Making a Studio Painting

My Studio Process – From composition to painting

Below are the basic steps I take when creating a studio painting.  I also do plein air painting, which is a different animal altogether, and I don't describe here.

    Subject: Decide on subject matter and acquire reference images.  Here, I had the awful task (ha ha) of visiting some puppies in a pet store, having my daughter hold them for me while I took some reference photos.

Compose/design : This is the most crucial stage of the whole thing.  It includes cutting and pasting (the digital way) cropping, combining images, adjusting values/colors, and moving things around on the ‘picture frame’ to achieve a harmonious, dynamic design.  I will often section off the picture plane into thirds, as well as use diagonal lines and the concepts of ‘sacred geometry’ to help with composing.

Original Image of a Jack Russell Puppy I met in a pet store with a cupcake that I Photoshopped on her head.

Gridded Panel with sketch of design

·         Grid: I usually digitally overlay a 5x5 grid on my final image then transfer the design to my gridded panel.

·         Transfer design : I use Prismacolor colored pencils to sketch the design onto my panel. They write nicely on gesso and erase pretty well too. My favorite colors to use are white, light gray, burnt sienna and indigo.  Without fail, an excellent composition and drawing will always make for an easier painting to paint. 

·         Mix colors:  I almost always premix all of my colors before laying a brush to my panel.  I will carefully study my design on my tablet, to accurately mix and match the colors.  I sometimes “posterize” my image with one of my editing apps,  This simplifies the colors in my image so I can better see what is going on.

·         Coat panel with medium:  I mix my own medium and use a big brush to apply it to the entire panel, if I will be painting the whole thing in one day.  I then lightly wipe with a paper towel so it’s not drippy.

Panel has been coated with medium and I am painting!  Adding darks first.

·         Paint!:  Finally, I get to paint.  I have always said that the actual painting of a studio painting is about 35% of the process and it generally holds true.

·         Alla Prima:  If I am painting a painting that is 11”x14” or smaller, I will strive to get it done in one sitting.  I prefer to paint Alla Prima, or wet into wet, as I like the spontaneity and brushwork I can achieve with this method.  Anything much bigger than this usually requires more painting time.  If I know this is the case, I will only coat the segment of the image with my medium that I know I will be able to finish at that time and leave the rest untouched until I am ready to paint on it.

Still painting wet into wet - Alla Prima

·         Dry: Once I am done, my paintings take about 2 weeks until they are dry enough to frame and be moving around safely.

Finished Painting!  After all of the colors are added I do some blending with my fan brush

·         To varnish or not to varnish:  I prefer to not varnish my paintings as my method of painting usually has an even sheen, so I don’t need to do it for that reason.  Also, varnishing should be done only after the painting has had at least 4-6 months to dry. I include info on the back of my painting as to whether or not it is varnished, so the person who purchases it knows. I will gladly varnish any painting someone has purchased from me, later down the road, should they desire.

·         Frame:  I make all of my own frames from wood I purchase or from reclaimed barn wood and other reclaimed wood.  This is a process and art form in and of itself, which is too detailed to go into here.

Relatively Essential Oil Painting Supplies

Here's my list of the top 12 or so things I currently wouldn't want to do without in my studio.  Most of the things are pretty standard fare, but for the uninitiated and beginning oil painter, all of the supplies out there can seem daunting.  I have tried to keep my supplies at a minimum and the following list gives what I consider the essentials for painting successful paintings in comfort and ease.

 

"The Sentry", Oil, click here to purchase

Paint:  I prefer Gamblin artist grade oil color (but have other brands in my box too) and typically use a limited palette of 5 colors:  Alizarin Crimson, Cad. Red Med., Cad. Yellow lt and Ultra Marine Blue.  In addition, I use Titanium White.  With these 5 colors and white, you can mix almost any color you can think of, including chromatic Black,

Medium:  I make my own medium from 2 parts Linseed oil, 1 part Gamsol (an odorless solvent) and 1 part stand oil

Substrate:  I paint mostly on wooden panels that I purchase ‘raw’.  They require sealing, which I do with several coats of a sealant called GAC 100 (put out by Golden) and several more coats of white gesso. Sometimes I stain my panels a color before I sketch on them.

Brushes:  My favorite brush is the Blick Masterstroke Interlocking Bristle Brush. I prefer flats, sizes 3, 4, 6, and 8, but also use filberts from time to time.  I also really like Silver Bristlon Flats & filberts and find a small fan brush to be indespensible.

Assorted palette knives for mixing and painting, scrapers, a kemper clay shaping tool that I sign most of my paintings with plus ample paper towels or rags.

Easle:  I have acquired quite a few easels in my time as an artist. They all serve different purposes and needs and I can’t say I have a favorite. 

Palette:  I prefer a glass palette that has been painted a neutral gray on the back. I have made all of my glass palettes inexpensively from spare glass I had.

Poster Putty:  also known as museum putty or picture mounting putty.  I can’t tell you how many uses I have found for this stuff but I use it daily for something in my studio!

Tablet:  Sounds funny, but I use my Ipad and my Samsun S10 all the time for designing compositions and to display my reference photo as I am painting.

Apps: Any photo editing app that has basic editing capabilities such as cropping, color adjustments, brightness/contrast are very important to quickly adjust your reference photos. Some of my favorites are PicShop Pro, Photopad, and pic collage. I also use Photoshop on my laptop for more complex compositions.

Good lighting:  I have an overhead light, and two clip lights that illuminate my panels from behind me.  They all have LED bulbs that have a CCT of 5500 K. I am also fortunate to have a studio space with a large North facing picture window.

Apron:  This is also going to sound funny, but maybe some of you can relate.  I must put on my artist apron before I begin to paint.  It somehow puts me in the right frame of mind, perhaps because then I don’t have to spend any time thinking or worrying about getting paint on my clothes.  I remind myself of Mr. Rogers and how he had to change his shoes and sweater at the beginning of every episode!