Inspiration in Unlikely Places.

An artists’ guide to finding brilliant ideas in a pizza delivery box – or wherever else you least expect it.

Big Night. December 2018. Oil on canvas. 24 x 30″.

This painting, and this post, are inspired by a photo of our three vizslas lined up and waiting for pizza scraps to be shared with them. But let’s back up a little bit. Our dogs are always hungry. They love to eat so much. This association with food and love and nurturing is all tied together in our relationship with them. It’s the basis for nicknames, inside jokes, and showing love.

Teelo dreams of beef.

We take a lot of care in feeding our dogs nutritious and tasty-to-them meals. Each morning they have dog food with a side of berry, spinach, and yogurt smoothie. Maybe some apple slices and peppers thrown in for good measure, leftover from lunch prep. Dinners are usually a variation of dog food with one of their favorites – sweet potato, scrambled eggs, leftover roast beef, steamed carrots. “What’s for dinner?” is a question that applies to the dogs as much as it applies to us when we open the fridge to figure out the evening meal.

Work in progress – December 2018.

That all three dogs are such food fanatics is a little surprising, especially for Teelo, who has reversed course in a huge way. From years one through three, Teelo was so busy, and such a picky eater. He was all dog ribs and long skinny teenager legs. We could not tempt with anything. And he could go days with only a few bites of food. To be honest, it was super annoying. The tides have certainly turned and Teelo has spent many years making up for lost time. We lovingly refer to him as, “The Beef Man,” (pretty self-explanatory – he loves it and looks like a pot roast). That Teelo is able to maintain a healthy weight is really only due to our extreme efforts to save him from himself. Teelo even eats a special “satiety blend” dog food to try to keep him sated – it turns out, he cannot be. He’s so clever and dexterous, that in his older (no filter) age he has taken to unzipping my bag packed with food for work, selecting a few snacks, and popping open the Ziploc bags to enjoy. This past January I came in one morning from cleaning snow off the cars to find Teelo in the middle of the living room, finishing off a peanut butter sandwich and carrot sticks (but not the celery, he left that littered around the carpet for me). There was no shame in his eyes for stealing my lunch. What a guy.

In comparison, our gruesome twosome Clicquot and Riggs are a lot less devious, but certainly are no slouches in the begging department and suffer from significant treat FOMO.

Good behavior is all an illusion.

And pizza – Pizza trumps all (except roast beef). It is king in the vizsla snack world.

Reminiscing about warm deck dinners in July.

This painting was inspired by our vizslas who love pizza so much that we lovingly refer to them as The Crust Dogs. Example of this used in a sentence: “Make sure you save your crust for The Crust Dogs”.

Clicquot.

The Crust Dogs do not discriminate – homemade or delivery. One summer we invested in a pizza oven for our BBQ and literally ate pizza for two months straight. As a hobby my husband set out to perfect his pizza dough-making technique a few years ago and in our house humans and dogs have enjoyed the benefits of this immensely.

At the same time, the dogs have granted the pizza delivery man a stranger-danger exemption – he is not to be scared off, but instead he is a stranger to be trusted, wagged at, toys offered to – and he is welcome to knock on our door in the dark at 10 pm on any random Saturday night – I can’t say that luxury is afforded to anyone else who visits us.

Just a typical Saturday evening in.

The reference for this painting was a picture I took of all three dogs lined up in front of me, good as gold, my three little angels, waiting for their share of my pizza crust one evening. They are never better behaved than when they are waiting for a valuable handout. This is why, “Dogs waiting for food,” is a standard pose for all dog moms. Other fail safes include, “Dogs sleeping,” and, “Dogs sun-tanning,” (the latter of two sometimes being one and the same – there’s often some overlap there).

This was such a great photo and I knew right away that I had to paint it.

Teelo.

Bringing this painting to life took a long time – the reference photo was taken last summer but I waited until I had transitioned to oils and then waited some more to think on this composition of all three dogs.

