Phil Starke Art Talk

A Less Expensive Way to Try Linen Canvas

philstarke — Sat, 26 Sep 2009 03:48:34 +0000

If you haven’t tried linen canvas because of the cost, Utrecht sells raw linen by the yard, which really makes it affordable. There are some manufacturers who sell stretched linen at a good price, but the quality is pretty poor, a good cotton canvas would be better.

A good quality linen is always expensive, (I know cost is relative but this stuff is high) mainly because it comes in 3, 6 or 10 yard rolls and is already primed with an oil or gesso primer. Utrecht sells raw linen by the yard so its a good way to try it without a huge investment. You do have to stretch it and prime it but with a little work it’s well worth it.

I buy type 135 from Utrecht which is $29.69 a yard. It’s 54″ wide and a medium smooth texture. For large canvases I use type 79D, a rough texture at $$49.49 a yard and it’s 76″ wide. I do use cotton at times too, the heavier the better because it’s very cost effective but there is a big difference between cotton and linen in quality.

I do recommend cotton for practice and experimenting but at some point it does help to step up to a better quality.

Teaching Art Classes By Online Video

philstarke — Mon, 07 Sep 2009 03:44:25 +0000

I’ve been teaching art classes on line now for about a month and I find it a challenging and effective way to teach. The classes start each week with a 40 to 45 minute video demonstration that covers a different subject each time. Along with the videos I give assignments and exercises for students to do and send back at the end of the week for critique. Using Photoshop and Video I critique the work and email it back.

The challenging part is critiquing the work without the student present to respond, but the video critiques give me more time to respond and go into more detail. Students seem to like the idea of having a structured format, a demonstration to watch, assignments and feedback. It gives them a schedule to stay on and a goal to shoot for in seeing progress in their work.

The Grass is Always Greener

philstarke — Sun, 16 Aug 2009 14:37:37 +0000

As an oil painter I’ve always been fascinated by watercolors. The transparency and freshness and being able to use paper and let it show in the finished painting. The small round brushes that look like miniature mops are also interesting. I really like the outdoor equipment for watercolors. The small, compact field kit that holds a palette, 4 or 5 cakes of watercolor, a small sable brush and even a container for water and it all still fits in your pocket.

It is a valuable practice to try a different medium. It’s kind of like painting the same thing with a different angle. A lot of artists did this. Winslow Homer & John Sargent painting in both mediums and were masters in both. It makes you think and gets you out of your comfort zone. You have to solve problems differently with watercolor than with oils and it really gives you a new perspective on your subject.

Taking On Online Classes

philstarke — Sat, 01 Aug 2009 03:55:55 +0000

Well, I’ve plunged into the world of teaching online art classes. I’ve been asked numerous times about doing this so I took some time and looked around at what was being offered in the area of online art classes and decided I wanted to offer something that would be more art school-like in content and approach, taking the artist who wants to work consistently and effectively, has goals and helping them achieve them. I also wanted to be able to work with video, but make sure the student was able to download that video so they could save their lessons making it possible to work at their own pace and go back to the lessons again to review what they’ve learned, creating a great reference library of their own. I also wanted to be able to provide an effective way to handle critiques, and make them available to keep as well. So beginning August 2, 2009, its official. Online class video lessons begin going out and my one-on-one student critiques will be starting up as well. I’m anxious to see the student development and working with each one of them. Technology is amazing.

In Memory of Dan Blanchard

philstarke — Thu, 02 Jul 2009 13:20:38 +0000

In May of this year, Dan Blanchard, a friend and owner of the Grapevine Gallery in Oklahoma City passed away. Dan, along with Walter Gray who passed away several years ago ran the Grapevine Gallery and produced a television program that interviewed and demonstrated arts and crafts of all kinds. I first heard of them in art school long before I met them. Our instructor would show tapes of the TV show where artists would demonstrate and discuss their work. But they were much more than gallery owners and art collectors. Both Dan and Walter treated all the artists they represented as family and were as interested in the artist and their families as they were their art work. I learned a lot about developing as an artist even though they never tried to influence what I painted. They truly enjoyed helping others.

Clay and Julie Speer will continue the gallery in the same vain and are making a seamless transition, but Dan and Walter will be missed as dear friends and family.

