An Artistic Endeavor

I have been using Robert Doak oils for years and I would highly recommend them to anyone knowing that they will get a high quality, high pigment load, artist grade paint for the price of student grade.  But unfortunately he has a minimum order for shipments and since they’re in New York and I’m in California, buying that one tube of paint that’s desperately needed presents a problem.  So I went on a search for a comparable paint that could be ordered in small quantities.

After asking for advise on facebook, seemingly endless googling, and thoroughly reading many different manufacturers websites (keep in mind that I live in the Sierra Mountains so I’m not exactly surrounded artistic input), I finally looked to rationalpainting.org for some experienced advise.

Note:  rationalpainting.org is an exceptional forum occupied and administrated by some of the worlds finest talent with the primary focus of discussing the science of representational painting.

So, after reading multiple raving reviews by some of the Rational Painting contributors, I decided to give Michael Harding Oils a try and, as luck would have it, Dick Blick carries their line of oil paints.

On first inspection, the tubes looked to be of high quality, but wait…they used actual paint on the label to identify the color of contents in the tube…nice touch Michael!!!  It bugs me when I open a tube with the color printed on the label that’s far from the color of the actual paint.

Now to open one:  My first thought was that the opening of the tube was a bit small and that this could be an issue for the colors that require a higher pigment load, but after squeezing a little out I realized that the paint has a near perfect consistency - not too buttery, not too grainy, not too chalky or stiff.   Some of the smaller paint manufacturers tend to have a big variance in consistency from color-to-color.  Although their paints are usually of the highest quality, adding medium to the paint nuts while preparing your palette is required to make the paint ”longer” and more manageable .  This is not the case with MH oils and reducing additional steps = more painting time.

Finally, application:  I was surprised to find that all of the colors were very close in consistency without sacrificing opacity.  The covering strength is excellent which proves all of the claims of MH’s high pigment load.

Summary:
I’m now a true fan of Michael Harding Oil Paints!  The colors are beautiful and vibrant, the pigment load is high and the covering strength is excellent. The consistency is so perfect that it seems to have been tailor made for my needs.   Although I am a loyal user of Robert Doaks ‘flake and titanium white’ and I don’t plan on using any other whites anytime soon, the seven MH colors that I now have are going to be staples in my painting palette and I would highly recommend them to anyone who paints in a similar style.

"Duet" by Slade Wheeler. Painted with Michael Harding Oils and Robert Doak's Flake and Titanium White.

“Self Taught” – two little words that are frowned upon in some circles and praised in others.  I’ve found myself a little embarrassed by my lack of formal education, and until recently, I’ve evaded the subject.  But to be an effective representational painter knowledge is nothing short of a “requirement”.  In fact, representational painting continues to be as much a science today as it ever was, if not more.  The modern eye is more discerning than even a hundred years ago, but we have something that the past masters did not – hundreds of years of representational master works and the ability to study their techniques, materials, triumphs and errors.

At an early age I focused my efforts on learning from the past masters.  Recently while flipping through some childhood drawings I came across a Da Vinci study that I dated at the age of 11.  Drawing and studying from books was followed by a string of mentors that took special interests in my talents, then junior college courses, then sporadic private lessons and workshops.  So, I’m not totally self-taught, but with a young hunger for knowledge without the bankroll or inclination to pursue an art school degree, I had to be creative and decisive in my approach to acquiring a classical education with my limited options.

Although I do believe that a formal education is a valuable tool, I also believe that there isn’t anything that you can’t learn from studying artwork, books, articles, websites or learning from peers, mentors and workshops.  I am in great debt to the artists and teachers out there who have taken the time to put their pens to paper, to explain their processes, give honest informative critiques, and yes – even “blog”.

On average I spend about 10-15 hours a week studying everything from composition to the chemical properties of artist’s materials…and I know that I’m not the only one.  From recent fine art college grads to the retiree who decided to dust off “the old paint box”, artists have questions and ‘trial and error’ being a long and tedious process is a counterproductive way to arrive at answers to the more basic questions.

For a primarily self-taught artist I have been very fortunate in my career, my experience with artists and teachers, and I hope that I can help any painters that are looking for answers to their online questions.

I welcome all artists that have a something beneficial to add to this blog regarding materials, resources and techniques, to comment or email me so that we can benefit from each other’s knowledge.  Thanks!!!

After experimenting with various woods, thicknesses, supports and grounds, and after extensive research online, books and articles.  I believe that I’ve found a relatively fast, reliable method of preparing high quality wooden panels.

Wood

Since I generally paint on a small scale (16” x 20” maximum), I’ve found that building and attaching supports to keep thinner substrates from warping is a step that can be avoided by using thicker high-grade plywood.  Although 3/8 inch ply should suffice for sizes under 16 x 20 inches, I prefer to minimize any chances of warping by using ½ in.

½ inch grade B (or BB) Baltic Birch plywood is my preferred choice.  There are many types of hardwood ply types and depending on your desired results and application, most will work, but I find the fine grain and overall smooth texture of Baltic Birch ply provides an excellent foundation for a smooth finished panel.

Take care when buying plywood that it is made of one-piece layers stacked horizontal/vertical or so that the grain of each layer runs perpendicular to each succeeding layer.  This type of plywood manufacturing is known for it’s exceptional strength and resilliantcy against warping and bowing.

Materials Needed:

• Baltic Birch ½ inch plywood
• Rubbing Alchohol
• Wax paper
• 1” Loew-Cornell 1177 Brown Nylon Brush
• Acrylic Gesso (I prefer Liquitex)
• Golden (brand) Sandable Hard Gesso
• 200 grit garnet sandpaper
• Damar Retouch Varnish (liquid)

Gesso Types:

There are a lot of artists who will devote hours of painstaking labor into making their materials in the tradition of the old masters or because hand made materials are generally of higher quality (which is why I prepare my own painting surfaces).  Store bought panels can have less than desirable finish flaws, warp and even crack.  But when it comes to gesso, I feel comfortable in leaving it to the professional manufacturers and I’ve never had any problems with any over the counter gesso products.