A single portrait is a big task, multiple figures poses many more challenges and I spent many months working on other paintings while the reference sketch of three vizslas hung in my art room. Sometimes even if I’m not physically working on a project, having it around to think about is like a type of work. And then when I sat down to finally get started – all those months of pondering it made the painting come together really easily. It was also painted against a backdrop of a lot of personal stuff – I was painting this piece when the email invitation to interview for my new job dinged through on my phone, and I completed the painting over the ensuing weeks of huge life decisions, serious conversations with my husband about what we wanted our future to look like, and the resulting upheaval that a big life decision brings. This painting was one of the very last items packed for storage before our move.

My paintings often play double duty – They capture a moment in time on the surface, but they are also closely tied to the time when I created them and everything I was feeling. While begging for pizza was the comical inspiration for this painting (picture me, I’m behind the lens probably with a slice in one hand, camera phone in the other), what is serious about this piece is how accurately it captures each dog. I love portraiture. I love capturing these moments in time and working through my feelings about my subject matter as I paint. In this case studying their sweet features and ruminating on my love for them.

Clicquot.

In this work, each dog looks just like their unique self. Teelo is Big Teelo, standing firm and gazing right at me, looking straight into my soul. Clicquot looks a bit like, hey, how did I end up here? Which is basically her standard. Always late to the party but never left out. The girl with the big, brown eyes. And that is a classic Riggs pose. There he is, with all of his middle-child narrative that we’ve created for him. He’s first in line, continuously inching his bottom forward with his head cocked in a pose that is at once inquisitive, but non-committal, eyes half closed but really fully alert, gaze partially diverted but still totally aware… ready to pounce if pizza is offered (deliberately or by accident).

Clicquot and Riggs.

I love these simple moments with the dogs, with my family. I love remembering them forever through my art. More and more I see my style evolving to remember people, places, memories frozen in time in my work. I find endless inspiration in this idea. A painting is really so much more than what you see. With so much change and uncertainty in my life right now, it’s comforting to reflect on a time and a place when I was at peace. I miss the routine of our quiet Saturday nights with The Crust Dogs. And I look forward to getting that familiar feeling back again. Soon.

Thank you for reading!

My Muse, Miss Clicquot.

To love her is to paint her. ❤️

Oh Miss Monkey Bananas Clicquot. Sweet girl with the biggest brown eyes. She joined our family when she was two years old. Clicquot is the younger sister to Teelo and Riggs. I did worry about her blending into our animal menagerie at first, and how that would go. I remember letting her out of the car her first night in our home and she trotted into the house like she owned the joint. She spent the next 48 hours chasing Beesa everywhere and she placed herself firmly and unwaveringly at the top of our animal hierarchy. Since then, she has ruled over our home like the Princess and the Pea with all of her delicate sensibilities and constant demands.

Like clockwork, every night at 9 pm she cries and grunts until you cover her with a blanket. Hers is a pushy, aggressive type of love. Clicquot thinks nothing of climbing up on an already crowded couch and camping out on top of one of her brothers until they make the sensible choice and leave, vacating their spot for her. Or body-checking her grandmother when she comes to visit (sorry mom!). Or head-butting everyone in sight when she knows it’s “walk time”.

She loves the fireplace in the winter, and sun- tanning on the warm deck in the summer. Sometimes you have to save her from her love of heat – turn the fireplace off or bring her in from the sun when it seems like any sane animal or human would’ve had enough. It is impossible to get mad at her, and that is how Clicquot gets away with it all. Really, all she wants is to be warm, and to be loved, and she is not shy to demand either when her meter is running low. And we – we are so happy to supply her with all the cuddles, blankets, and love she could possibly need.

With her almost cartoon-like features, and that face, Clicquot has been a huge source of inspiration for my art. She’s my little vizsla muse.

I realized I’ve done quite a few portraits of Clicquot and I thought I’d share them with you. Miss Monkey Bananas, below, represented a real level up for me. The solitary figure, vibrant colours, and solid background cutting in with confident lines around my subject – this is a style I returned to and experimented with many times in the latter half of 2018.

Miss Monkey Bananas Clicquot. August 2018. Acrylic on canvas. 12 x 12″.

