Presenting one's work

I recently had a wonderful tour of the Frames Conservation Department at the Tate, where Alastair Johnson explained many of the processes that go into the restoration of antique frames as well as the creation of new frames for museum works. For an overview of how a frame is constructed (I think maybe I always thought maybe they were just extruded, like Play-Doh), take a look at http://www.tate.org.uk/conservation/frames/cruikshank.htm.

It did remind me, though, how a really inappropriate frame can detract from a painting, and how a very good one can enhance it. And gold frames do not an Old Master make. Because it's a pretty ubiquitous contemporary aesthetic, and also for reasons of economy, I've always used extremely simple light-colored frames. I wonder: if I really experimented to find exactly what kind of frame might most enhance my work without overpowering it, what would it be? And could I make it myself? Creating a new frame using the techniques of the past looked like a lot of fun. You could do a lot with wood and molding from the lumber store, carpenter's glue, some clamps, and a miter saw.

It's often easy to see when something is poorly or inappropriately presented, but studying the painting that is quietly and harmoniously supported by its frame may give some clues about how to best present one's own work. A big question to ponder.

Cleaning up

Here's today's painting, to be continued in the studio. I hate cleaning brushes, and today I found a new way to clean them that was really cheap and quick. I bought a bar of Fels Naphtha soap -- the kind my mother used to rub on my father's shirt collars before laundering them -- and tried it on the brushes, which had simply been wiped with a rag. The paint came out easily, and the bristles were clean and soft when dry. It will be interesting to see what kind of long-term effect it has on the brushes, but so far it's encouraging.

Another product I like is Winsor & Newton Brush Restore, a liquid for soaking really dried paint brushes (oil or acrylic). It does work when you've forgotten to clean up. For temporary clean-up in the studio, oil works well -- vegetable oil or baby oil. There are a lot of good products out there, but the simplicity of this bar of soap is attractive, not to mention the price.

Saw some wonderful landscape watercolors at the June Fitzpatrick Congress St. gallery this weekend by the late Carl Gordon Cutler. Sort of Fauve-y, sort of Burchfield-y, and a little Marin-y, but despite those points of reference, very much his own. Go look.

Outdoor painting #3 - more gizmos

This isn't an outdoor painting gizmo per se, but it is definitely one of the most money-saving devices I've used - a tube wringer. Gets those last bits out of that expensive tube of cobalt blue very well. They can be purchased from numerous art supply companies and also at http://www.tubewringer.com/index.php. Opt for the heavy duty one - works best on those fat tubes of white paint. Here's the outdoor painting part: when your tube is half empty, reserve it for your outdoor painting kit. Full tubes of most paints are rarely needed, unless you paint like Van Gogh, and you'll carry less weight.

For small plastic containers for transporting solvents, try urine specimen containers. I discovered a barrel of these at a surplus place labeled: "Urine Specimen Jars - 6 / $1.00 - Never Been Used". Check out the fit of the lid if possible; hopefully they are leakproof for all purposes.

Outdoor painting #2 - easels

Since I teach workshops, I am asked for easel recommendations. There is never an easy answer. Do you like to stand or sit while painting? How much can you carry comfortably? Would it be uncomfortable for you to bend frequently while painting? For me, the best solution to date has been the classic Jullian half-box French easel, because: 1.) it's stable; 2.) I like the drawer at waist height; 3.) the hardware is good (no wing nuts that fly off or latches that pop springs, as in some other brands), and 4.) it allows me to carry a few panels/canvases on the front with ease. I put most of the weight (paint tubes, brushes) into my backpack, and added a better shoulder strap. The recent Jullians have given up the metal drawer in favor of a wooden one -- not an improvement in my book. Other options of interest are the aluminum Soltek (expensive), the Anderson with a nifty swivel so you can turn your painting out of the sun, and for lightweight, the Winsor & Newton Bristol. All have their pros and cons. If anyone has discovered The Perfect Easel out there, let me know!

Outdoor painting tips

I've always been a little confused by the mystique attached to painting outdoors. If you paint nature from observation, of course you have to go outside to do it, unless you have a very good window, but is it more romantic if we do it in French (en plein air)?

In any case, often people new to it overload themselves with stuff, or could use some help about useful things to bring along. My keywords for painting outdoors are: cheap, lightweight, and time-saving. Hopefully some of my ideas will lead you to come up with solutions of your own. I made a brush holder (or conteneur des pinceaux :)) from a Moravian cookie container, string, and lots of tape. It hangs from the wing nut on the side of my French easel and ties to the leg. I also put some self-adhesive Velcro (invented by a French person, not to mention the easel) on it and on the leg to make it a little more steady. It's been working well for years, cost almost nothing, and I really enjoyed the Moravian cookies. The elegant paper towel device is a binder clip from Staples; I carry of lot of these in various sizes because they are so useful. Today we made a makeshift hat for my painting friend who had forgotten hers by using binder clips to clip a piece of cardboard to her hair.

Why blog?

I hope to share with you some of the useful information I've gathered over thirty+ years of painting, as well as links of interest, and any profound thoughts -- if I have any.