THE CIRCULAR INFLUENCE OF PAINTING, INTAGLIO, AND WATERCOLR, PEN & INK

I have been working on a new series of landscapes which I am really excited about. I realized that my working method as of late had a circuitous path of influence. I found that I usually began with a watercolor and pen & ink study. This naturally lent itself to a etching, hand colored with water media. This etching led me towards a painting which incorporated some of the  influences of etching and the watercolor, pen & ink studies. 
This new series utilizes a multiple image format. This is commonly referred to as a triptych if the painting is subdivided into three images, tetraptych for four images, pentaptych for five images, hextaptych for six images, heptapych for seven images, octaptych for eight images, and so on.  Through the use of multiple images, I am able to convey a more accurate portrait of place. I will be posting two examples of this method. And, then I will post a painting as it progresses, with the preliminary water color and pen & ink, and the corresponding etching. 

EDITING PHOTOS FOR WEBSITE IN PHOTOSHOP ELEMENTS

This is the process I use to prepare my art work for my web site. It is not intended for professionals, or as a sole source of information for anyone. 

To transfer photos from camera to computer:

-Turn camera mode dial to green rectangle

-Plug in cable to camera and into computer

-Turn camera on

-Use Iphoto to transfer photos

-Camera will transfer photos

-Choose “Import Photos” after the transfer is complete

-Review your photos that you just imported and make note as to which you think are best

-Make a new file on your desktop and name it

-Select the photos you want and drag and drop them to that folder

-Import those photos to Photshop Elements Organizer: Open photoshop elements, Open the organizer, and import your photos from the desk top. Photoshop elements will not work with Iphoto.

-Later, transfer these images to the appropriate file in the X Drive

Open Photoshop Elements

-File/open/select your photo from your new desktop folder/ open

-Choose hand icon/ fit on screen

-Choose crop icon/ move to outside of your image area that you wish to crop/ position crop lines/ choose green check

-If image is askew, you may need to custom rotate it

-Adjust the color, levels, sharpness, etc.

-Image/resize/image size

Pixel dimensions- make longest dimension 550. By choosing “constrain” the smaller dimension will automatically reconfigure.

Don’t worry about Document Size but, choose “inches”

Resolution 72 pixels/inch

Check: scale styles,  Check: constrain proportions,  Check: Resample image,  Bicubic

Select OK

-Hand icon/ fit on screen

-File/ save as/ rename your image with “RV”. If more than one image, you may need to name as “RV 1”, “RV 2”, etc.

-Choose your folder that you recently named on the desktop to store your RV Image into.

-Format/ JPEG

-Include in elements organizer,  -Embed color profile,  Save

-A new window appears  -Matte: none,  -Image options,  Quality 8 High

Format options-  Baseline optimized,  OK

Hit the X to close your image out of photoshop elements (Top left above image)  

TAKING PHOTOS OF ARTWORK

PHOTOGRAPHING ART WORK WITH CANON EOS REBEL XSI

I’ve been having some problems photographing my artwork. A new camera, new photo editing software, and a new photographic work space have compounded this issue. However, I do want professional looking images on my web site. Sometimes the photos come out well and sometimes it’s a bust. There’s a ton of information to wade through. I became frustrated with the manual. Manuals are written by people who already know how to operate the machine. They assume much is already known by the user, and they explain it coming from their knowledge base. The ignorant user, myself, wants to understand it from an operational stand point. How do I get the camera to do this action for this purpose? What am I doing wrong? So, I’ve decided to delve in deep, and to write down what I have learned in hopes of being more consistent with my usage. I hope you find this information of value. It is not intended to be a guide for a professional or as a sole source of information. 

LIGHTS, CAMERA, AND ART WORK PLACEMENT 

Lights should be at a 45 degree angle and parallel to the camera. In other words, imagine two isosceles triangles that are placed so that their right angle(90 degrees) abut each other with one common side, each having a 45 degree angle facing upward. 

-The art work should be centered at the top of these two triangles so that the art work is parallel to their common, base side. 

-The camera is centered directly across from the art work at the juncture where the two 90 degrees meet, and is parallel to the art work. 