My husband and I took Clicquot for an epic 35 km backcountry hike at Algonquin Park the summer she came to live with us. We planned it as a bonding experience for just the three of us (the boys stayed with their grandparents and were thoroughly spoiled). Clicquot was such a good little hiker. She stayed right beside me even when we was off-leash, and she was NOT interested in meeting any other hikers, human or canine. We hiked about 17 km the first day and when we arrived at our campsite at Hart Lake we spent the rest of the summer afternoon chilling on the rocky shore. Clicquot was our little lookout dog. This painting makes me want to take her back to the backcountry… such happy memories.

Clicquot at Heart Lake. February 2018. Acrylic and ink on canvas. 18 x 24″.

And finally, this painting was inspired entirely by Edward Hopper’s Pensive Lady in Pink, replaced by our own little pensive lady in red. I went through a bit of a Hopper tribute phase in the first half of 2018, covered in this post. Every time I finished a Clicquot painting, I would think of another painting idea, or take another perfect photo of her that was just begging to be painted.

Pensive Lady in Red. May 2018. Acrylic on canvas. 16 x 20″.

Clicquot 3 x 3

The Clicquot 3 x 3. I love this. This is an ongoing Clicquot project that I started about a year ago and which I would really like to return to and finally complete. My recent sketchbook tour sent me looking through other sketchbooks for fun and I was reminded of this series. This was inspired by a sweet book my husband gave to me many, many years ago: Arty Dogs. In it, dogs are added to famous paintings accompanied by a short story that explains how they ended up there, and it’s just really whimsical and great. It gave me the idea to feature sweet Clicquot in nine different scenes inspired by nine of my favourite artists. Whenever I don’t have another project going on, I try to finish a Clicquot sketch. Lately – that hasn’t been very often and this project needs some attention. I envision finishing all of these on hot press drawing board, with white frames, and hanging on a wall in a 3 x 3 formation (obviously).

This first sketch is inspired by Salvador Dali’s melty clocks and the Persistence of Memory. I absolutely love this quick sketch that I did in about five minutes during lunch at work one day. I hesitate to try to create a more polished, final drawing from this sketch because I think it might be difficult to reproduce the spontaneity.

The Persistence of Clicquot.

This is Clicquot standing outside looking into the old Apollo Grill at Hunter and George Streets. Inspired by Edward Hopper’s Nighthawks it puts a local spin on the classic painting. This makes me think of an independent little Clicquot who took a stroll downtown to get herself a hotdog only to find out, “No Dogs Allowed” inside the diner.

Nighthawks Clicquot

This is Clicquot starring in Edvard Munch’s The Scream and reimagined as, what else? The Howl. Clicquot doesn’t howl much. None of the dogs do. Teelo is the only one who ever really has, but the conditions need to be exactly right. He used to howl when we lived in Downtown Toronto, and he was still Downtown Brown. Sometimes when we were out for a walk, a firetruck would pass us with the sirens wailing. If the firetruck approached us from an adequate distance, so that the sirens were going for awhile, Teelo would sit down, throw his dog head back, and hoooooooooowl along with the sirens. Everyone on the sidewalk would turn to look. It was kind of his thing. This sketch reminds me of that, even though Clicquot is the subject.

The Howl.

Oh this is one of my favourites. I made many drafts of this sketch to get it just right. It is inspired by Roy Lichtenstein. We have three Lichtenstein prints hanging in our house. We spent many months trying to source that perfect trio of prints that explore domestic un-bliss and melodrama. I love pop art, I love Lichtenstein’s primary colour, dot-matrix portraits, and this is a combination of the “I don’t care…” sentimentality of Drowning Girl, and Kim Carnes’ song, “Bette Davis Eyes.” I always think of the line, She’s ferocious, and she knows just what it takes to make a pro blush. I’m pretty sure that Teelo and Riggs think Clicquot is a spy sent from outer space, or from our breeder’s house. Hence the title. 😉

All the Boys Think She’s a Spy.

I recycled this title for my Beesa painting, This is a Cat. I sketched this with Magritte’s pipe in mind – The Treachery of Images. I like it. It’s cheeky, just like Clicquot.

