Oh the agony we go through for a deadline! Almost every artist I talked to about the Melvin Gallery show for the Lakeland Art Guild was torturing themselves about what to enter, composition, color, details! And that is not even considering framing, the most challenging of all challenges.
Don't let art competitions rob you of the joy of painting, someone said. Artists have to develop thick skins, many other someones said. It all depends on the judge, someone else said. I agree with them! There were many stunning paintings entered for the 2018 show. I did not have time to see them all and study them.
Every artist got to enter three paintings to be juried. An agony to pick just the right three. Have them ready to hang and dry. But some of us did it, we met the deadline. Thank heavens! But I knew I had to attend the critique because I knew I was going to have a reject painting or two.
And I was right, no surprise there. I almost didn't go because of my work schedule. I almost did not enter Sunshine Lake. I wasn't sure if it was finished or not. It didn't have a name. I didn't know how much it was. However, I had the foresight to get it framed months before, just in case.
But it is finished, juried into the art show and recipient of my first Merit Award. Wow! What a surprise! Thanks all!
In 2010, Jonathon Linton discusses the white paint debate in his blog (years ago when I took one of his classes). There are so many different whites to choose from, how do you know which ones to use? There is permelba white, zinc white, titanium white, underpainting white, and so on!
You need to read his blog post about white because Jonathon went through and tested many different whites!
He chose three of his top favorites based on how white the paint looked when it dried.
There is a followup article in Scientific American about the chemistry of oil painting. I had read this article and then found Jonathon's studio class which was near my job at the time. It was kismet! I needed this lesson on white too!
When painting with oils, it is important to take some safety precautions. Oil paint takes a little extra consideration, but I love the final results. So I take the time to follow some basic painting safety such as adequate ventilation, keeping paint off my skin, keeping pets and kids away from painting supplies, washing my hands many times, and not eating in the studio.
Okay I'm not so good at that last one. I try to eat before I start painting so that it isn't an issue. I also use good hand cleaner. I haven't painted with gloves yet but am considering it since I am spending a lot more time with my paint.
Keeping hydrated and painting in the shade are important. My outside studio in the summer is unbearable except in the early morning or late evening.
There is really no telling what you will find in there! Also, it probably depends on what bag. In my brush hauler--paint brushes of all sizes and shapes, a deluge of palette knives, postcards for local artists, paper towels, a notebook and pen, pliers, refined linseed oil, turpenoid, a double palette cup.
In my canvas bag--blank canvas and canvas boards from 2x2 all the way up to 16 x 20. I save the larger paintings for my studio, grey palette paper 12 x 16, a hat and sunscreen.
In my French easel--Lukas studio paints set of 12 (20ml) lighter to carry for field studies, a large tube of mixable white, small metal clips, a metal paper towel hanger, palette, more brushes, extra hardware for easel.
Chair, folding chair, rolling crates, tripods, plein air boxes have also been known to make their way into the field with me.
I need to add gloves, wet wipes, and hand cleaner to this list so I'm not covered in paint. Sometimes I roll with an apron, unless I'm feeling free spirited.
I have finally decided to start a painting class to share my experiences in art, color, and plein air. Polk County is such an arts community. There are so many, many opportunities and not enough time to see them all.
Here is a little bit about your instructor--Angela Hansen is a science teacher that spends all her extra time painting and eating too much chocolate.
She received her bachelors degree studio art at Florida State University where she was primarily a studio painter.
Her plein air painting started after her kids were grown and when she took classes at The Yellow Barn Studio at Glen Echo, MD with Walt Bartman.
Since then she enjoys plein air and studio painting and traveling to QuickDraw competitions around the area for plein air painters.