-Place the lights at the two unoccupied 45 degree angles, extending out from the base sides. The camera, and your two lights will all reside on the base. Position the lights so that they project on the art work at the same 45 degree angle. 

A plumb line and T square are helpful for this. 

If the art work is a long horizontal piece, position the lights so that each shines in centered half of the painting.   

LIGHTS

A pair of Lowel Tota-Lights and stands, Model #T1-10.

EASEL

Make sure easel cross bar is level. 

The easel should not be totally upright. I have had artwork fall off when the easel was totally vertical.  Instead, adjust the camera to match the tilt.

TRIPOD

Position the tripod so that the camera can be tilted to match the easel’s tilt. 

Determine the distance from the art work.  It’s better to move the camera closer than to use the zoom. The art work should fit tightly within the view frame. 

The camera height should be in the center of the art work’s vertical height.

Make sure that image is equally distanced vertically and horizontally from the outside of the view frame.

Make sure that the tripod will be able to be freely adjusted. Make sure that the legs are of the same height by closing the legs together and comparing the length. Positioning of the tripod takes some time to finagle.

LENS-Canon EF-S 18-55mm 1:3.5-5.6 IS

This is not the best lens but, it is adequate. A zoom lens or a macro is not necessary.

CAMERA

The camera, in this case, is a Canon EOS Rebel XSI.

The camera, of course, gets mounted to the tripod. Don’t screw the camera to the tripod to the point that the screw will penetrate the camera case. 

CAMERA BUTTONS AND DIALS

STABLIZER- Located on the side of the lens rim near the camera. PG 35.

This function stabilizes the camera to prevent blurry photos from the camera shake from your body.

Leaving the stabilizer on uses camera battery and is not necessary when using a tripod and the self timer. 

AF/MF- AUTO FOCUS/ MANUAL FOCUS. Located above the STABILIZER, on the side of the lens rim near the camera. PG 33.

This function enables your lens to work with the camera. You can still manually adjust with this Auto Focus selection. 

Set to AF.  

DISP- DISPLAY. Located to the right of the MENU button. PG 42.

This function enables or disables viewing of your selection options on the LCD screen before shooting.

This is helpful as it allows you to know what you selected and if your battery is running low. 

This function is different from LIVE VIEW SHOOTING- PG 95- 97.

“- , CENTER NOTCH, +” ICON- DIOPTRIC ADJUSTER. Located on the left side of the eye viewer. PG 36.

This function alters the lens focal length to compensate for not wearing glasses. 

One of the notches is larger than the rest to indicate the central position of the diopter. 

Adjust the diopter so that the squares in the eye viewer are in sharp focus.

  

ISO- IMAGE SENSOR Sensitivity to light. Located next to Mode Dial. PG 57. 

ISO is a means to digitally alter the image in the same way that SLR cameras  use different types of film speeds.

The higher the ISO, the more grainy the film. Made for shooting fast moving objects, or low light conditions.

Press the ISO button and view in the LCD screen. Use the UP and DOWN ARROWS near the SET button to scroll up and down to AUTO. Press SET to set your selection.   

MODE DIAL- Located with the ON/ OFF SWITCH. PG 20

This selection allows for a variety of setting priorities for different shooting purposes. 

AV- APERTURE VIEW- Located on the MODE DIAL. PG 72.

This setting allows the Aperture to take priority over Shutter Speed (Tv- TIME VALUE). It also allows more options for your camera than the BASIC MODES.

Since Depth of Field is critical in photographing larger artworks.

Set the MODE DIAL to “Av”.

F NUMBER- FOCAL NUMBER. There is no icon or external labeling for this important setting but, it is controlled by the MAIN DIAL. Located next to the shutter button. The F number setting can be viewed in the LCD screen if the screen is enabled in DISPLAY. PG 72-73.

This function determines the size of the aperture opening when shooting. 

The aperture can be set from F-1.4 to F-22.  

F-1.4 will give sharp focus to foreground objects, but blurred focus to background objects. A smaller F number works well for small art works. 

F-22 will average the focus so that foreground and back ground will be more in focus. However, neither foreground or background will be in sharp focus. The larger the F number, the smaller the aperture opening will be; meaning the lens will admit less light as well.