Another Magritte, another surrealist painting, another portrait of Clicquot. A cross between Magritte’s Green Apple and Decalcomania. I like how it pays tribute to three Magritte works in one. This will be the final composition for the Magritte drawing.

Ceci n’est pas un chien.

Below is a rough sketch of my Andy Warhol Clicquot Portrait. I think we all know the silk-screen Warhol Monroes on repeat, and the Campbell Soup Cans. This would be neat as a sketch but also as a mixed-media kind of decoupage that combines a black and white photocopy of Clicquot with multiple contrasting colours. I’ll have to think on its final execution a little more. I remember going to see the Warhol exhibit at the Art Gallery of Ontario on a wintery weekend with my MOM back in grade 10. I wore high heel boots that really hurt my feet and she insisted on taking the subway. After living downtown for ten plus years, taking the subway is no thing at all now but I was quite concerned for our safety on that first roundtrip into the big city. Anyway, the whole exhibit focused on Warhol’s work as a graphic designer. I loved it – I was really interested in graphic design as a career for myself back then and it was so interesting to see it elevated to fine art at the AGO. The exhibit was partly Warhol’s work interwoven with snapshots and pieces of his life. There was even a little display within the exhibit that featured a bottle of Clinique’s Dramatically Different Moisturizing Lotion that Warhol used. I used the same lotion then, and I use it now! And I’ve been a fan of Warhol since way back then too.

Candle in the Wind Clicquot.

My husband’s favourite artist is William Blake, the British Romantic painter unwittingly responsible for so much of the imagery in the Red Dragon movie (of Hannibal Lecter infamy). Unbelievably, he was a watercolour painter – I think his works are amazing. This is Clicquot howling along with the dragon in a sketch appropriately title, The Great Red Vizsla and the Dragon Clothed in Sun. Not sure if I’ll take my chances and paint the final work as a watercolour too… it’s not always guaranteed to be a success for me.

The Great Red Vizsla and the Dragon Clothed in Sun.

And that’s the entirety of my works inspired by Clicquot. Now that I’ve had a chance to return to the Clicquot 3 x 3 I hope I’ll be able to make it a priority to finish in the next few months and finally get it framed and on display. I counted and it looks like I’m two sketches shy of having all of my ideas. Kandinsky? Cezanne? Picasso? Seurat? We will see.

Representing my loved ones and my own memories through painting is a huge theme for my work. This is a subject I hope to explore more deeply through portraiture for the rest of 2019. I think it’s interesting to kind of push my own idea of a portrait a bit, paint my subjects from unconventional viewpoints, play with the colour and background and contrast. I have a number of paintings already lined up.

Clicquot has such an easy face to paint – I’m in the middle of a portrait of her and her brothers right now, and as soon as I filled in the darkest parts of her eyes I sat back and thought, I’ve got it! Those expressive features, and her fierce and pushy and lovey personality – we are just so lucky to have Clicquot in our family. I always call her my sweet girl. I feel like she’s been my little girl forever. There was no warming-up period, it was just an instant bond. That first weekend with her in our home my husband had to work. So I ventured out for a solo walk with all.the.dogs. It was unusually hot and when we got home it was quiet in the house. I lay down for a rest after the triple-dog-walk excitement (um, mayhem) and I remember distinctly that Clicquot just jumped right up beside me on the bed and curled close in next to me. It was love. It’s been her spot ever since (not counting her first few nights here when she was crated to stop her from hunting Beesa while we slept 🙄).

And there you have it – Little Miss Monkey Bananas Clicquot. Thank you for reading everyone and happy Monday!

Varnishing an Oil Painting: How-To and Review

Perhaps the single most important step in the oil painting process, and no, I don’t feel like I’m exaggerating one bit.

I tend to get really excited about some random things. Like when my husband surprised me with a new Dyson on Black Friday 2018. I went on about that for weeks. I just wanted to tell everyone about how many canisters I filled just on the first go around the house. It was life-changing. Or when I discovered you can mail order dog food. Did you know you can mail order dog food!? And set a delivery schedule? That was pretty big. Or when we bought a food dehydrator and made our own raisins from grapes. That was really, really cool.

