgeous muted color and subtle grays, but a successful painting of lovely grays (not mud)  is not as easy to achieve as it might seem. Luckily, Tuesday, the sun was shining. It was also my last, long open day not scheduled with house stuff, moving, or preschool parties. So I and a couple of  painting buddies met down at the James River on Belle Isle to do a little painting.

I love this place. I have gone on several hikes around Belle Isle (which I highly recommend doing if you are in RVA). It's a fascinating place, from the trek on high over the footbridge that straddles the James River, to it's dark legacy as a  former Confederate POW camp during the Civil War.  Earlier still, it was also a pre-English settlement fishing ground for the Native Americans.

But aside from some historic markers and some large boulders used as cemetery markers, there is not much left from those eras to remind us. Nature has largely reclaimed it today, making it a beautiful spot for wildlife watching, sunbathing, or  kayaking on the class IV Hollywood rapids.

We set up at various points along some of the big flat rocks at the Rapids. Practically our only other companion when we first arrived was a beautiful gray heron sunning itself on a nearby rock. Later the sunbathers came, but they only added to the feeling that I was on a mini vacation being lulled by the sound of rushing water all around me.

"Morning at Belle Isle" Oil on panel, 9x12"© Jennifer E Young

This was a practice in painting rocks. The large rock in the foreground was mostly in shadow, with just a few dapples of light peeking through the shade of the nearby trees. Once that large rock started getting lit up I knew I'd better wrap it up.

James River Painting in progress by Jennifer E Young

I'm still working on my plein air speed. I may be spending a little too long getting myself set up just so, but each time I go out I feel like I am getting a little bit more comfortable outdoors again. I am not exactly a novice to plein air painting, but life demands have kept me more often in the studio these last several years, and it's been hard to keep up a momentum or a rhythm painting outdoors. For me,  it's one of those things where you either use it or lose it, but I am determined to get my plein air painting chops back! Hopefully once we move and settle in the new house (a matter of a couple of weeks now) I will be able to "use it" even more.

Delphiniums in the Rain

We are in the final push to put our current home on the market this week, so when I woke up this morning looking at the very gray sky and the mountain of work I had to do at home, I almost didn't go out to paint. Luckily my darling husband wouldn't hear of my excuses and practically kicked me out the door. ;-) I had been invited to paint with friends in this beautiful walled garden at a private turn-of-the-century residence tucked back in rolling hills near the banks of the James River. The drive up to the site was stunning in itself. Beautiful bucolic fields were lined with stately mature trees of all kinds. But it wasn't until I entered the garden past the roses and rounded a corner to take in this view that I audibly gasped. I remember my first thought when I saw this beautiful flower lined walkway was that I hoped I had brought the right blues.

"Delphiniums at Redesdale" Oil on panel, 12x9"  Jennifer E Young

I am told that this garden was designed by Charles Gillette, who is pretty famous around Virginia for his formal garden designs on stately homes such as Agecroft Hall, The Virginia House, and Tuckahoe Plantation. I believe he also had a hand in some of the early designs of the  Lewis Ginter Botanical Gardens.

The rain fell softly off and on during this painting. Every once in a while sunlight and a bit of blue sky peeped through, but luckily not enough to "ruin" my cloudy day painting. At several points things got pretty soggy, and I found myself jostling my brushes, paper towels, and my painting umbrella, which I was using as a rain umbrella for myself, my painting, and my palette. But it all worked out in the end, so I guess that's what matters!