If the aperture display in the view finder blinks, the aperture setting is incorrect and is either admitting too, much, or too, little light.  

A larger F number works well for large art pieces but, F22 is probably more suitable for landscape photography than art work.

F 6.3 for a 6 x 18” piece

SHUTTER SPEED- There is no icon or labeling for the specific shutter speed. Shutter Priority can be selected on the MODE DIAL as Tv (TIME VALUE). However, APERTURE PRIORITY is the better choice for photographing artwork.  The shutter speed number appears to the left of the F number on the LCD screen . 

If the shutter speed is blinking, it means that shutter speed will not work with the aperture you have selected; you are not getting enough light.

Adjust your F NUMBER to attain a workable shutter speed.

PLUS+ MAGNIFY/AF POINT SELECTION ICON- AUTO FOCUS. Located on the top right corner above the SET button. PG 61

This function determines how broad or narrow your focus will be. 

 Press the Auto Focus icon. Look through the viewfinder eye piece.  Press the SET button to toggle between focusing on the central light or having all lights showing red; meaning a general focus on the central area. Having all lights showing red is preferable. 

Turning the MAIN DIAL (located next to the shutter button) will allow you to choose one auto focus light anywhere within this array, which is helpful if you are photographing a person positioned not in the center. Not sure which focus setting is best. Adjusting the auto focus so that all focus lights show red in the view finder when the shutter is halfway depressed allows the camera to choose where to focus. On a flat 2D artwork, the camera struggles sometimes and comes out with its own choice; sometimes a bad choice since it is choosing its own depth of field. 

The other option is to choose center focus in conjunction with ‘AV’(aperture view). By choosing the correct F number (say F10 for a small piece of art work, or F20 for a larger piece) you are determining how the camera focuses on things outside the center. 

“Av AND ICON WITH A SQUARE WITH A +- INSIDE- EXPOSURE COMPENSATION. Located above and to the left of the SET button. PG 78, 54

PLEASE NOTE: In the Mode Dial there is also an Av setting. Both of these control the Aperture. However, this button, not to be confused with the Av in the dial, allows you to adjust the aperture manually. This setting allows you to manually set the aperture exposure without bracketing (pressing the shutter button once while still acquiring 3 shots with different exposures. Press the “Av” icon  while turning the MAIN DIAL. Return to “0” when through.

Bracketing the aperture (or exposure to light) can be accomplished through the AEB function (Auto Exposure Bracketing) in the second camera icon menu. PG 80. Bracketing is probably more efficient but, sometimes presents problems with file numbering and downloading.

To use the non bracketing exposure, press the Av ICON while turning the MAIN DIAL. Your selection will show on the LCD screen on a  “Minus 2 to Plus 2 scale”. Minus 2 will make the image darker and Plus 2 will make the image lighter. It is recommended to take 3 photos with this scale at “0”, a plus number, and a negative number the same distance from the 0. 

WB- WHITE BALANCE (Located above the SET button and below Av button). PG 90. 

This function determines the degree of brightness and the variation in the color cast of your photo.

Setting the correct white balance is really tricky. Try doing this a number of ways before deciding which is the best.  

Press the WB icon and toggle with the left and right arrows between SET to choose a light setting.

AWB- AUTOMATIC WHITE BALANCE. This setting tries to find the best white balance without your assistance. This worked well but, had a red cast. 

SUN ICON- Technically with color balanced, photo, Tungsten lights, this setting  should have worked well but did not. It had a strong orange cast.

CUSTOM- This icon has a white rectangle floating above two triangles.

Before selecting this icon, place a piece of the whitest paper on the easel. A piece of white rag mat board is best. Turn on the photo lights. 

Place and zoom the camera so that the spot metering circle is filled by white paper. It helps to have something out side of this central range so that the camera can actually focus on something. The camera can’t make up its mind what distance to focus on otherwise. 

You can use any white balance selection at this point.

Take the photo. 

Under the MENU, under the two dot Camera icon, select CUSTOM WB. Press SET. The SET screen will appear. 

Select the image that contains your white paper shot. Press SET.

A dialog screen will appear, select OK, and the data will be imported. 

