Gessoing Paper

Turner, pencil drawing on gessoed paper

Katherine asked about the gessoed paper in a recent comment. I would love to offer a great description or demonstration about gessoing paper but to be honest this is the first time I have gessoed paper to use for oil painting. In college I did a lot of experimenting with various materials and supports, but by my last year I had settled on gessoed illustration board, which I really liked and which has held up perfectly after 20+ years by the way.

Anyway, this time around I did some google searches, read through my art materials books and talked to other artists who work on paper. After my head spun around counter clockwise 35 times due to the conflicting information and overwhelming amount of process involved, I decided to keep it simple. I just wanted to do some studies on paper, a surface that would be similar to the prepped panels I normally work on, easy to store, and relatively inexpensive.

So this is what I did: I had a pad of 140lb cold press watercolor paper on hand, so I cut each piece in half and taped them down to my work table. I applied three coats of gesso (it dries very quickly), then pulled off the tape and applied three coats to the other side. The paper was still wrinkled (I will use 300lb paper next time) and so I put a piece of release paper on the surface and ironed both sides. This worked pretty well to flatten the paper and so I taped each piece down to a scrap piece of hardboard so that I could work on a firm surface as well as easily move them from my easel to the drying shelf etc.

I have since found some more recommendations concerning paper. I have a few pieces of this on order and will try it next.

Also, when I was in Vermont, one of the other residents introduced me to the wonders of (Gamblin) PVA Size. She said that could be used to size regular drawing paper, which could then be painted on, even with oil. She used it for her studies often. I tried it while I was there and at first the paper wrinkled like crazy. But the next day it was perfectly flat and so I used it for one of the figures that I did there. I have been meaning to use the sizing again, and now that I have said this maybe I will feel motivated to pull out the bottle and try it again. Not sure how archival working like this is, but really these are just studies and experiments so I am not going to think about the next 400 years for now.

Well, I can't imagine that I have been very helpful here at all! Plenty of you must know much more about gessoing paper than I do so feel free to leave a comment and offer all of us a few more tips. Google searches are good too; "gessoing paper" yielded the most info for me.

Oh and by the way, I use Utrecht brand, acrylic Gesso. Probably not the best gesso ever, in fact it's not even authentic gesso, nor is it oil based which many think should be used when painting with oils (again, my head is spinning), but I like its surface and Utrecht has been my first choice ever since college.

Photo Tour

Ok, I tried to set this up like a tour. I would have done it on video but that is well beyond my capabilities. Maybe my 13 year old son can help me with that another time. Heh.

So here is the door to my new studio:

It was green and is now primed. Sort of. I still have to finish painting the door and the stairwell. I am waiting until the rest of the stuff is up there (still waiting for my work table and still have to carry many boxes up to put into the storage spaces).

Steps (duh):
And this is what you see when you come up the stairs. I can't say that my heart doesn't jump just a little bit when I see all this.
My art books fit perfectly in the bookshelf. The flat file drawers are still empty but only because I haven't yet had time to carry up all of my drawing pads. I covered the tabletop with a painting drop cloth, the white kind with plastic under some sort of absorbent surface-which is perfect for putting out all of my messy paint tubes. The tabletop easels are handy for stacking the work I am currently doing (small paintings for an upcoming show called Horizon Lines-cute, huh?).
Behind the flat file are four bookcases used to store supplies that I need fairly often. Also my stereo (VERY important equipment) is on one shelf as well as my paint brushes. This space is very low to access and I am getting pretty good at walking in and backing out while bent over.
On the same wall on the other side of the door to the storage space is a steel dental cabinet that we bought when we lived in Utah. It weighs about 9000 pounds and on Monday night while I was out for about an hour picking up the kids, Doug and our older son carried it up. I suspect that they specifically waited until I was out so they wouldn't have to hear me tell them how to fit it up the stairs (come to think of it they carried the flat files up while I was out too. Hmmm). Anyway, this cabinet is great for storage - I keep drawing supplies in the drawers and still life objects and other junk in the middle.

