Categories
Lighting Oil Painting Other Art Blogs I Read Painting Still Life Studio

Light and Comfort in the Studio (& How to Light a Still Life)-

I’ve made some improvements to lighting and comfort in my studio and wanted to share what I’ve learned in the process. In the picture below you can see some of the changes from my previous post about reorganizing the studio. These include the floor mat, the wall paint, and a still-life lighting setup.

This post could also be called, “What I Bought Myself for My Birthday” as these goodies were all birthday presents to myself.   (Click the images to enlarge.)

Studio with new cushy floor mat, lighting and dark painted wall
Studio with new cushy floor mat, lighting and dark painted wall

FLOOR MAT

The floor mat pictured above makes a huge difference in comfort. I got the idea at my hairdressers when I wondered how she stands all day. She pointed out her floor mat and when I felt how cushy it was, I had to get one. I work standing at a computer or at the easel much of the time. Without a cushion my feet tend to hurt by the end of the day. I tend to sit until my back hurts and then stand until my feet hurt and then switch agin. The mat makes it comfortable to stand comfortably for much longer.

WALL PAINT

I painted the wall behind my easel and desk Benjamin Moore “1490 Country Life” using their new Aura line of which is nearly odor free and covers in one coat. I’d noticed studio walls painted this color in many of the painting videos I’ve watched. Finally one of the artists actually specified that this 1490 color was especially popular with portrait artists for their studios because of how the color sets off skin.

But it also reduces the glare off of the previously white wall I was getting from my overhead light and helps to cut unwanted bounced light and the resulting double shadows on a still life that I’m lighting with a strong directional light (more about that in a minute).

I still have to wear the hat you see hanging on the ease—the overhead fixture does a beautiful job of lighting a canvas without reflection, but with a relatively low ceiling it’s pretty bright on the eyes.

STORAGE

Below is the wonderful canvas and supply rack that my next door neighbor built for me.

Canvas storage rack in closet
Canvas storage rack in closet

It can be free standing but was built to fit inside this closet. The four sections on the far left hold already painted panels and for now, the rest hold panels and canvases ready to paint. The structure is seriously overbuilt due to a slight miscommunication. We speak in a combination of English (my native language) and Spanish (his) and sometimes we think we understand each other but don’t. It’s so sturdy it may even hold up the house in the case of an earthquake.

To the right of the structure is still a bit of closet hanging space where I hang my painting smock and my plein air painting outfit, a very lightweight, ventilated, long sleeved, sunproof shirt so I don’t need sunscreen and lightweight pants that are also sunproof that turn into shorts when you unzip and remove the legs.

The top shelf of the structure (below) provides a place to put my other plein air gear: my Soltek easel, my brushes in a canvas brush carrier, and two canvas carriers from RayMar Art, the company from which I also buy my painting panels (they are archival, don’t warp and are less expensive than most of this quality).

Shelf for easel and other plein air equipment
Shelf for easel and other plein air equipment

LIGHTING

Below is the setup for lighting still life that I’m finally satisfied with, after trying numerous other lightbulbs, fixtures, and other accessories. I wanted a way to get a strong directional light on the still life so there was good contrast in values, modeling of the shape and structure of the object(s), a strong shadow shape without double or triple shadows caused by interference from other lights, and a light color/temperature that gives the illusion of sunlight. A tall order indeed!

Still life lighting set up
Still life lighting set up

As you can see above this system creates a nice swath of directional light, with a strong single shadow (though the photo doesn’t do it justice–it’s hard to photograph lighting!). Below is another picture of how I have it set up.

I went to a local lighting store and we tried out all sorts of things. It took them awhile to understand that I wasn’t buying lighting to light a painting, but to light a still life I was going to paint. They recommended a short section of halogen tracklighting with a narrow-beam floodlight halogen bulb. They added a cord and switch for me since I was going to keep it nearby rather than permanently install it on the ceiling. Then I attached the track light to a cheap old lighting stand I had from photography days.