When the menu reappears, press the MENU button to exit the menu.

Press the WB button.

Press the arrows to either side of the SET button to select the icon with a rectangle floating above the two triangles (Custom White Balance icon), then select SET.

Occasionally the White balance can be set incorrectly. Or, you may need to manually adjust the white balance. PG 90. If all else fails, you may try to bracket the White Balance. PG 93.

ICON WITH STACKED RECTANGLES, CLOCK, & TIMER ICON- DRIVE MODE SELECTION. Located to the left of the SET button/LEFT ARROW. PG 53 & 63.

This function activates the self timer, eliminating camera shake. 

Choose the 2 second timer. Press SET.

Depressing the shutter completely starts the timer. 

AF- AF ICON (Located to the right of SET button/ the right arrow button) AUTO FOCUS. PG 60.

This setting determines if the focus should remain stationary or adjust for moving objects. 

AI Servo is not adequately explained in the manual. Perhaps it means “El Swervo” for objects swerving out of focus. 

Choose one shot. Push SET button.

ICON WITH SQUARE, INSIDE UP AND DOWN HALF CIRCLES, DOT IN CENTER-

METERING MODE - Located above SET button/ Up arrow. PG 77.

This function determines where the light metering will be taken.  

Choose partial metering- square ICON WITH 2 BRACKETS up and down inside the square WITH NOTHING IN THE CENTER. Press SET.

ICON WITH RADIATING SQUARES IN A CIRCLE- Located below SET button/ down arrow button.  NOTE: PICTURE STYLE CAN ALSO BE ACCESSED THROUGH THE MENU/ CAMERA ICON TWO DOT. PG 67, 82, 85

Choose FAITHFUL. Press SET.

CAMERA MENUS

SPECIAL NOTE: Before beginning, go to MENU/ TOOL THREE DOT ICON/

CUSTOM FUNCTIONS/ CLEAR SETTINGS/CLEAR ALL CAMERA SETTINGS, and CLEAR ALL CAMERA FUNCTIONS.  

Before beginning any selections on the camera, start with a clean slate.

MENU

CAMERA ICON ONE DOT

QUALITY- PG 64

This setting determines to what degree the photo will be compressed, if at all. The more compression a photo has, the greater the averaging of detail.  

Push SET to select. Scroll to “rounded 1/4 circle with L” (Large). Can be set to “rounded 1/4circle L RAW” which is close to TIFF but, this quality does not work well with photoshop elements. 

The jagged stair step icon indicates some compression is used.

-RED-EYE ON/OFF. PG 59. 

This function helps to eliminate the photographed red dots in people’s eyes by having the flash blink once before a full flash engages.  

Select OFF.

-BEEP- PG 108. This allows for sound effects to alert the end of functions when shooting. Choose ON

-SHOOT W/0 CARD-  This function allows you to shoot without the card. Choose OFF.

-REVIEW TIME-  Review time determines how long you will be able to view your photo after shooting. Choose 4 SEC (4 seconds)

MENU

CAMERA ICON TWO DOT

AEB-  AUTO EXPOSURE BRACKETING. PG 80. 

Press SET to select AEB. To automatically bracket your exposure (so that you can take one image with 3 different exposures), press triangle to the right of SET to expand the exposure bracketing.  To reduce the exposure bracketing or to revert to a single exposure, press triangle to the left of SET. Then press the MENU button to get out of that screen. 

A negative setting that admits less light through the aperture will result in darker photo but more detail in overly lit areas. A positive setting that admits more light through the aperture will result in more detail in darker areas.

Sometimes BRACKETING YOUR EXPOSURE presents problems in transferring photos between peripherals and in file numbering.

Since it’s recommended to manually bracket your exposures, this function should not be used. If AEB is not set to 0, select AEB by pressing SET. Then toggle between the right and left arrows to move the cursors to the 0. Press the SET button to return to the menu.

FLASH EXP COMP- FLASH EXPOSURE COMPENSATION. PG 79.

Since no flash will be used, this should be set to “0”.

CUSTOM WB- Refer to the WB button instructions detailed above if you need to use this function. 

WB SHIFT/BKT- WHITE BALANCE SHIFT/ BRACKET. PG 93. 