This is my second easel, the one that handles the overflow. And behind it is my spin bike. I debated about putting that in my studio, because I really didn't want the space to get cluttered. But I also want to use it. It has been in our bedroom for the last few months and was becoming a pretty convenient clothes hanger. So I put it in front of the windows and if I want more room in that area I can move it back into the knee wall space.
It turns out that behind my number one easel is the perfect spot to photograph my work. I am relieved about this because I was NOT looking forward to lugging all my finished paintings two flights down to photograph them, then dragging them back up to finish the cradles, and store and/or pack them. A little crowded back there but again I can move things off to the edge of the room if I need to.
And on the north wall I decided to hang up the paintings that I have done over the years, the ones I have kept. Well, actually they are the ones that I like that have never sold. I am sure you understand the distinction.
I painted Bette in college 23 years ago and she is always in whatever space I work in. And the thing to the right is a photograph of my Girl Scout troop in 1974 decoupaged to a block of wood. I think that 70's decoupage may have been underrated and I view this piece as good luck too.
At first I had planned to set up my computer and desk in this spot. But then one of my girls commented that if my computer was upstairs they would never see me again. I thought she might be right so I am going to keep my office downstairs, at least for now. I am good with that decision because I can now use this as a dedicated spot for drawing. Yayy!
Turns out that the ledge is going to be very handy for storing the large paintings that I DON'T want to keep, have NOT sold and that don't FIT anywhere else.
And Katherine, behind the stair rail is the reading chair AND ottoman that was also tucked into a corner in my old studio. This was a real challenge to get upstairs. My son and I did it (Doug was out of town and I just couldn't wait for him to get back to do it) and the only way to get it into the stairwell was to remove the door. Turns out I can actually do that if I want to, but don't tell Doug or I'll have to always do it myself. Heh.

The south wall, overlooking our front yard. This was the only place where we could put up my drying/display ledges. I will have to get creative as to where I will set out wet paintings-in my old studio I had six of these rails up. I don't plan to hang anything else on this wall though, I like its graphic quality and again, am trying not to get too cluttered. Yet.
And this is a shot of the corner (directly across from the chair) where all of my wood panels are stored. I happen to have a lot of them right now, and it does look a bit like an art supply store. But I like having enough on hand, it gives me some good motivation wondering what will ever I paint on all of them.
This is a good long shot of the whole space.

List of supplies to take to the Vermont Studio Center:

Studio

2 pads of 18x24 newsprint

4 pads of 18x24 Strathmore Drawing paper

1 pad of 18x24 Charcoal paper

Tackle box, containing drawing supplies, includes:
a variety of charcoal sticks, conte crayons (lots of sanguine, my favorite), woodless graphite pencils, mostly 9B, graphite sticks, 2 litho sticks, pencil sharpener, chamois cloth, a box of Pink Pearl erasers, straight edge blades, sandpaper block, a box of band-aids, fingernail clippers

3 Drawing boards, and a few masonite panels as well

All of my oil paints, (how can I possibly leave any of my dear colors behind?) including several huge tubes of my favorite underpainting color

Most of my good sable brushes

A few crappy brushes

A box-o-rags from Rose Brand

My ceramic butcher trays and several pads of disposable palette paper

2 Glass jars with coils

1 Liter bottle of Liquin (maybe 2)

A gallon of Turpenoid natural

Primed oil paper pads, Daler-Rowney in a variety of sizes

Tape, white, masking, blue

Box of latex gloves

A gallon of gesso

Gesso brush

As many panels as I can fit in my car

A roll of primed canvas, maybe

Roll of glassine paper

And for those times when I feel like I need to just putter in the studio rather than paint:

My toolbox which will have a hammer, nails, my drill, and hanger supplies (for the panels)

Black paint

Ace Hardware sanding blocks, coarse

Digital camera

Tripod

ipod with the awesome headphones that Doug gave me for Christmas

Personal Items:

Clothing (duh)
Toiletries
My pillow
A blanket
A stack of books
Knitting project
An alarm clock
My watch, which needs a new battery
Cell phone and charger
Laptop computer and accompanying cords and attachments
My new bifocal eyeglasses which will be really great for drawing from the figure-no more choosing between the blurry figure (glasses off) or being bothered by working close (glasses on)
Cold weather gear, including my fake fur hat with the ear flaps that makes me look like a Russian!

Any other suggestions? I am sure I am forgetting something....

Supply Shopping and Supports

I have been gradually getting back into the studio for a short time each day. Although today I have waited just a bit too long and will not be able to get started before I have to leave at 1:30 for an appointment. Darn. Anyway it turns out that I can still paint. Good thing because things keep coming up; galleries need new work, a commission, etc. I am glad to be getting back to it, however, I also have to get things together for the residency, which is fast approaching. I just plunked down a big chunk of money for some supplies to take along. I needed some good drawing paper, more charcoal, woodless graphite pencils, 9B, which are one of my very favorite things to draw with, and sanguine conte crayons, which are #2. Getting ready for hours of figure drawing sessions!

