Rob Adams a Painter's Blog painter's progress

May 3, 2018

Top Tip: Washing a Brush

Filed under: How to do,Uncategorized — Tags: , , — Rob Adams @ 11:54 am

Easy eh? We are talking about oil paint brushes here. Not hard is it? Quickly wipe it off, swish it about in some white spirit, then soap and hot water bash it about on the bottom of the sink a bit of a dry and yer done… Well maybe not, you have actually just spent 5 min damaging you expensive brush.

  1. Ok, the wiping off, this is the key bit, do not skimp on this stage. Really wipe it pulling hard from ferrule to tip spreading the hairs. Repeat until no paint shows on the rag or paper.
  2. Next he swish about in white spirit and hammer about by pushing it down on the bottom of your pot… Hold it there, you have just created a very dilute pot of paint, the idea is to get the paint off the brush, not transfer it into your white spirit. The pushing the brush down working it around… don’t do it! It damages the hairs of the brush against the sharp edge of the ferrule and weakens them, also it pushed paint up into the ferrule which then hardens. So don’t do 2 ever… it is destroying your brush.
  3. So don’t do any swishing in fact ignore 2 altogether, just gently dip into the spirit and leave for a few seconds, then do stage 1 again. Always do your wiping from the ferrule to the tip, repeat the process spreading the hairs until no more paint shows on the paper.
  4. Do stage 3 again maybe twice, often not, just once is enough.

That’s it you are done, no need for the soap and water bit. At no stage whilst painting or cleaning should paint ever get on the hairs as they enter the ferrule.

OK you have let your brush dry for 4 days… what now? Being quite forgetful this is a regular scenario with me. So… just dip in white spirit for 1min, then gently bend the brush until the hairs separate a little, no need to be brutal. Then dip again for a further minute and go to stage 1.

Worse it is a big expensive brush that was loaded with paint and it rolled unheeded under the table 2 months ago… So… leave in white spirit over night. Then take a wire brush and comb the brush from ferrule to tip until paint breaks up. Dip in spirit for an hour or two and off you go to stage 1 again…

Remember all cleaning is aimed at moving the paint away from the ferrule and the removed paint needs to end up on your rag or paper not in the spirit! Rags should go in a metal bin ideally outside… there you can’t sue me for burning your studio down now!

April 28, 2018

What is Style?

Filed under: Dorset,Drawing,Painting,Uncategorized — Tags: , , , , , , , , , , — Rob Adams @ 10:38 am

Looking back over the years I have been blogging the word “style” has cropped up a few times. I have always been dealing with aspects of it though, not really considering the attribute itself head on. We use the word for personal appearance, dancers can be stylish, architecture and decoration are categorised by it, all in all it seems a covetable attribute to have and one worth acquiring. It sorts the hens from the geese, cats are stylish dogs less so, sorry dog lovers it’s just the way it is.

Eric Furnie says it is a “…distinctive manner which permits the grouping of works into related categories”. Now this is less attractive, it is now a kind of pigeon hole that some art historian wishes to shoehorn you into for their own convenience. Like so many things you think you know the meaning of, when you take a closer look the edges soften and definitions become soft and hard to pin down. The word actually seems to be two rolled into one. It has a meaning as an identifier of an individual or an individual belonging to a larger grouping. It also has a usage as a compliment on an interesting and exciting manner of being or means of creating. One tends to be applied to a thing that is made and the other mostly to the maker.

However much you wish your style to be you own and only your own you are, in this interconnected world, doomed to failure. Someone or indeed many someones paint, make, dress or whatever just the same as you do. In our age millions upon millions of people paint pictures. When Rembrandt wielded his palette there were far far fewer. There are probably more good painters in the world now than ever before, but that just makes it harder to stand out from the crowd.

Ah! I have said it… “Stand out from the crowd.” Along with the fascination of doing and learning a craft there is the wish to be noticed for doing it well or even not so well. For that to occur we must bring something to the table, either in ourselves or our work, that is remarkable. I have long puzzled at the popularity of my pen drawings. In my own opinion they are no better or worse than my paintings. They are made by the same hand and mind. I had a friend round and we were discussing what I should exhibit. She said, “Oh you must put in the drawings they are so unusual.”

Afterwards on considering it a small penny dropped. My paintings are “usual” you can find a load of painters doing the same or better than I. If you search for people doing tonal pen drawing to a high standard then there are very few. It is relatively easy to stand out from the host of felt pen stipplers copying photos of Elvis. This makes the decision to go larger on the drawings in my upcoming open studios and easy one. It does not however change my course as far as getting generally better at my craft. The “style” of the drawings might be a hit, but you must never let style drive the direction of your endeavour.