Track light attached to light stand
Track light attached to light stand

The ugly cord and switch on the left above is an inelegant solution that allowed me to avoid having to have an electrician wire the overhead light. It just plugs in and switches on and off. Too bad the cord isn’t the right length.

On the two pics below you can see how I used duct tape and a strip of velcro 2-sided strapping to attach the track light to the stand.

Track light with halogen spot attached to old light stand
Track light with halogen spot attached to old light stand
Duct tape/velcro attachment
Duct tape/velcro attachment

Below is the lighbulb we found that works perfectly for this application: Sylvania Tru-Aim Brilliant Halogen (50MR16/B/NFL25) which I think means it’s a 50 watt narrow-beam flood light.

Lightbulb box for track light
Lightbulb box for track light

SInce the light was so bright I made this cardboard shield and painted it the same color as the wall and clipped it on to the easel so I could study the still life without also looking at the light. I’m sure there’s a more elegant solution, but this works. The paper towels sit on a funky paintbrush which is stuck into a slot at the top of the easel.

Cardboard painted with wall paint to shade light, paper towel "holder"
Cardboard painted with wall paint to shade light, paper towel "holder"

My WorkRite electric desk, which holds my computer and monitor not only allows me to work sitting or standing but I discovered that I can use the end of the table by the easel to place a still life at whatever height I like. I can also display a photo on the monitor and scoot the monitor closer to the easel to work from.

Set up for still life with electric desk
Set up for still life with electric desk

I can hang different colored cloths as still life backdrops from the bulletin board with pushpins and I like having artwork on it that inspire me.

The painting to the left isn’t usually there. I hung it when a gallery owner came over for a studio visit because she was interested in including it in an upcoming show (it will be there next month — more about that later).

View from the easel
Another view

I should also say that I have no financial or other interest in any of the companies or products I mentioned in this post. I just like them.

Categories
Oil Painting Outdoors/Landscape Painting Plein Air

My neighbors’ garbage

Garbage in the Sun, 10x8", oil on panel (click image to enlarge)
Garbage in the Sun, 10x8", oil on panel (click image to enlarge)

When my neighbors saw me painting their trash cans, with my easel set up in the driveway, they didn’t even look surprised. They know I’m a nutty artist and so they just apologized for interrupting my painting to throw some bottles in the recycling bin.

The truth is, I am easily amused and can find almost anything interesting to paint or draw. Seeing these  city-issued garbage cans glowing in the sun, transformed from their usual blah colors, seemed a perfect subject for a quick oil sketch last weekend.

When I showed the painting to my painting teacher Camille, she said I’d done a good job with showing that it was a sunny day, but that I should lose the detail and focus more on the difference in value between top, side and front, to better indicate the direction of light and dimensionality of the cans. And she’s right, of course.

What’s the weirdest, oddest, or nuttiest thing you’ve drawn or painted?

Categories
Art theory Landscape Oil Painting Other Art Blogs I Read Outdoors/Landscape Painting Plein Air

Dry Wetlands: Where’s the water?

Shollenberger Wetlands, 12x9", Oil on panel (click image to enlarge)
Dry wetlands sketch, 12x9", Oil on panel (click image to enlarge)

Shollenberger Park is normally a watery paradise where you see swans, herons, egrets, pelicans, geese, turtles, frogs, lizards and the occasional harmless snake. But when I arrived there this morning with Camille Przewodek’s class, we were surprised to find cracked dry soil where the watery marsh used to be. Camille said she’d been painting there for years and had never seen it dry before. You can see many of her marsh paintings on her website here.

She set up for her demo in the hot sun, on land that used to be under water. Seeing her paint is like watching a magician, the way she creates the illusion of space, depth, atmosphere, weather, even time of day, all done with color relationships.

The smell from the dried up marsh was making me nauseous but nothing phases Camille when she’s painting. She never complains, whether it’s hot or freezing, windy or smelly; she just gets in the zone and paints. Her students know better than to whine about weather or anything else; or as one student pointed out:

“It’s called ‘PLEIN Air’ NOT ‘Complain Air’!”

