The signage and awnings on this corner in El Cerrito caught my eye, being an interesting eyesore. Only the icky Golden Gate Adult Books and Movies store still exists, just the signs remain for “Shirt Laundry &” and “TOOL.”
The “Tool” sign made me laugh since it has many connotations including one I’ve heard used lately to mean a dorky, loser of a guy (e.g. “What a tool!”)
When I saw that this month’s Virtual Paintout was taking place in Manhattan, I wanted to paint the Lower East Side tenement where I lived when I made my big move to New York City from San Diego, California at the age of naive and tender age of 19, chasing my dreams.
I couldn’t find the building where I lived on East 13th Street between Avenue A and B (possibly torn down and replaced by a small community garden) using Google Street View but I could see that now it’s fluffy with foliage and yuppified with yoga studios. There were no gardens or trees on East 13th Street when I lived there, just trash cans, junked cars and the occasional group of men playing dominoes on card tables in front of their storefront church downstairs or throwing dice on the corner by the drug store.
Next I looked for my favorite Greenwich Village cafe back then: the historic Le Figaro Cafe (New York Times article) which survived 50 years before closing down in 2008. It had famously been the haunts of Bob Dylan, Lenny Bruce, Dave Van Ronk, and Jack Kerouac.
During that year in NYC, I visited Le Figaro weekly for a little taste of home: their California Burger contained actual lettuce and tomato, unlike all other NYC burgers that were just bun and meat. They also served great espresso that you could sip while playing chess or people watching. (Although to be honest, at 19 I was more interested in their ice cream floats than espresso.)
I couldn’t find Le Figaro so I painted the next corner, Bleecker and Sullivan, which interested me as a subject. It turns out I gave up looking too soon, because in writing this post I actually found the remains of Le Figaro on Google Street View:
When I arrived at Miller/Knox Regional Shoreline the sky was gray and cloudy but even in the fog the park had so many great views: a salt water lagoon, Mt. Tamalpais across the bay, a fishing pier, an abandoned ferry landing, beautiful trees, and across the road, a railroad museum and a squat yellow building that houses a motorcycle club.
I finally picked a spot and got started with the above thumbnail sketch. I set my ViewCatcher to 8×10 and looked through its “window” to choose the composition. Then I put the ViewCatcher on my sketchbook and traced around the inside of the window to outline a box in my journal of the same proportion. By the time I was ready to add watercolor to the thumbnail sketch most of the fog had lifted except over the hills, and the sun was shining.
Above is how the painting looked when I brought it home. The composition needed work: the picture is evenly divided in half with 2 trees on left, 2 trees on right and an empty center. The lagoon and bay should have been different colors. Too bad I’d ignored my thumbnail once I started painting because it had a much better composition.
I tried to continue the painting from a photo but the photo didn’t match my memory of the colors and light, even after Photoshopping it (below). But it did at least offer some clues for fixing the composition, like adding the sailboats (duh!).
Maybe I should add in the little “No Swimming” sign (only putting it on the left side as I did in my thumbnail). What do you think?
I think I’ve finished this painting (but then I thought that several times before). The last time I thought I was finished, I looked back at the notes I’d written opposite my journal sketch about what interested me in the scene and my goals for the painting. I saw I’d missed a point or two and worked on it some more.
Now I’d really appreciate some honest feedback:
Do you think it’s finished or does it still need something, and if so, what do you suggest to improve it?
This was painted with Holbein Aqua Duo water-soluble oil paints. It’s such a joy to oil paint without odor, to thin paint to a wash without solvents, and to mix water instead of turpentine with the Duo linseed oil to make painting medium. The pigment quality, drying time and consistency is identical to regular oils.
I was feeling so proud of myself for finally setting up a compost bin for food scraps and thought tonight’s red bell pepper contribution looked pretty enough to paint. After I drew the contents in ink, I grabbed what I thought was a spray bottle of water and sprayed all the colors in my palette to wet them. Then I smelled the bleach.
Refusing to believe there could be bleach in there since I remembered emptying the bottle and washing all the bleach out, I sniffed the contents, and stupidly even tasted the end of the sprayer tube, convinced it must be water. Nope, it still had bleach in it and now I have the taste of bleach in my mouth, even after a cup of cinnamon tea.
Finally I remembered that I’d “temporarily” re-filled the spray bottle with a bleach/water mixture again when I needed to spray something to de-germ it, and that time, hadn’t emptied it.
The next day
Although I painted this sketch with the bleachified paint, I decided it wasn’t worth taking the chance to continue using the paint. I soaked my palette overnight in the sink, and then used paper towels to soak up and scoop out the big blobs of paint remaining.
And now I have a nice clean palette, filled with nice fresh watercolor paint. And I used the spray bottle of bleach mixture to clean the sink afterward. The sink is nice and white. And the bottle is now marked “BLEACH!”
After work Tuesday night we met to sketch at Lake Merritt which is across the street from my office. I guess I drank too much coffee that day because I couldn’t settle down and focus. There was a fascinating parade of people walking by, all talking to each other or on cellphones, leaving bits of conversation in their wake.
I warmed up with some sketches of the local seabirds and passing people, noting a few conversation snippets. That’s an old Chinese lady with a pole over her shoulders carrying huge garbage bags on either side that were bigger than she was. I assume she was gathering cans to recycle for a few dollars.
