At the farmers market today.

Painted in my studio in the morning, took a stroll through my garden saw a few Hosta flowers hanging on in the heat, picked on and brought it in, set up a little still life with my favorite rock.
When my car was returned in the afternoon I went out to the farm.....not as successful as the morning.
Well....one will make more bad paintings than good....chalk it up to that experience thing.

Friday Morning work in the studio

I can not describe in words the experience I had in the field of sunflowers.
I hope I was able to catch it with paint

One small one before I leave

finished

Set up at edge of field

Second day

First day

Hello anyone out there, reading this or looking at it?

From Gamblins website on solvents

"Solvents in history.
Painters have been using turpentine for hundreds of years because it was commonly available. Pure 100% odorless mineral spirits (OMS) is an innovation of the late 20th century so it is no wonder that many painters are just beginning to understand how safe and available OMS is.

Too bad artists of 50 years ago did not know that before they created huge canvases of oil colors that were diluted with turpentine. It is not surprising that these artists experimented with, then later switched to water based media. Turpentine, a known respiratory irritant, has a fast evaporation rate and a low permissible exposure level. It causes nausea and lightheadedness, dermatitis, kidney and bladder disease, and asthma. Turpentine is the only solvent commonly available to painters that is absorbed through healthy, unbroken skin. Turpentine is toxic.

Rembrandt used no painting mediums. He did not need mediums because hand made paints are thin and very fluid. Since the 19th century and the invention of the three roll mill, oil colors have been made into stiff pastes. Using these luscious pastes lead to the dominance of direct painting in the 20th century. Painting mediums are used only to increase fluidity of oil colors when using this technique. Extending oil colors with only solvent can lead to failure of the paint film. Adding more than a small amount of linseed oil can increase the tendency of oil paint films to wrinkle. Recently more painters are interested in creating unusual surfaces and optical effects so there is more interest in different kinds of painting mediums."

Just thinking

I pulled out the Artists Handbook of materials and techniques. I had a few questions about colors, remembering some conflicting information that I received about using black, particularly Ivory Black. I found some interesting information about it use.
I was told by several teachers while in school not to use it, make your own black, recently it appeared on my supply list for several workshops. hesitant to use it, I did, now after being comfortable with it, knowing its not going to turn into this monster on my pallet I needed to know what its story is.... so here it goes.
Ivory Black (PBk9) Paris Black An inferior grade of ivory black.
" Impure carbon. the black most widely used by artists. Most ivory black on the market is a high grade bone black, made by charring bones. Contains only about 15 to 20 % carbon, and about 60% calcium phosphate, and about 20 % calcium sulfate and other impurities, some of which are water soluble. It should not be used with in fresco or for mortar or cement coloring, as it causes efflorescence. Rather fine, light and fluffy., but somewhat heavier and more compact than lampblack. Very slow drier in oil stand up fairly well, but the use of a purer grade of ivory black is wiser. Has a brownish undertone an compared to the vine black series. Probably dates to the Roman times. True Ivory black carbon is made by burning ivory scraps, has the same properties as bone black, but is finer, more intense , and of higher carbon content. Ivory black is the most widely used artists black and serves well as an all-around black and tinting color. It is the only member of the impure carbon group that is recommended as a permanent artists color. However , it is one of the worst pigments to use full strength as an undercoat in oil painting: a film of any other pigment laid over straight ivory black is extremely likely to crack." pg 66 Artist Handbook.
Do not paint over lamp black or ivory black with  ( zinc white) or other pigments of lower oil content, disaster .

uh...my burnt umber from Gamblin is suffering from overpigmentation....do I throw it out ?
Shit. I have been using it as an under painting thinned with medium.....I wonder what they consider small amounts.

New burnt umber on its way. switching over to Old Holland, they use cold press linseed oil,  better for oil painting, less cracking.

R James Healy: A Zoetrope! What's That?

R James Healy: A Zoetrope! What's That?: "It's been brought to my attention that not everyone knows what a zoetrope is. Here's the Wikipedia entry http://en.wikipedia.org/wiki/Zoetro..."

R James Healy: The Camera Never Lies...

R James Healy: The Camera Never Lies...: "... but each has it's own particular version of the truth. You only need to speak to a photographer for a short time to appreciate the bread..."

Sunday, artist painting Artist

Sunday at the Palette and Chiselle

Today , I have to drive my son to his destination, while driving the plan is to check out possible spots for painting. I love being outdoors, its good to get out of the studio and socialize, maybe not so much.LOL.
Attending an opening this evening.....lots of driving today.
I need to let my brain wrap around why my work, " you will make more bad drawings and paintings then good." Marion K.
Hopefully this is a learning experience for me.

should have known ...wood. When in animation school we had a class in Layout that included background painting. Well wood and glass.....well, "C" and that was a gift.

Its a very HOT afternoon in July....taking time for lunch and a quick update.
The first part of June I took a workshop from David Laffel at the Palette and Chisel in Chicago.
Since then I have Joined the Palette and Chisel in Chicago to practice with what I have learned, (LOL and much more to learn.) So I am going down two days a week for painting. Maybe 3 if I can get my Sundays organized.
Due to a work shop for 6 weeks the workshops are suspended. The plan is to paint at home and outdoors.
Will be a Visiting Artists again next year, very pleased with that. I enjoy working with my second graders and each year I change it up a little.
They are great little teachers. LOL


I broke down and turned on the AC in my Studio with the hope that I will return after lunch and this evening to post my recent work.
I am pleased with the progress that I am making and with the support I receive from my new friends at the Palette and family.