About the paintings:
Both of these 1 to 2 hour plein air sketches were done at the marsh, trying to work on getting the big shapes and color relationships. I think my easel must not have been level today; the horizon seems to be slanting downhill on today’s sketch above.

Shollenberger Wetlands sketch, 12x9", oil on panel (click image to enlarge)
Shollenberger Wetlands sketch, 12x9", oil on panel (click image to enlarge)

When I got home I tried to find out what happened to the water at Shollenberger but couldn’t find anything online. I did learn some interesting things about wetlands and what a valuable and important resource they are on the Petaluma Wetlands site.

I know we’re having a drought in California, but I don’t see how such a large body of water could dry up that quickly from being full just a few weeks ago.

I hope all the birds and fish and froggies are OK.  If you know what’s going, please do tell!

Categories
Landscape Oil Painting Outdoors/Landscape Painting Plein Air

Is it called a “Bell Buoy?”

Old Bell Buoy, Oil on panel, 12x9" (click image to enlarge)
Old Bell Buoy, Oil on panel, 12x9" (click image to enlarge)

If this is a “Bell buoy” I wonder if there is any connection to “Bell Boys”–did the latter get named for the former? (A beacon of light with a bell to warn you of dangers?–probably not). At any rate, this is a buoy and it has a bell, so I suppose the answer is yes, but somehow it just sounds funny to me… I keep picturing hotel bell boys weaing red hats with a bell mounted on top.

I didn’t paint this aboard a boat in the middle of a foggy sea. This huge old buoy (about 20 feet tall) is actually parked in front of Quinn’s Lighthouse in Embarcadero Cove near Jack London Square in Oakland but when I started painting it was so foggy we could have been at sea.

I arrived at 10:00 a.m. and there were so many interesting subjects (Victorian buildings, gazebos, gardens, boats, Quinns) that I wandered for nearly an hour, trying to choose. I finally picked this and got to work with only two hours to make the painting before our 1:00 group critique.

I nearly finished the painting in the two hours, with just a few details to touch up once I got home. Someday I will learn to leave a plein air painting alone! I started touching up a little here and there and before I knew it, I’d mucked things up. Then I  spent the next several hours unsuccessfully trying to get back to what I had originally, which I’d really liked.

Plein air finish before studio "touch up"
Plein air finish before studio "touch up"

Despite my efforts, I couldn’t quite get there.  I lost some of the darks, fresh bright lights and interesting color variations I had. Maybe when it’s dry I can do a little glazing and solve those problems, but without being there and painting from life, it’s just not the same, even with a good memory (which I don’t have) and a photo (which I do, below).

Photo of the buoy
Photo of the buoy
Categories
Oil Painting Painting Still Life

Flowers Buggin’ & Carboholic Kittie

Flowers Buggin', 12x9", oil on panel (Click image to enlarge)
Flowers Buggin' • 12x9" • oil on panel • (Click image to enlarge)

During a temporary burst of gardening interest a few years ago I planted chrysanthemum bulbs around my garden. I’d bought the package of bulbs at Costco and there were two colors in the pack: a lovely peachy color and a sour lemon color. I hoped they’d be mostly the peachy ones and the first year that’s what came up. The next year and ever since, all that appears are the icky lemon yellow ones.

Even worse than their color is the fact that they are bug magnets. Whole colonies of tiny black ball-like bugs appear on the stems and inside the flower, between all the petals, which took forever to wash off before putting them in the bottle. Yuck!

I’m pretty sure the bugs are aphids, which are farmed by the ants that also hang out on these plants. I gained new respect for ants when I learned that they actually raise and protect herds of aphids and then milk them for the “nectar” they produce.

QUESTION: Is my site taking a long time to load for you? Do the pictures load slowly, especially when they’re large like this one?

Carbo-Kittie
Speaking of ants, that reminds me of the very bad morning I had last Friday. I woke up with a nasty migraine and when the first cup of coffee didn’t get rid of the headache, I went out to get a latte at Peets (which usually works).