When it got cold and windy we headed up to my office on the 25th floor and drew the view out the window. I liked my sketch of the building and tall trees at the bottom of the page but instead of stopping there, I kept drawing until the page was full. I didn’t like that so tried various ways to hide the rest and finally pasted ruled tracing paper over it.
I got inspired to try water-soluble (aka water-miscible) so researched which brand had artist quality paints made with real, archival pigments that performed most like regular oils. From my reading, Holbein Duo Aqua Oils was the answer.
I bought 3 colors (Cad Yellow, Napthol Red, and Ultramarine Blue) and white and gave them a go with this happy little painting above from a photo and watercolor sketch. I really, REALLY enjoyed working with them.
Indeed they worked exactly like oils, but with no solvents, no odor, and brushes clean up with water! To thin the paint you can use a little water or Duo Linseed Oil. The consistency was nearly perfect but I used a tiny bit of water because I like my paint smooth. Next time I’ll try the oil.
After working with the Golden Open Acrylics for several months I became frustrated with the way they dry darker and how sometimes the paint gets tacky or dry in minutes (outdoors) and other times stays sticky for days.
When I paint, I like trying to match the colors and values I see, so I’m disappointed when I paint with Open Acrylics and the painting dries to look completely different. Supposedly they only shift 10% but I just don’t seem to be able to guess right when mixing (and don’t want to have to guess!)
With the Duo oils I loved being able to mix colors and have them not change, and to not worry about the paint getting sticky during a painting session. I spent about 2 hours on the painting above last night and it’s still wet today. And, because I could clean the brushes with a swish of water while I worked, I only used a few. Clean up was quick and easy, with a little Masters Brush Cleaner for the brushes and a spritz of water and a paper towel across the palette.
Holbein Duo paints are more expensive than the other water-soluble brands because of their higher pigment load and use of more expensive pigments. Their prices are about the same as regular artist-quality oil paint. From my research and my first experiment with them, they’re worth it. I’ve ordered a few more colors and look forward to trying them out for plein air painting too, where I think they should be ideal.
P.S. I know you can use regular oils without any solvents, and that you can clean up regular oils using walnut oil followed by soap and water. But it means painting with thick paint and spending even more time in the clean up process.
It’s springtime in California and those famous “golden rolling hills” are actually a million shades of green right now, thanks to all the rain (which we probably won’t see again until next winter). When my plein air group went to Borges Ranch in Walnut Creek last month for our paint out, I used the time to hike, sketch and take photos. Then I made the painting above in the studio from my photos memories of the day.
You can see my recent sketches of Borges here. The two Borges paintings below from 2009 and 2008 help me see that I am making progress.
I really like going out sketching with the group and experiencing everything about the day without the frustration of trying to make a 2-hour painting as the light and scene changes completely. I’m better suited to doing sketches in the field and paintings in the studio.
Last Sunday I tried again to paint on site. I thoroughly enjoyed the sounds of birds, crickets and frogs in the meadow where I painted in the sun along the bay in Benicia. The painting was a 50-50 flop that might be salvageable but I took some photos which I altered in Photoshop to match my memories, from which I will make a painting
I’m guilty of anthropomorphizing when I draw or paint. I always seem to see human shapes or body parts in inanimate objects. I see tongues, hips, elbows and other body parts in flowers, plants, fruit or even lampposts.
So when I set up this still life, the two paired pears with one alone behind them reminded me of junior high, when two girls would whisper to each other about another, who would be left out of the conversation. Sometimes I was one of the gossipy whisperers; just as often I was the one left out.
Girls having a sleep-over would phone a friend and try to get her to say mean things about someone who was there, secretly listening in. Then after she’d said, “Mary’s butt is too big,” Mary would speak up and say, “Hi, This is Mary. Thanks a lot!” The next week it might work the other way around.
I learned the hard way not to say things about people which I wouldn’t want them to hear. The lesson gets reinforced regularly by a weird sort of karma that happens to me. It almost never fails that if I do speak about another, they unexpectedly appear, often from behind me, just like in the painting.
About the painting
I painted this on a day when I just had a couple hours and wanted to paint with oils. I didn’t take time to plan the composition and did very little with the set up, originally using my black light box as the background. This is how it looked originally before I revised the background, made some adjustments between the two front pears, and glazed the painting with Indian Yellow.
I thought the original version seemed cold and uninviting. I like it better now, with the softer, warmer feel and the rounded shape of the “table top” instead of the harsh horizontal line.
I painted this from a Google Earth street view photo for the Virtual Paintout blog. For the month of January they are painting Corsica, France from images on Google Earth. I’d heard of Corsica but had no idea where it was so it was fun to learn a little about it. And I’d never really explored Google Earth before (except for looking at my house) and was amazed. You pick a spot and then click the arrow to move further down the road, not knowing what you will come to until you get there, just like real travel. You can also swivel the view to see what’s off to either side. A town named “Mute, Corsica” intrigued me so I started there for my virtual travel.
I spent way too long exploring Corsica and only had a couple hours left to paint last weekend once I’d picked an image. But the painting went really well and I probably should have just left it as it was. But I came back to it today to do some “finishing.” But I’d lost my focus so did some painting, wiped it off, painted, wiped off. Finally I gave myself a pep talk: Focus and Finish! I did.
Fini.
Jana Bouc, Artist 