So anyway, usually when I have one of these discoveries I like to tell anyone who will listen. Varnishing my oil paintings is now one of those things. I feel like I can’t stop talking about it because it has made me so inexplicably happy. Everyone has been really polite about me going on about it, but the non-painters inundated with my excitement can only appreciate this so much. This topic is definitely more suited to visitors of my art blog. ☺️

Teelo says, Mom, it’s time to varnish your paintings!

To all the artists reading this: Varnishing is a big deal. Those of you in the know are thinking, well duh. I have always varnished my acrylic paintings, most recently with TriArt gloss varnish. However, my experience using Gamblin Gamvar Gloss Picture Varnish this week is what has left me feeling so impressed. First of all, you should varnish your acrylic and oil paintings to give them a protective surface (watercolorists – obviously varnish will ruin your work, just stick with glass framing). While I appreciate this protective layer, the majority of my happiness is because varnishing has made my oil paintings look so much better.

I finished three oil paintings from November to end of December 2018 (This is a Cat, Big Beesa, and Downtown Brown) and those are the paintings that I varnished for the first time this week. Like I said, I’ve been waiting for this day forever.

A bit of a preamble: I was really hesitant to start painting with oil paints in the first place, but now that I’ve made the transition – honestly I don’t know why I put it off for so long. Oh my goodness if you’re considering it – just switch. Like right now. My style of painting improved by leaps and bounds when I committed to acrylic painting on canvas (instead of forcing watercolours on myself, which is still hit and miss to this day) but I just could not stand the drying time. There is nothing worse than going back to work on a section with one more perfecting brushstroke and you hit dry paint and your brush skids across the sticky canvas. I just hate it. And I paint in fairly thin layers so it just happened all the time. I’ve been loving the leap to oil painting because I still feel like it retains everything I enjoy about acrylic paint but with even more benefits – colours blend so beautifully, the canvas is saturated in colour, and I have been achieving a level of realism and luminosity beyond anything I’ve ever experienced. I’ve been loving the leap to oil painting because I still feel like it retains everything I enjoy about acrylic paint but with even more benefits – colours blend so beautifully, the canvas is saturated in colour, and I have been achieving a level of realism and luminosity beyond anything I’ve ever experienced.

However. And this is a big however. One thing that I noticed with the oils almost right away was that, while the painting may have looked amazing and perfect right at the end of a painting session (when all the paint was still wet and shiny and freshly applied), a few days later with a bit of drying – some of the paint seemed uneven. Some areas were still glossy, but some colours that had so much depth when first applied were now matte and dull and uneven too. At first I thought, oh when it’s totally dry it will even out. Not so. For the paintings This is a Cat and Big Beesa, the dark backgrounds were really dramatic when first applied but dried really patchy. No amount of layering fixed this (I tried, and just wasted paint for no reason). It really took away from both paintings.

The streakiness is really evident here in this process pic from Downtown Brown. Those black areas should be totally black:

After Googling this issue (thank you Google!) I learned that this is a fairly common issue for oil painting. This “sunken in” appearance is especially problematic for darker colours where it is more obvious. As for the reason – as usual it seems like a number of reasons are suggested – painting too thin, mixing too many colours, too much solvent. One big issue that faces all oil painters is that oil may not be absorbed from paints uniformly by your painted surface as the paints dry. Combine that with the fact that different oil colours differ in terms of oil content to begin with and you have all the makings for uneven drying and overall appearance in your final painting.

The fix

The good news is, there is a solution. The fix for this variation in paint appearance is varnishing (in addition to bestowing all those wonderful protective qualities). I have really, really been looking forward to this final step because I’ve read so much about how this really adds so much to your final painting. I love colour and contrast and I was so disappointed to see that some colours significantly dulled with drying.

I expected the varnish step to even out the surface and that the glossy finish would return and saturate my colours and really make them pop. Gamblin advertises that their Picture Varnish will unify the surface of your painting.