I have also been trying to decide what kind of supports to take with me. Normally I paint on birch panels and I plan to take a variety of different sized panels along. However, they are pricey and god only knows what kind of crap work I may end up doing there so having some different options seems wise. I have some hardbord panels and in the past I have used primed paper, mounted on board and that was fine for studies. So I bought several pads of that (um, no time to be priming paper, in addition to the birch panels as well). I will have a variety of surfaces with me, plus there is an art supply store there as well, and I am feeling pretty good about my options. I had considered taking along a roll of primed canvas or linen in case I want to work on a larger scale, but I quickly became confused by all of the options so that bright idea is on hold. I don't like working on stretched canvas and I probably wouldn't want to stretch it later either. It would have to be mounted on board, which I haven't done in many years. Plus rolling up the painting to take it home seems wrong even though I know it is done all of the time. Any feedback on any of that?

Also, I stocked up on some new paint, which is always fun and bought a few new brushes while I was at it. I have finally found my favorite sable brushes-Old Holland makes a great kolinsky sable, wonderfully soft and they lose very few hairs. Expensive, but they last much longer than the others I have tried and not having to pick brush hairs out of the painting all of the time is worth it.

For some reason blogger will not download any of my jpegs. The little spinning thing freezes on the upload images page and then nothing happens. Is this me or the computer or is it blogger? I suppose it's mine......

Involuntarily Moving On

Setting Sun, 2007, Oil on Panel, 8x10

Note to self: Don't panic when you run out of your favorite color. It can be a really good thing.

I tend to work somewhat obsessively with colors. For example, nearly all the skies I have painted in recent months have been a combination of a blue and greenish yellow color. Before that I used Old Holland violet grey for all my skies and before that it was a cobalt blue mixed with a lighter blue. I usually use the same colors until I can't bear to look at them for a second longer, then I move on.

Sometimes however, running out of a tube of paint and neglecting to order a new one in a timely manner will force me to move on too. I recently ran out of Gamblin Radiant Blue and so yesterday, I reluctantly mixed a new version of blue green for my skies, with good results. And as often happens, which I tend to forget, I am feeling a bit energized by having to change things up.

This morning I ordered a few tubes of the Radiant Blue anyway, but I suspect that the mood has passed and by the time I get it, I won't be interested in using it. At least not in the sky.

So keep an eye out for some light blue barns. That blue is going to show up somewhere!

Still Love Getting the Mail!

Deep Trees, 2007, Oil on Panel, 16x20

The Saturday snail mail delivery by Jim the mailman (who is also our neighbor and doubles as the guy who brush hogs our land each fall), brought me two lovely and much needed surprises. Doug has been out of town for weeks at a time over the last few months and we were nearing the end of another week long stretch. And so I was going a bit mental. Not from the kids so much (ok, well maybe a little) but from having to do everything, everyday, most especially cooking and cleaning up after dinner each night. The kids help, but, well, they don't really, know what I mean? And I was incredibly tired after having stayed up until 2am to watch The Good Shepherd (got a late start on that because I had to go pick up my daughter from a birthday party at 9pm Friday evening). Then Saturday morning there was soccer practice and another birthday party, a few manufactured preteen dramas as well as feelings of guilt over not going outside to do some yard work in order to take advantage of the stunning weather. And why oh why must I actually feel ill the day after having only a few hours sleep? I used to be able to do all nighters with ease and now if a miss an hour or two of sleep I become the worst crabby patty* ever.

Anyway.

Folded into the usual bills, junk mail and endless credit card solicitations were two hand addressed envelopes. Very rare these days! The first one contained an acceptance letter for a juried regional show in my favorite place ever, Woodstock, NY. I have stopped entering competitions for the most part, but I make exceptions for ones that have some meaning for me and whose organizations I like to help support. I entered this same show last year and had some luck getting in and winning an award, a gift certificate for a actual art supply store for $100. Which I used to buy four, yes, only four tubes of paint. Ones that I never would have splurged on otherwise. Since I love, love, love Woodstock and the Woodstock School of Art, I am very pleased to be included again this year, as well as having an excuse to drive down and spend a day there when delivering the painting.

The next piece of mail was a check along with an encouraging note from my New York gallery (that has such a nice ring to it), Multiple Impressions. They have sold a number of paintings now and I am feeling good about my possible status there. Of course, now they want more pieces, large ones of course (because they are the most difficult for me to do), so bright and early Sunday morning I found myself priming two 36x48 panels.

Days like that make me very happy that mail has not become entirely obsolete yet.

*Gratuitous SpongeBob Square Pants reference.