Refer to WB button instructions detailed above. 

COLOR SPACE- This refers to a format used for color printing. PG 87

Select “sRGB” (standard RED GREEN BLUE). ADOBE RGB is very advanced.

PICTURE STYLE- This setting allows you to optimize on sharpness, contrast, saturation, and color tone. PG 82

Set to FAITHFUL, and all numbers should be selected to “0”.

DUST DELETE DATA- PG 119. 

This setting deletes dust on the image through photo editing software. Don’t bother with this.

MENU

BLUE TRIANGLE ONE DOT ICON

PROTECT IMAGES- PG 129. This prevents selected images from being sent to the trash or altered. Don’t bother with this.

ROTATE- PG 126 This function will turn vertical images horizontal or the reverse. Don’t use this. Images can be rotated in the photo editing software later.

ERASE IMAGES- PG 130. Instead of using this setting, turn the MODE DIAL to the green rectangle icon, scroll through the images by toggling to the left and right of the set button, and press the TRASH button (Located below and to the left of the set directional arrows). 

PRINT ORDER- PG 143. This function allows you to print photos in a chosen order. Don’t bother with this.

TRANSFER ORDER- PG 147. This function allows you to determine what order photos will be transferred to a peripheral. Don’t bother with this.

HISTOGRAM- PG 131. Choose RGB.

In the PLAY BACK mode, the photo will display much information about itself. 

The function shows how the color is distributed horizontally across the photo. 

AUTO PLAY- PG 127. This allows you to view your images as a slide show.

MENU

TOOL ONE DOT ICON

AUTO POWER OFF- PG 27 & 109

This function determines how long the power will stay on before automatically powering off. 

Choose 30 seconds. This saves battery power. The camera can be turned on by depressing the shutter button halfway.

FILE NUMBERING- PG 110.

This function determines if your photos will be numbered consecutively, or renumbered in groupings.

By choosing CONTINUOUS, you will always have your photos numbered consecutively, giving you an idea of their time sequence. 

AUTO ROTATE- PG 112

This function allows you to rotate vertical images to horizontal on the camera and computer

Choose ON COMPUTER ICON. Rotate the images in the photo editing software. Vertical images that are rotated to a horizontal format on the camera appear too, small for viewing.

FORMAT- PG 40

When all your photos have been transferred to an external, permanent storage file, formatting erases all photos on the SD (Storage Disc) card. This allows new photos to be recorded.

LCD AUTO OFF- PG 42 & 115.

By choosing OFF, as your eye views through the eye viewer, the LCD screen will turn off, and consequently not show your selections.

SCREEN COLOR- PG 115

Choose black for the screen color. It’s easiest to read in lighted conditions.

MENU

TOOL TWO DOT ICON

LCD BRIGHTNESS- PG 109. 

This function determines the brightness of the LCD screen. 

For indoor use, move the slider to the middle.

DATE/ TIME- PG 29. 

If the battery has gone really dead, you may need to reset.

LANGUAGE- PG 30. 

Set to ENGLISH.

VIDEO SYSTEM- PG 128. NTSC is the most common viewing system in the US. Pal is better for some over seas systems. 

SENSOR CLEANING- PG 27 & 118

This function determines when the color sensors are cleaned.

Choose AUTO CLEANING  ENABLE.  The camera bottom should be resting flat on a level horizontal surface for this feature to be effective. 

LIVE VIEW FUNCTION SETTINGS- PG 95. 

This setting, when enabled, allows the LCD screen to constantly show what the camera is viewing.

Choose “DISABLE” so that the LCD screen does not drain the battery.

ENABLE LIVE VEIW- PG 96. This function is not necessary for photographing artwork. Instructions are listed below if needed. 

To display the image the camera sees on the LCD screen, choose a non-basic setting from the MODE DIAL. From the TOOL TWO DOT ICON choose LIVE VIEW. Then press SET. Select ENABLE. Press SET. Press Menu to exit. When you have exited all menus, press SET again. If you wish a “Rule Of Threes” GRID to show on the LCD screen, choose it from the LIVE VIEW option.

METERING TIMER- PG 100. This setting is found in the menu under LIVE VIEW.