When I returned home an hour later, I walked into the house and discovered that my crazy calico cat had barfed at least once in every room of the house, managing to hit every throw rug. After I cleaned up the floors and threw the rugs in the washer, I discovered a swath of ants marching across the studio and had to clean them up too. All this before 9:00 a.m. and still with a migraine.

I couldn’t figure out what had so badly upset Fiona’s stomach until, when putting the newly laundered throw rugs back on the floor, I found sesame seeds under my bed. Then I remembered the box of Ak-Mak high-fiber, whole wheat crackers I’d found on the kitchen floor when I came home from work the night before.  I thought I caught her before she ate any, but the sesame seeds under the bed meant she must have been snacking on them under the bed before I got home.

She’s been fine since that morning but I bet it’s just a matter of time before she goes grazing in the cracker/cereal/pasta cabinet again. She’s ripped open and sampled boxes of Cheerios and dry pasta, carried a bag of split peas to tear up under my bed (lots of fun to clean up) and her favorite, corn cobs, which I’ve also found under my bed.

I’ve got to figure out how to install baby latches. I tried once but couldn’t get the two parts lined up right and then stripped the screw when trying to remove it. So now it’s just limply hanging there, getting in the way.

P.S. The title of this post is borrowed from an interesting band’s name, Critters Buggin’. Some members of that band are also in Garage a Trois, whose music I prefer to the more frenetic Critters.

Categories
Landscape Oil Painting Outdoors/Landscape Painting Plein Air

Above Dead Fish Restaurant, Crockett

View from Dead Fish Restaurant

(Larger)
The Dead Fish Restaurant is on a hill in Crockett, California and just above it there is a wonderful new little park with amazing views of Mare Island (pictured above) a former military base and naval shipyard, Benicia, and the Carquinez Bridge.

I arrived at the site close to 4:00 p.m. and painted until around 6:00 when some persistent wasps (I think they’re wasps — they’re the yellow buzzing things attracted to meat at picnics) finally drove me away. One kept trying to crawl up my sleeve or into my rubber glove and bit me twice on the wrist.

To anyone watching from a distance I’m sure I appeared to be painting with great flourish as every stroke required swiping at the wasp to move him before I could put a bit of paint on the canvas. That combined with the sun glaring in my eyes and the heat and the fact that everyone else in the plein air group had already left, convinced me it was time to go home.

It’s too nice outside right now to be on the computer so I’m going to keep this short and go paint. I’ve made some changes and additions to my studio that I will post soon as well as some of the paintings and drawings done while I’ve been spending more time in the real world and less in the virtual one while my computer was in the shop. See you again soon!

About the painting: Oil on canvas on panel, 10″x12″, painted 75% on site and 25% in the studio.

Categories
Flower Art Glass Painting Sketchbook Pages Still Life Watercolor

Roses in a Bottle

Roses in a Bottle

(Larger) Watercolor on hot press paper, 5×7″

This was intended to be a study for an oil painting the next day, but during the night the kitties knocked over the bottle, and all the water spilled out, pooling on the studio’s hardwood floors overnight. After their rough night, the lovely roses were no longer such perfect specimens. So this is both their opening curtain and their final curtsy. Mine too, for today. Amazingly (for me) I can’t think of another thing to say!

Categories
Art theory Flower Art Glass Painting Plants Sketchbook Pages Still Life Studio Watercolor

Painting popcorn ball flowers (hydrangeas) instead…

Hydrangeas (popcorn ball flowers)
Larger

Have you ever been so sleepy you’re just slap-happy silly? That’s how I was yesterday. I’ve been trying to change my schedule to get up early and go to bed early but after a few days of doing the former but not the latter, I was so sleep-deprived yesterday afternoon that I just stopped making sense, even to myself.

When I get over-tired, instead of thinking, “sleep,” I think I’m hungry and crave carbs (and now research is showing that sleep deprivation causes weight gain and other health risks…see here and here).  So instead of eating popcorn (or going to bed at 7:00), I decided to paint these “popcorn ball flowers” (as my sister and I used to call hydrangeas when we were kids…and I thought everybody did until I Googled “popcorn ball flowers because I can never remember their real name, and discovered only recipes for making flowers out of popcorn and no references to hydrangeas!).