Thumb Box

philstarke — Thu, 25 Jun 2009 04:38:07 +0000

Sometimes when I’m getting ready to go out and paint the thought of dealing with a large easel, back pack and all the stuff involved in plein air painting wears me out before I get started. When I’m traveling I don’t have the time or space to bring a lot of painting equipment and that’s why I have an 8 x 10 pochade box that holds everything I need. There’s space in the bottom for 5 small paint tubes and about 4 or 5 paint brushes that I chop off to fit in the box, a pallette that slides back and forth and 3 slots that hold 8 x 10 canvas boards. It has a thumb hole in the bottom that allows me to stand and paint and it’s small enough to use in the car during bad weather. So I have no excuse not paint in bad weather, or a trip, or too lazy to drag out a lot of equipment.

Making Canvas Panels

philstarke — Sun, 24 May 2009 21:54:49 +0000

When I make my panels I usually use 1/8 in. standard masonite or pressed wood. You can also use 1/8 in. birch plywood or gator board which is found in art stores. When buying masonite or pressed wood make sure to buy the standard as opposed to the treated panels which are injected with a petroleum substance and are darker in color. I use Elmers all purpose glue from the hardware store, a 2 in. inexpensive house paint brush and a kitchen rolling pin.

After cutting the boards to size I cut the canvas 1/2 in. bigger so it can be trimmed. I dampen the bush to make the glue spread easier but don’t add water to the glue, it weakens the bonding strength. Spread the glue evenly on the board then press the canvas on the board. Use the rolling pin to roll out the air bubbles.

I usually prepare a number of panels the same size then stack them and place a larger board over all of them and place a 10 pound dumbbell to weigh them down. I generally let them dry overnight then with a sharp utility knife I turn them over then trim off the extra canvas. If the corners come up I apply a small amount of glue with a small brush and press down.

For panels larger than 16 x 20 use 1/4 inch panels and gesso the back to prevent warping.

The Art of Jean-Baptiste-Camille Carot

philstarke — Wed, 06 May 2009 16:41:33 +0000

Cathedral of Mantes by Corot

“Corot” by Madeleine Hours gives a nice overview of Corot’s life, how he started his career (he was 26 years old when he asked his father’s permission), and who influenced him. The book also goes into some detail about his technique and work habits which is always interesting.

Corot was also very generous, although he took his art seriously, he was never devoured by it and gave generously of his time and money. Considered the “father of modern landscape” he greatly influenced Monet, Pissaro, Renoir and Degas by his treatment of atmosphere and light. He was concerned about realism but was able to look past it and capture the emotion of what he saw.

Corot wrote in 1856: “While I aim at conscientious imitation, I do not for a moment lose sight of the feeling that has taken hold of me. Looking at a particular object or place, we are touched by a certain grace and should not lose sight of it. While aiming at truth and accuracy, let us never forget to clothe it with the appearance of what has touched us.”

I encourage you to learn more about Corot and study his works. It is a wonderful study.

Color Overhaul

philstarke — Fri, 01 May 2009 17:52:01 +0000

Like anything else, you can lapse into routine when painting, especially when painting in the studio instead of from life. Our color selection can become routine and predictable. It helps me to do a series of exercises to loosen my color sense. Anytime we can paint for the sake of learning instead of trying to create a finished painting we are going to improve our painting skills.

When you change your palette to shake up you color sense it reminds you that painting is not about matching color or tone or using the same color recipe for skies or fields of grass. It’s about being able to express what you see through color, using a scheme of colors to express mood or drama in a painting.

My palette is limited so when I change it I’m really switching primaries. So instead of my usual cadmium yellow, cadmium red, alizarin and ultramarine blue, I can use yellow ochre, indian red and black, that changes the mood of painting considerably. Another would be indian yellow, permanent red rose and pthalo blue, a much more vibrant almost sweet palette. A change in palette forces you to see you subject in terms of temperature atmosphere and mood instead of predictable color schemes.

Painting Large Outside

philstarke — Tue, 21 Apr 2009 16:15:32 +0000

Usually painting outside is a small, quick response to light and color before it changes, or gathering color notes for larger pieces in the studio. Sometimes the challenge of painting large is a good way to change things or venture out of my comfort zone. Usually 16 x 20 is as large as I will go and 6 x 8 is a nice size when traveling and stopping along the road for a quick sketch.

But painting larger outside, 20 x 24, or 24 x 30 allows me to push the limits of what I know technically. It also forces you to just paint the heart of your subject matter because there isn’t enough time to approach it like a studio painting. It’s not always successful but keeps me from looking at everything the same way.

There are two different ways to approach painting large outside, one is to make a note of the time of day and return two or three times until you finish. The other way is to get the composition and planes blocked in, enough color notes on the canvas, then return to the studio and finish without loosing the sponteniety of painting outside.