Gamblin is a great company and really committed to artist education. If you have a question and contact them they WILL get back to you with a personalized email. For example, Dave from Gamblin sent me a lovely email response to my question about using graphite for your underdrawing for an oil painting (I had concerns). Anyway, they produced a really handy post about varnishing that covers everything you need to know. I followed it exactly with excellent results.

Gamblin recommends waiting until your painting is touch-dry to varnish. This may be a few weeks or a few months. I paint in pretty thin layers so after a week or so all of my paintings are just about touch dry. I thought I would be extra good and I gave all of my paintings at least a month to dry. I also figured a varnish assembly-line would make the best use of my time.

Step 1: Assemble your tools

Not much to assemble. I had my varnish bottle from which I poured a small quantity into a flat container (old Tupperware repurposed for the art room). I cleared off my flat art room table to place each painting during the varnishing. It’s best to work on a flat surface so the varnish goes on evenly and isn’t drawn downwards by gravity.

I purchased this 2″ Royal and Langnickel Jumbo flatbrush just for varnishing. Soft but firm synthetic bristles and well constructed (no bristles falling out during the actual varnishing and ruining the painting).

Loving this new varnish brush.

If you have a dedicated varnish brush, you don’t need to clean your brush after using Gamvar. You can just let it dry and put it away until your next varnishing party.

Step 2: Varnish!

I laid each painting flat on my big table in the art room. Using my large brush, I dipped it into a flat container holding some Gamvar. I tapped off the brush and then starting at the top of each painting I swept it in long even strokes across the canvas. I worked my way down being careful to lay the varnish down in a thin layer picking up any excess as I go. You want to watch out for any areas where it may pool, especially on amore textured painting surface. The Gamvar needs to be applied very thinly or it will always remain tacky. It dries solely by solvent evaporation and if done correctly will be dry to the touch in a couple days (I checked, mine were dry to the touch in a couple days!). I did ignore the unsolicited advice of a well-meaning sales lady at Michael’s who I chatted with on a recent canvas buying expedition. She advised to rub the varnish in with a cloth. I have no idea how this would be superior but I implore you, do not do this. It seems more likely to ruin your painting. For my 24 x 30″ Big Beesa I dipped my brush into the varnish twice for the entire thing. That’s it.

Here’s a pic of the varnish process halfway thru. The Gamvar immediately saturated the painting, You can see a distinct line about halfway down. The top half is varnished, the bottom half not varnished. The difference is really striking in this photo and that richness was retained when the varnish dried.

Another compare and contrast. Varnish applied on the left side of painting, the red, especially the darkest areas are noticeably more vibrant. The right side is awaiting varnish. It is more dull and muted.

Step 3: Drying

Let your varnished painting(s) dry for a few days in a safe pet-free zone. They should be totally dry to the touch if done properly.

Before and After

All of these pics are totally un-retouched to try to show you the true before and afters.

This is a Cat

You can see the top-down vertical steaks in the black background and the variation in light and dark black throughout even though black was used straight from the tube. I applied two layers of black to the background to try to fix this but it dried the same every time. In the after, you can see that the background is totally uniform and this effect is even more striking in person. All of the colours look more saturated.

Big Beesa

I felt that the dark background was even more problematic in this painting. Again I applied multiple layers of paint in the background to no avail. In the after image, again the paint is totally uniform and all of the colours have been restored to their straight-from-the-tube lustre.

Downtown Brown

This painting was so streaky in the before image. Again the darker colours are a bigger problem but you can see in the varnished image that everything gains a greater intensity and the steaks are lost.

Final Verdict

I put so much love and care into all of my paintings that it just makes sense to kind of finish them up and tie everything into a neat package with a final varnish (like the ribbon on a present). The same goes for painting the edges of my canvas and signing my work. It’s the little things that can elevate a painting so much. In terms of the varnish step, the difference is subtle but it is also everything. Not only will you protect your artistic investment, you’re allowing it to reach its full potential.