It is similar to when you allow technique to overwhelm the meaning of what you are trying to say. Allowing some style element, or desire to be different for the sake of it to dominate, is just as bad. It is difficult, when being a herd mammal on its way to being a hive mammal, to be lumbered with an incongruous sense of personal individuality. Hopefully this sense of individuality will slowly atrophy and we will become blithely busy uncaring bees.

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I am busier than a bee at present organising my open studios which is part of Dorset Arts Weeks and runs from Saturday 28May to Sunday the 10th of June. This involves allowing the public to traipse through your house and studio whilst curling their lips at your home decor and ignoring your pictures. I will be there to sign the occasional autograph, but mainly to receive overwhelming amounts of money and adulation. So come along, cash, credit card, bitcoin, PayPal, praise, scorn  and Facebook likes all gratefully accepted.

The amount of work involved in such a venture is a little forbidding. Pictures to be framed labeled and wired, hanging systems and lighting to be installed. Just the decision as to what and what not to exhibit is tricky. Cards must be printed, prints mounted and inserted into cello bags. Your home has to be reorganised and walls space cleared for pictures. Half your furniture, including the fridge freezer, has to go in your shed. Due to my shed being full of furniture I have to add a Gazebo to take the volume of pictures.

Once the rooms are cleared out the lamentable state of your decor is sure to be revealed so painting the walls is inevitable. You have to, in this contactless age, take card payments so an iZettle card reader is required. Signs must be put up at key road junctions, leaflets and maps created printed and distributed. Social media must be saturated with plugs and all your friends, previous buyers and acquaintances spammed with emails.

Now I have you all weeping in sympathy at the artist’s plight here are a few scribbles and daubs.

 

Chesilbourne, Dorset, pen and ink, drawing

Here I am perched on a stool in a graveyard next to the smelliest compost heap in Dorset on a very chilly day. This is the church at Cheselbourne in Dorset, tricky to get the best view as it was in the middle of a track frequented by Range Rovers so this was the next best. I used my Sailor brush pen to speed things along with the darks. A5 pen and ink.

Christchurch Priory, Dorset, pen and ink, drawing

This is Christchurch Priory. These sorts of subjects can be overwhelming at first. But if you get the box and the underlying divisions of the box in place then filling in the gaps becomes easier. A5 Pen and Ink.

Child Okeford, Dorset, pen and ink, drawing

This one of Child Okeford was done from a photo whilst invigilating at an exhibition. There is a strange meditative pleasure in hatching large areas, though you have to beware of it becoming too mechanical. Pen and Ink A4.

Shaftesbury, Melbury Hill, Plein air, oil painting, Dorset

Back to the oils before Venice! This is the view across to Melbury Hill from Shaftesbury. I love the structure of this view and have done it a few times now. Very hard to get the relative tones here as the roof highlights directly reflecting the sun were easily the brightest thing, so the rest had to be subdued to make them ping out. 10in by 10in Oils.

Shaftesbury, St James, plein air, oil painting, Dorset

This is the church of St James from the same vantage point. A good time of year for this view as the leaves obscure the church in the summer. I enjoyed the transparent layer of the trees. It can be quite a challenge as if you paint neat roofs and then paint branches over them it looks dreadful. So I paint the buildings seen between the branches as negative shapes which prevents you getting over involved in things you cannot quite make out. If a thing is hard to resolve by looking directly then it should usually be hard to resolve and slightly vague in your painting. 10in by 16in Oils.

Larmer tree gardens., Dorset, plein air, oil painting

This is the Larmer Tree gardens in Wiltshire. Designed by Augustus Pitt Rivers it contained theatres and stages for the general education and entertainment of the masses.  It became hugely popular in the 1880’s attracting 40,000 visitors a year. Quite hard to find subjects, a real contrast with Venice where it is hard to find bits which aren’t potential paintings! I settled on this upward view to a small rotunda. Not overdoing the mass of shrubbery was the greatest challenge here. 10in by 14in Oils

Larmer tree gardens, Wiltshire, plein air, oil painting

A brief study of a concrete statue… well I didn’t know it was concrete until I looked closer. My heart wasn’t really in this… I enjoyed the light on the leaves… but straight on to the “sand it off” pile! 10in by 10in Oils.

Dorset, landscape, Cranbourne Chase, plein air, oil painting

A relief to get away from gardens! This was on the way back over the Cranbourne Chase near Win Green. A quick 15 min splash on a small board, but much more my cup of tea… 10in by 6in Oils.

 

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