First I had to refill my watercolor palette because a couple weeks ago I’d washed out all the funky old paint that had been in there for too long. Some of it was getting moldy and all of it was dirty.  Before refilling my palette, I did color tests of all my paints to decide which pigments I wanted to use now. I love organizing things, so this was a perfectly soothing task for a tired mind.

Finally I was ready to paint, and grabbed my homemade 6×8” sketchbook filled with hot pressed Fabriano Artistico paper, and this bouquet of hydrangeas from my yard that I’d plopped into a drinking glass the day before. Instead of starting with my usual ink drawing, I used pencil and then painted using more of an oil painting technique, starting with the darkest darks instead of the lights.

Maybe it was because I was so tired, but I had so much fun, just being playful as I painted and not worrying about the outcome. As usual I wished I’d stopped about 10 minutes sooner and someday I’ll learn that “when you’re 75% finished you ARE finished!”  Some day….

If you’d like to know which pigments I settled on, click “Continue Reading for the details….

Categories
Landscape Oil Painting Outdoors/Landscape Painting Plein Air

Port Costa’s St. Patricks Mission Church

Port Costa St. Patrick's Mission

(Larger)

After gusts of wind blew dirt in my face,  a couple of trains roared by, and a bunch of motorcyle guys on Harleys rode up to have a nice morning beer at the saloon (below), I decided to move from where I originally set up in the unpaved parking lot at the end of the road in Port Costa. One of the motorcycle guys was wearing a DayGlow orange T-shirt that proclaimed, “Can you see me now ASSHOLE?!”

Porta Costa is a tiny town (pop. 250) founded in 1879 as a port for merchant sailing ships, with warehouses, saloons and hotels on waterfront wharves. A few of those original buildings are still there and (except for the church) appear not to have been painted or maintained much since then. This is the hotel that I was originally going to paint, which was originally a bordello and is supposed to be haunted:

I headed up the tree-lined street a couple of blocks and set up behind a watercolor painter from my plein air group who was also painting the church. Halfway into the painting session, automatic sprinklers turned on beside us, spattering the watercolor painter’s full-sheet painting, creating interesting textural effects on her church.  The occasional sprinkle was a welcome relief from the muggy heat for me, since water doesn’t affect oil paintings.

About the painting:

Oil on panel, 12×9″

I ran out of time before our group critique at 1:00 and didn’t get to paint in the beautiful tree that was in front of the church. I figured I could finish it from a photo at home, except that I forgot to take a picture of the church (duh!) I put in a few details from memory and skipped the tree.  The painting was done between 11:00 a.m. and 12:45 with the  sun straight overhead so there wasn’t much modeling or shadows except under things.

Categories
Life in general Oil Painting Outdoors/Landscape Painting Photos Plein Air

Cemetery Conversations on July 4th

Low Tide from Sunset View Cemetery

Version 1: Low Tide: S.F. Bay from Sunset View Cemetery, Oil on panel, 9×12″ (Larger)

UPDATE (one week later):

I did a little revising on the painting below, trying to work with the suggestions people offered. I think there are some improvements (I like the distant hills better and I toned down the sailboats and removed the sign and tried to make the town look more like buildings). I feel like I’ve taken it as far as it needs to go as a sketch.

Version 2:

Revised Cemetery View

Below is my painting buddy Peggy’s painting of the scene (the title is a reference to the view from a cemetery). She painted the clouds and water as they were at the end of our session. With plein air painting you’re always painting what you remember or what you anticipate.

Peggy Anderson: “Angel Island from the Afterlife”

:

What I really wanted on the Fourth of July was a quiet day at home but I’d made plans with a couple of painting friends to go up to the nearby Sunset View Cemetery to do some plein air painting. It was a typical July morning in the San Francisco Bay Area: cold, windy, foggy and cloudy, and even more so on top of the hill where I decided to paint, a spot called “Viewpoint Garden,” with a widescreen view of Albany, El Cerrito, and, shrouded in fog, Angel Island and Marin County across the bay.