I’m sorry this turned into a bit of a review of Gamvar varnish but I just can’t get over it. I received it for Christmas from my husband and it’s now one of my favourite presents (the spiky shoes and Neewer lights were the front runners up until now ;)). I think the Gamvar Picture Varnish is an absolutely excellent product. It’s always hard to photograph paintings, especially glossy ones, but in person the paintings have a rich, saturated, unified appearance. A little Gamvar goes an extremely long way. I have a 500ml container and I think it will last me for years of oil painting varnishing. And yes, in case you were wondering (I know I was!) you can use Gamvar Picture Varnish on oil and acrylic paintings.

I hope these impressions will help any of you starting out or on the fence about which product to varnish with. If you have any questions please feel free to write to me in the comments below.

Thank you for reading everyone. Happy varnishing!

Paint-along still life apple.

Acrylic painting for absolute beginners. Everything you need to know ☺️

If you missed Parts 1 and 2 of my Absolute Beginners painting series, you can check them out here and here.

So, you’ve chosen to paint with acrylics! Excellent choice! Or maybe you’re just reading this post for the heck of it – also excellent! Thank you so much. If you’ve never painted with acrylics before, please, let me be your guide.

Today we are going to paint this (if you want to):

First up, let me explain the basic of acrylic paints in this video below:

Notes

What exactly are acrylic paints. Well, as we covered in Part 1, all paint is made up of a binder or vehicle (the stuff that keeps the paint together, sticks to your painting surface, and holds the colour in place once the paint is dry). The pigment is mixed with the binder – this is what gives your paint its colour. Acrylic paint has a similar consistency to oil paint – both are generally pretty-heavy bodied and thick. The binder in acrylic paint is acrylic polymer emulsion. Straight out of the tube acrylic paint is water soluble. So all you really need to thin your paint and work with them is basic water. If you like you can buy a product called retarder which is an additive for increasing the working (drying) time of your acrylic paint. Once acrylic paint dries it is water impermeable and permanent. It is a great paint for beginners.

Basic acrylic painting shopping list

Yay, you get to go shopping! Here’s what you’ll need to get started with acrylics:

  • Acrylic paint, 60 ml tubes (I recommend TriArt or Golden paints): Alizarin crimson, cadmium red medium, cadmium yellow medium, ultramarine blue, burnt umber, raw umber, burnt sienna, raw sienna, chrome oxide green (optional), Payne’s grey, titanium white
  • Brushes: Round #6, flat 1/2″ thick, filbert #2 or #4 – short handle if you’ll be working at a table, long handle if working at an easel (I prefer synthetic soft bristles, other option is hog hair, see what you like) – inexpensive is ok, but I don’t recommend dollar store paintbrushes – you would regret it
  • Pre-stretched canvases – you can buy a bulk pack for a volume discount (12 x 12″ is a good size to go with) and/or pad of inexpensive canvas sheets for practice
  • Retarder (optional) – Golden makes a good one
  • Palette: Disposable palette sheets (optional, looks like a pad of paper) – or a piece of plywood or Masonite board – it is up to you
A bunch of well-loved brushes. From the top: Hogs hair filbert, synthetic soft bristle filbert, flat synthetic soft 1/2″, round synthetic soft #6.

Paint-Along: Still Life With Apple

Here’s what you’ll need for our paint-along:

  • Titanium white
  • Cadmium yellow medium
  • Naphthol red medium (or cadmium red medium from basic palette0
  • Alizarin crimson
  • Payne’s grey
  • Chrome oxide green (optional)

Click below to watch me paint. You can paint along with me! I recommend you get all your supplies assembled, a nice cozy tea, and then press play! You can follow me, skip around to the parts you need. You’ll have your first painted masterpiece in no time. I’m no Bob Ross but I really try to break it down for viewers. And I apologize for the length! This is my first kind of “paint-with-me” video and there’s definitely a learning curve. But I thought, ah, I’ve got to start somewhere so here we are.

Our apple palette!
Today’s subject.
Reference drawing.
All the colours – before.
All the colours – after.
Remember to paint your canvas edge to finish everything like a star!
Don’t forget to sign your work!