This function allows you to adjust how long the metering timer will be last

in LIVE VIEW. 

Choose 30 seconds

This is useful when taking videos. It has been suggested that when taking a video, this setting should be set to 30 minutes. However, you may want to adjust your metering if lighting and distance change. Not sure, though. 

FLASH CONTROL- PG 58. Determines how the FLASH operates

Choose DISABLE.

MENU

TOOL THREE DOT ICON

CUSTOM FUNCTIONS- PG 151-160. 

This setting allows you an array of options to be permanently set. Set all to “0”.

CLEAR SETTINGS- 

Advisable to choose CLEAR ALL CAMERA SETTINGS, and CLEAR ALL CAMERA FUNCTIONS before beginning any selections on the camera. Start with a clean slate. 

FIRMWARE VER. 1.0.9- No page listing for this function or explanation given.

Memory card containing firmware is required to update.  Choose OK.

Apparently, problems with transferring photos to computer can be problematic. To avoid this, format your SD card before use, and use it only for your camera. Do not use SD cards that have a different camera’s photos on them. Do not use outdated SD cards.

MENU

STAR ICON

MY MENU SETTINGS- PG 160.

This function allows you to select up to 6 selections from all of the menus, and register them so that they can be used automatically. 

Using this function may present problems when using your camera for other purposes. Choose DELETE ALL ITEMS from this menu. 

SHUTTER BUTTON- Depress shutter button halfway before shooting to enable Auto Focus.

FLASHING HIGH LIGHTS- PG131. 

After shooting or when the shutter is halfway depressed, some parts of the  image may display in a flashing manner. This is an indication that the high lighted areas are over exposed. They will not show any detail in areas that are very light.

    

FINISHED PAINTING

Arid Assemblage, 20" x 60", Oil/Canvas

If this is your first visit to my blog, you may want to begin reading the blog post titled "A BRIEF INTRO" and then follow with subsequent postings.

I have to apologize for getting so caught up in the throes of painting that I did not follow through with my blog. It was a fun painting because I was able to use colors that I do not use normally. This painting was a bridge between my still life series and my landscape paintings. I look forward to pursuing this series in the future.  

LAYING DOWN THE BASE LAYER

If this is your first visit to my blog, you may want to begin reading the blog post titled "A BRIEF INTRO" and then follow with subsequent postings.

WHOOOPS! I left out a few steps here. This painting is 20" x 60". It's obvious that I will have to include some close-ups as I progress. I started in the brown background area in the center of the painting, and I found myself getting lost in the detail, and seriously bogged down. I decided that I would start painting the large yellow shapes to remedy this problem. I regained my momentum and was able to get back in touch with my original feeling/impetus for the painting. The smaller imagery in the darker background is pretty bright but, I will be using glazes when I refine things in the second layer. I've made some color decisions that I feel happy with. I haven't decided yet if I will be using a sfumato or a sharp focus in the final layer. For the moment, it is pretty hard edged. I have also decided that I am going to add some medium sized elements to balance the large yellow shapes against the smaller shapes in the background. In the center of the painting, towards the bottom, I have over painted a beige brown to cover up a bad color decision. When I glaze this layer with a dark brown, some of that beige will show through the tooth of the painting, making it look like the other dark brown areas. Most of the linear, small elements are not showing much change in value or shift in shape but, that is okay to do in the base layer. Another decision was deciding which brushes to use for these narrow elements. I am using a synthetic brush that suprisingly is not pointed. I hate that they put points on all round brushes, no matter what the size. Pointed brushes leave a definite type of mark, usually the wrong mark. I am also using some black animal hair brushes without a back bone. They are so wimpy but, they are perfect for the job. Next post I will show some details.

STRETCHING AND APPLYING THE GESSO

If this is your first visit to my blog, you may want to begin reading the blog post titled "A BRIEF INTRO" and then follow with subsequent postings.

"Stretching the canvas" is a two person job. Much thanks to Cody for helping me out with this chore. The canvas was stapled to the back of the lumber 1 x 2's. I manned the canvas pliers while Cody stapled, making sure that the canvas is wrapped very tightly. We worked from the middle out constantly rotating the stretcher. Then the gesso, which is a thick priming type material, was applied in two thick coats with time for drying in between. Then the canvas is sanded lightly to a smooth finish.

