Mountainside (in progress)

Poolside II (in progress)

Poolside II (in progress)

Burnt Sienna

I have always wanted to know more about the paints that I use daily and was more than slightly disappointed that the topic was generally ignored during my formal studies. I did have one teacher give a helpful couple of lectures on paints and pigments, but I still feel there is so much to learn about the materials I use in my oil painting. So I have decided to perform some research on my own and catalog my findings here for others who are curious. Naturally, I decided to start with materials that I use frequently, then pan out from there. I sort of randomly chose Burnt Sienna to start off, but that could be influenced by the large levels of burnt sienna that I used today...

Burnt Sienna is a staple color. During my first year (give or take) of painting, burnt sienna was one of only three colors in my palette - along with French Ultramarine Blue and Yellow Ochre. I still use more of it than any other reds or browns (combined). I love the warm reddish-brown hue. It is classified as an Earth pigment which pretty much is self-explanatory; sienna is a clay rich in iron oxides, specifically ferric oxides, that was originally mined from the earth near Siena, Italy - hence the name. Natural sienna is actually yellowish brown and referred to as "Raw Sienna". In order to get the warm reddish brown, the raw sienna is, well, burned. Although, that isn't totally accurate. The sienna is actually calcinated. Calcination is much closer to roasting than burning. (I understand opting not to call the resulting pigment "Calcinated Sienna", but I wish they had gone with "Roasted Sienna"...maybe its just too close to Christmas...) The calcination drives off some of the combined water from the raw sienna which results in a color change. Raw sienna powder is heated to at least the thermal decomposition temperature of ferric hydrate. The ferric hydrate converts to ferric oxide and releases water. (Sorry for the technical details, I used to be a chemistry major...) If you have ever described Burnt Sienna as "rusty", you are right on; Ferric oxide actually is rust (well at least the most common form of rust).
So that is how burnt sienna is made, on to properties before I write a full essay tonight.
As with other Earth pigments, burnt sienna is very stable with a ASTM lightfastness rating of I (The American Society of Testing Materials rating scheme goes from I-V, I being the longest lasting and most lightfast, V being the most unstable). That just means that the color doesn't fade or deteriorate over time. Burnt sienna ranges from transparent to semi-transparent. It is often used as a glaze or wash because of the low opacity. Similarly, burnt sienna has a low tinting affect - when mixing with other colors it doesn't have a strong impact. It is kind of a "weak" color - easily over-powered - but I guess it makes up for it in endurance. Plus, contrary to popular thought, not all oil painting materials contain hazardous toxins; burnt sienna is quite safe - another reason I love using it!

Poolside II (in progress)

Twelve by Twelve

This coming week is the last week of the Twelve by Twelve show at the Betz Gallery in downtown Houston. Although I haven't sold anything, I have learned quite a bit. I learned I need to do more research before applying to shows. Even though I got into the show, my work was very out of place. I was one of maybe 2 or 3 realistic landscape artists, and my art was more expensive than most. The biggest consequence was that the clientele was all wrong. So next time I apply to a show, I will be more careful in scouting it out first.

Poolside II (in progress)

Poolside II (in progress)

It can be hard to paint over large portions of canvas that I have previously painted, especially if that section works well by itself, but not within the whole. Fortunately, the latter part is not the case in this painting. Tomorrow, I will need to repaint the deck a slightly darker color. Although, I like the faint yellow that is there right now, I need the chairs to stand out more- specifically the highlights on the chair need to be brighter than the deck. So nerve-wracking or not, expect a new deck tomorrow.

Poolside II (in progress)

Besides painting, something I need to work on is taking better pictures of my work. It was a really overcast and dreary day here so there wasn't much natural light in my studio. Photography is something I have struggled with anyway. Any suggestions on photographing artwork?

Poolside II (in progress)

Do I ever get sick of working on the same projects for days or weeks? Yes, which means that project usually find its way to my drying rack and stays there (great examples: portraits of Amy and Mark). In this way, I can be almost a slave to my emotional connection to a painting. This isn't really a good thing for me as an artist. Isn't making art about expressing yourself and how you are feeling? We should love each painting, right? Well, yes...and no. My art is an expression of me, of beautiful things or places that lifted my spirit, and overall, I love creating each piece. But, painting is a struggle. Sometimes I really don't love the piece I am working on. It's not working, the colors aren't right, the angles just won't line up, this is not what was in my head... But that is the way anything satisfying is - we have to figure out the problems, overcome the frustrations, put in the time...before we can feel the accomplishment and really love our work. There is a stigma that painting is fun. Well, it is... but, it is also work. And it sure feels good to step back and have that very troublesome painting (and colors, angles...) work.
And no, this painting is not yet finished nor is yet the subject of any real frustrations - just problems to fix.

Resurrecting the Trees of Life

Tree of Life #1
36 x 36
Sold

A year ago, well more than that actually (time really flies sometimes) I finished this painting as part of a series, The Trees of Life. As of now, it is still the only painting in that series. After some good advice and pulling out my old sketches, I am re-inspired to finish. I don't know if I am the only artist that does that (starts one idea, then another and another, then finally goes back and finishes). Anyone else do that?
This series sprouted out of taking anatomy and painting classes simultaneously. I have always loved the mixture of complexity and simplicity in the body, the grace of the figure, and the incredible functionality of how it all works together. The human body is just beautiful. I was really excited while examining the dissections and diagrams by the surprising number of "trees" that exist within the physical body. It wasn't long before I was sketching and painting them. This 36" x 36" painting was the only finished large scale drawing that emerged, mostly because I graduated, moved, and got distracted by other projects. It is time to finish.

Kudos to anyone who can figure out what "tree" each painting represents.

Poolside II (in progress)

Poolside II (in progress)

Blue Plateau (in progress)

Poolside II (in progress)

Mountainside (in progress)

Poolside II (in progress)

Poolside II (in progress)

I began a new painting today, a very large painting. I used the smaller "Poolside" as a study for this 40 x 30 inch canvas.
I was surprised at how different painting the same image large feels. The brush strokes turn out totally different because of the relative size compared to the canvas. The amount of paint needed goes up dramatically. One surprise was how much harder it is to make a straight line. I think I am making a straight line across the canvas. Then step back, and I am two inches lower on one side. I'm still not sure the horizon is straight...
The painting also goes a lot slower when there is 8 times as much surface area. Just drawing the image on and doing so basic color blocking took over 4 hours. (Most of that was the drawing, as may be evidenced by the copious amount of smudges). But I am looking forward to my first really big landscape.

Mountainside (in progress)

I know it still doesn't look much like a scene you would find while hiking in the Alps, but I started yesterday to put the shadows and colors onto the rocks.

Open Door

Open Door
12 x 12
Purchase

The deep blue isn't actually that dark in real life. It is dark but not that black. I should have time now to let it dry and get it framed and ready for the show.

Blue Plateau (in progress)

One more layer down.

At Sea (in progress)

I haven't taken any pictures of this yet, although I should have. It started out bright yellow. I had started a totally different image which I painted over, then sanded off and and now painting over again. So after all that, this is the first real layer of paint. And yes, I did notice already that the horizon is not straight. I'll fix that.