Friday, July 5, 2013

talking a little shop

To answer Beth's question posed in the comments of the last post, I will try to explain the difference between two of the most popular traditional and contemporary choices artists have to paint on today. 
I prefer one over the other, but it is based solely on preference. Both are archival quality and galleries accept both supports (or painting surfaces).
Above, is pictured what I was heading to Lowe's for materials to build. A cradled hardboard is basically a piece of masonite painted with several layers of gesso (special off-white acrylic paint used to prepare rigid or flexible surfaces for painting- sort-of like an artist's primer) and then glued to a box frame, or cradle.

Below are two ways to wrap a frame with canvas. One leaves the frame on the side somewhat exposed and will need to be framed, the other wraps all the way around the internal frame and can be hung as is (assuming the board is wide enough to not look weird unframed on the wall--I would say no thinner than an inch or inch and a half).

Because I was on my way to get materials for the first support described, you are safe to assume that masonite is where my preferences lie. I do not like the texture of canvas, or the way it gives when the brush makes contact. Certain techniques in painting, like rubbing out, certainly lend themselves more to using canvas, but I find I much prefer a rigid surface. A side note, the Mona Lisa was painted on poplar board.

Tuesday, July 2, 2013

back to it

I am working on a recent commission. I wish I could give the subject's name, it is such a good one. But alas, he is a six year old boy and I am sure I would be breaking some cosmic-internet-child-protection law or something. Can I give first names?
Anyway, I have not accepted a commission in over 5 years. And I wanted to talk a little about that today. I have a degree in Illustration, but it did not take me long to realize that I hated having the subject matter of a project dictated to me. Hence, my path to gallery representation and fine art. What is it about tasks of obligation and expectation that suck the fun away from the job at hand? Don't get me wrong, I would not trade my background in illustration, I just don't like being told what to do in the studio.
So what made this commission different? Why would I consider it, and ultimately accept it? The money? Something to jump-start me? (I took a few weeks off after SQUARED). I still don't know.  But I am excited about it. This little boy melted my heart during the photo shoot and I'll post progression pictures as I go along. (Probably shouldn't post the references.)

Get ready Lowe's. I am coming with my four children to get materials to make my own cradled gesso board panels.

It's party time, chumps.

Monday, July 1, 2013

cover of Country Roads Magazine

What an awesome opportunity to have my work featured on the front cover of THE CUISINE ISSUE of Country Roads Magazine out of Baton Rouge. (Maybe the issue will help improve my culinary skills- My sister-in-law loving jokes that my kitchen is wasted on me.)