BUILDING THE SUPPORT- Step 4

If this is your first visit to my blog, you may want to begin reading the blog post titled "A BRIEF INTRO" and then follow with subsequent postings.

The support was coated with a water based sealer. A final coat of sealer is applied two hours later and allowed to dry over night.

BUILDING THE SUPPORT- Step 3

If this is your first visit to my blog, you may want to begin reading the blog post titled "A BRIEF INTRO" and then follow with subsequent postings.

The middle brace supports are carefully cut and then glued. After this step is completed, the lumber braces are nailed to each other, and then left to set for twenty-four hours

BUILDING THE SUPPORT-Step 2

If this is your first visit to my blog, you may want to begin reading the blog post titled "A BRIEF INTRO" and then follow with subsequent postings.

Twenty-four hours later Step 1 is repeated for the two remaining sides.

BUILDING THE SUPPORT- Step 1

If this is your first visit to my blog, you may want to begin reading the blog post titled " A BRIEF INTRO" and then follow with subsequent postings.

I chose an unusual format for this painting, 20" x 60", and I wanted to paint on canvas stretched on a fiberboard support. This meant that I had to build it myself since buying it made, would be cost prohibitive. The fiberboard is untempered so oils will not leach into the canvas. The 1 x 2 lumber was cut to fit the four outer sides. I used a very strong glue and to quote David, "One can never be too rich, too thin, or use too many clamps". I could only glue two sides of the support at a time. I did not use nails to fasten the lumber to the fiberboard because, they would have worked their way out over time. Then I let it sit for twenty-four hours.

EVOLUTION OF THE "IDEA"

If this is your first visit to my blog, you may want to begin reading the blog post titled "A BRIEF INTRO" and then follow with subsequent postings.

At this point you might think I am ready to begin but, experience has taught me that would be a big mistake. The "Idea" must always be taken beyond its first impulse. The next steps involve a layering of secondary ideas, , examining a range of possibilities from the source idea, planning, drawing out roughs, mapping out the structure of the painting, and troubleshooting. Little pieces of paper gradually pile up and are added to the notebook.

It was at this stage that I realized that I could, to some degree, meld the same composition I used in my still lifes into the landscape, which is something I have been seeking for a long time. I could also borrow my sense of color from the still lifes as well.

THE IDEA

If this is your first visit to my blog, you may want to begin reading the blog post titled " A BRIEF INTRO" and then follow with subsequent postings.

Long before the paint hits the canvas, an idea or concept must take hold of me. It's really hard to explain how this happens or what it feels like but, I will try. It's almost like a fifth sense; a glimpse into the future that leaves a deep seated impression. It's almost like a taste in your mouth, a feeling on which, for the duration of the painting, I must maintain an unclouded hold. It's something akin to the way a writer surrenders control of the telling of the story to the characters which inhabit the book. You have to be the vehicle for the painting to paint itself.
To begin, I have always felt that the landscape that an artist is usually inspired by is the landscape of their youth. I grew on the northern coast. I identified with the ocean, its marshes, its bridges, its steep craggy cliffs, and the sweeping vistas it afforded. There were many old farmsteads on austere hills and mysterious forests. More importantly, this area gave me that feeling of "oldness"; of being tied to a long ago past. When I moved to Atlanta, everything seemed "newish". I did not get that tie to the past. Also, although Atlanta is in a comparatively healthy ecosystem, this thriving temperate forest did not allow for much of a vista. I had a teacher who once described the landscape here as if you were "living in an egg". The green around you is so all encompassing, it's rare to look up to a spacious sky or out to an expanse of land, due to the hills and the towering greenery. Perhaps the reason for so many great southern writers is that the landscape forces them to become introspective, to examine what is close because they cannot examine what is far.
Although I was pleased with my landscape painting, for the most part I did not really identify with the subject matter. Still, I could not stop myself from painting it because, I am so drawn to nature. It's just so beautiful. I am hopelessly in love with it.
So, that's the back story, and a photo of where I came upon my "idea" which, as you now know, was more that just an idea.