Before I got my gear out of the car, a large Chinese family arrived and started heading up the path to the viewpoint. I asked if they were having a service there, and they sent their only English speaker, a young man, to talk to me. He said it was just a small family service and they’d be done in half an hour.

Flowers for the Dead not the Deer

While we were waiting at the edge of the garden, an elderly Asian man came up the path carrying a basket of flowers which he was putting in holders at numerous graves. I asked him if he worked there (thinking people paid to have flowers maintained at gravesites) and he said, “No, these are all my friends and family…over there is my wife, that’s my brother, that’s my best friend, and back there are my parents and two of my other brothers. They all wanted to have a nice view.”

He said that he was 91 years old and grew the flowers in his garden. He showed us how many bouquets were scattered around the grass, having been pulled out of their holders and chewed up my the local deer. He only grows flowers that deers won’t eat to bring to the cemetery on his weekly visits.

Burning Stuff for the Departed:

Meanwhile, the Chinese family were lighting things on fire (possibly paper models of stuff the deceased might need or always wanted in life but didn’t get, according to this article) in a large trash can, creating huge amounts of smoke, as well as burning incense, and taking turns bowing numerous times before the grave of their dearly departed.  I asked the elderly man if they were his family too and he exclaimed loudly, “NO! They’re Chinese, I’m Japanese!” (Oops.)

I suggested he talk more quietly so we wouldn’t bother the family but he continued speaking loudly (despite his two hearing aids), saying, “Oh, we’re not bothering them. Those Chinese people are always burning stuff here and I don’t like it!” Then he regaled us with his (mostly) interesting life history. By then the Chinese family had put out the fires and packed up and headed out, thanking us for waiting. We looked at the grave afterward and it was a man who’d died a year earlier.

Buried standing up?

We were trying to figure out why the graves were so close together in that area—just little placques in the ground a few feet apart. We decided it must be urns of ashes that are buried there, although at first I wondered if people were buried standing up to save space. While that’s unlikely, given the way we think of the dead resting in peace, it did strike me that it would be a perfect metaphor for my life, since I’m always on my feet, on the go, trying to fit so much into every day. It made me tired just to think about spending eternity doing the same.

Catching a Rapist:

Then Peggy  told us about a friend who’d helped catch a wanted rapist. She’d been hiking in a park and decided to use the Porta-Potty. The door was unlocked but when she opened it there was a man inside who gleefully exposed himself. She ran and called the police once she was safely away. The police arrived, arrested him and told her he had a history of multiple rapes. He’d been known to watch a woman park her car and go into the woods. Once she was out of sight he’d disable her car and then offer to “help” her with it when she returned. Yikes!

About the painting:

Despite a very good start, after several hours I’d made a mess of the painting, and eventually got so mad at having lost all of the good beginnings (and the whole day) I rather violently scraped the panel down and threw it away. I’d taken photos of the scene and decided to start the painting over again at home. A migraine on Saturday delayed it another day, but finally on Sunday I gave it another chance and finished it today.

What attracted me to the scene originally was the way the low tide left little stripes of water over mud in the little harbor but by the time I set up and did the initial drawing, the tide came in and it disappeared. I’d never tried to paint an urban view like this before and couldn’t figure out a good way to do it and scraped it off several times, after either getting too detailed or too vague.

Finally, working from the photo, I decided the only solution was to TURN THE PHOTO and the PAINTING UPSIDE DOWN and just paint shapes upside down! That seemed to help. I also really wanted to capture the look of a gray day with some sun and clouds and fog.  This was definitely a tough one and I don’t think I completed succeeded on any of my goals.

That sign sticking up at the bottom in the middle is for 99 Ranch Market, a Chinese supermarket in Albany whose sign really does reach that far above everything else. When I looked closely at my photo there was also a giant red gorilla balloon advertising a carpet store to the right of the sign, but I didn’t put that in the painting. It’s one thing to “Paint the dog before the fleas” but entirely another to paint the landscape before the red gorilla!

If you have any suggestions to improve the painting, I’d be interested to hear them. Here’s the original photo (click to enlarge it):