Since the science of painting sometimes brings out the scientist in us, it’s all too easy to get wrapped up in experimenting and making artist’s materials, leaving us with little time to paint.  In a perfect world we’d have assistants to grind and mix pigments and prepare panels but these days we have to pick our handmade vs. store-bought battles.

The Process:

1. Cut plywood to size and sand with 200 grit sand paper.  Lightly round off the corners and hard edges that can keep the gesso from bonding all the way around the board.  Slight scratches, divots and irregularities will eventually be covered with gesso, but you’ll want to sand away any protrusions.
2. Before applying gesso wipe off any excess dust with a towel and remove residual oils by gently cleaning all sides of the panel with a clean towel and rubbing alcohol.  You are now ready to start applying the gesso.
3. With a soft square brush, my favorite being a 1” Loew-Cornell 1177 Brown Nylon (also great for varnishing), brush on a thin coat of regular acrylic gesso in a horizontal direction to the face.  Work the gesso in to the surface and sides and lightly level out the brush strokes.  Let it dry for approximately 2 hours.
4. Once the top and sides have dried thoroughly enough that you feel comfortable flipping it over, lay down a sheet of wax paper and repeat step 2 on the backside of the panel.  Be careful to keep the gesso from running onto the face.  Let dry for another 2 hours.  This coating that will create a strong bond all the way around the panel and will provide a counter layer that will reduce warping and yield a more aesthetically pleasing finished panel.  No additional gesso coats are necessary for the back and sides but you can apply them if desired.  Let dry for 4 hours.
5. Once the face is completely dry.  Lightly sand all sides with 200 grit sand paper focusing on sanding down high spots and very slightly rounding the edges.
6. Wipe away dust with a dry towel and apply gesso perpendicular to the first coat.  Sand let dry for about 6 hours and repeat this step always apply perpendicular to the previous layer until you have completed 5 coats.
7. Sand the final regular gesso coat and apply Golden (brand) Sandable Hard Gesso is the same fashion, sanding between coats until you’ve applied at least 3 coats.  The Sandable Hard Gesso is excellent for achieving an ivory finish in about half the sanding time.  Let completely dry for at least 8 hours.
8. After the final coat is dry sand with 200 grit sand paper until you have reach your desired surface texture.  Personally I like a perfectly smooth ivory-like finish so that the tooth of the panel doesn’t detract from the realism effect.  Wipe away dust and you are ready for the sealing layer
9. I usually draw a pencil outline of my composition directly on the panel, this step helps to seal the pencil so that the graphite doesn’t lift while painting.  Sealing will also help reduce the gesso’s absorbency and keep the paints oils from “sinking in” leaving you with dead/flat spots.  Apply a “very” thin coat of Damar Retouch Varnish evenly to the back, let dry for 4 hours and apply it to the face.  Careful not to let it pool – keep it very thin.  Damar Retouch Varnish is 50% Damar Varnish and 50% turpentine, it will evaporate very fast leaving a varnish coat that is nearly undetectable by sight or touch.  Let dry for 8 hours – you are now ready to paint!!!

No Solvents!

For years I have been using safflower oil to clean my brushes with excellent results. It’s an effective brush cleaner, conditions the bristles, and best of all it’s completely non-toxic. In fact, it’s edible!

Note: Safflower oil will make your brushes a bit more “slippery” but after the first piece you’ll find that you’ve adjusted with absolutely no negative consequences.

Here’s what you’ll need:

Brush Washer – I use a “Richeson Deluxe Brush Washer”. I’ve replaced the inner metal strainer with a small plastic spaghetti strainer because porous metal wears down bristles faster than non-porous plastic.

Safflower Oil –  Currently I’m using Doak brand Safflower oil. Since the paint settles at the bottom below the strainer, I’ve found that I only need to fill the brush washer once a year.

I’m currently experimenting with walnut oil. Walnut oil has a thinner consistency that I find very appealing. Safflower tends to be more syrupy. I’ve read interesting articles about specific grocery store brands being just as effective as their more expensive artists grade counterparts, so I’m looking into it…I’ll post my findings.

Liquid Hand Soap - Dial is my preference. Not for it’s brush cleaning ability (any should work), but that’s what we use in our household to wash our hands.

Hair Conditioner – Any should work.

Solvent free brush cleaning process:

I keep the brush washer next to my palette while I paint. If an undesirable amount of paint has built up on a brush, first wipe away the excess with a towel. Just wiping the brush clean should suffice if you’re using a “like” color or switching from a lighter to a darker value or from a lower to higher chroma. If you are moving to a drastically lighter value, lower chroma or different hue, you should clean your brush.

For a complete clean – swirl it in your brush washer, gently dabbing it on the strainer, then dry the brush on a towel being careful not to mash the bristles.

Safflower and Walnut oils are both great for daily brush cleaning, but if you plan to let your brushes sit for more than 24 hours, the oil will begin to solidify, so I’d suggest a final cleaning with hand soap. First pump a little onto the tip of the brush, then carefully dab and swirl the bristles, rinse, and repeat until there is no visible pigment in the rinse. Be careful not to over-work your brush while cleaning. It’s very easy to hurt the natural shape of your brushes.
Finally, add a very small amount of hair conditioner to the bristles and reshape the tips with your fingers. The conditioner will harden and keep the natural form of your brushes and potentially condition and repair the bristles. The conditioner washes away cleanly when dipped in the brush washer oil before the next use.