I hope you all enjoyed this little how-to and tutorial. The best way to learn how to paint, is to paint – as much as possible. If you painted along, please please please share your work in the comments below! Any comments? Questions? I love to hear from you!

Thank you everyone for reading and watching!

Christmas Commissions Round-Up

I was very busy this fall and worked my way through a number of commissions for Christmas presents. It was definitely hard keeping these paintings a secret – the urge to share my work is strong!

I wrote about one commission especially close to my heart in this post. Now that Christmas 2018 has come and gone, here is a round-up of the rest of my Christmas work! All of my commissions can be viewed here :).

A few things to note:

All commissions are done in acrylic unless requested otherwise because of the quick drying time and ease of use. This was especially important when Christmas deadlines were a concern.

The total time for each commission usually ranged from one week to two weeks. Usually a day to sketch from the reference picture(s) provided. Then the drawing was enlarged to fit the chosen canvas size, and transferred to the canvas with graphite transfer paper. One day for the under-painting usually, then two to three more days for main painting and filling in details. This usually got spread out over a week or two because of my real-life full-time job, dog-stuff, and life in general.

Each finished painting received three layers of acrylic gloss varnish and the sides of the canvasses were painted in the background color, so no framing was required.

I sent pics for approval after the initial sketch, once the drawing was transferred to the canvas, when I estimated the painting to be 95% complete, and when the final painting was done.

Tri-Art and Golden artist quality acrylic paints were used for all paintings.

My work on these Christmas commissions was interspersed with my own personal paintings. It was really refreshing to go back and forth between different projects. The art room was a busy place! September to December of this year was a hugely busy time creatively. I loved it. I honestly wish I could do this full-time. A little bit of painting, a little bit of art-blogging, a little bit of teaching, a little bit of dog-running – lol. And I really, really feel that creating so many paintings in such a short period of time improved my skills exponentially. It was a great experience for me and I feel like my technical skill has levelled up in a big way.

I am so appreciative to everyone who asked me for a commission this year. Every painting starts the same way – with me nervous to see that it is turning out “right”. It’s so important when doing a commission of someone’s treasured pet that you capture what makes that sweet animal unique. I hope these paintings do that :).

Elf, Sammy, and Roxy

Acrylic on canvas, 16 x 20″.

These sweet rescue pups are loved by my friend’s sister. He provided me with one main reference photo and a few supplementary pics. The biggest challenge was sketching all three dogs separately and then combining in the right proportions on the canvas. That took a bit of doing and we definitely went back and forth a bit to make sure the sizing was correct. I like how the shadows and dark areas in each dog are picked up by the dark black background. In order to get the black that black I usually apply three to four layers of paint.

Marley

Acrylic on canvas, 16 x 20″.

Marley is a chocolate Labrador retriever absolutely adored by her owners. This was a Christmas surprise for the commissioner’s husband. She and I worked together on this commission, and a separate one of her son’s two golden retrievers somewhat simultaneously. We exchanged many texts going back and forth about the reference pics and initial sketches and then just talking about the painting progress. It was really nice to work so closely with someone who cared so much about the final painting – it honestly felt like a joint project and it was a great experience.

Chloe

Acrylic on canvas, 20 x 20″

The Chloe commission was referred to me through a friend. Chloe is a little, itsy bitsy dog and early on we discussed playing up her little size with a big painting, hence the 20 x 20″ size. I love how the dark, mono-black background really makes her pop. In order to play up her the contrast between her dark fur and the dark background I really focused on her highlights and the light reflecting off her curls.

Sheba and Sophie

Acrylic on canvas, 16 x 20″

This was one of my last Christmas commissions. I loved this project – both the process and how it turned out. Sheba and Sophie are sisters, both a lab-mastiff mix. I loved painting them because with their short fur, expressive faces, and muscular frames they remind me very much of my own dogs who I love to paint. They were already really well-positioned in the reference photo given to me and I was just really looking forward to working with their unique colouring and capturing their expressive faces on canvas.
And that’s it for my Christmas work!

Thank you for reading!!!