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Wednesday, May 21, 2008

Linda Blondheim Art Studio Landscapes of the South

Florida Palm Grove
20x24 inches
oil on birch panel
wired and ready to hang unframed

See my web site HERE

See my large paintings HERE

Studio Events:

Linda Blondheim
Books Inc.
NW 5th Avenue and 13th Street Gainesville, Florida
November 1-30, 2008

2nd Annual Bartow Paint Out
November 21-23, 2008
Bartow Florida

I have a new Make an Offer feature on my other blog HERE I show a painting for a week and take the highest offer on Sunday. Offers start at 10.00 Buyer must pay shipping or pick up at my studio. Send offers to me at Type offer in the message line.

2008 Crescent Beach Paint Out
October 21 - 25, 2008 HERE

Linda Blondheim Art Camp

Color Mixing for the Southern Landcape

Join me in my cozy studio 13 miles form Gainesville, Florida. Come January 10th, 2009 for my art camp on the color palette of landscape painting with acrylics or oils. We will explore the world of landscape painting with color. The camp will focus on color mixing the Florida and Southern landscape palette.

9 AM- 5PM

This camp is one stop shopping!! No need for breakfast, lunch, snack or drinks. I will provide all!!

Just bring your paints, 50 sheets of index paper (card stock), one canvas for a final painting after lunch, your brushes, one bottle of acrylic glazing medium, one small jar of gel medium for acrylic painters, Your turps and paints for oil painters, a sketch book and pencil.

The Date: Saturday January 10, 2009
The Fee: 100.00
which includes 2 meals, snacks, beverages, instruction and workbook.

Deadline for payment January 1, 2008
Limited to 12 painters.


Studio: 386.462.5726

If you want to use I have a button on the web site on the artist resources page HERE If you'd rather pay by check, send to:

Linda Blondheim
3032 NW 161 Court
Gainesville, Florida 32609

I have a new web site for my commission work and larger available paintings. Check it out HERE

My next Studio Monthly class will be the first Sunday in November at 2 PM

Please join me.

I am now offering Dog Portraits. Please check my web sites for more information on various commission subjects. It's time to order commissioned paintings for holiday gifts.

Thursday, May 15, 2008

Linda Blondheim Art Studio Landscapes of the South

Tomoka River
40x48 inches
oil on canvas
125.00 shipping

See my paintings HERE

Painters Tip

Warm Up with Brushwork

I give my students three exercises to do to warm up for painting.

1. Long and short strokes. They must practice loading the brush carefully and making the longest most even strokes they can. The other side of that is short choppy strokes. Add tos that curves, circles, rectangles, cross hatching, side of brush and flat of brush strokes.

2. Stippling. Dots of paint in multiples, singles and so forth. Building up layers of dots to make stippled layers of paint. They use a variety of brushes from rounds, to flats, brights,filberts, large and small.

3. Scumbling. This must be done with thin paint over dry paint, either very thin with medium or dry brushed onto the paint surface in a scrubbing motion so that the top layer of paint is scrubbed over the dry paint layer underneath.

I use all of these strokes when I paint and most painters do. To study them one at a time as an exercise builds technique and warms you up for a painting session.

Thursday, May 08, 2008

Linda Blondheim Art Studio Landscapes of the South

Gold Finch
4x6 inches
gouache on acid free mat board

See my work here

Art Notes Blog Here

Painters Tip

This week I share quite a bit of information I have found on the web about various whites in oil painting. I would like to credit the authors but can't remember which sites I researched.

Titanium White - titanium dioxide (oxide)
Reflects 97.5% of all available light. The most opaque white, perfect choice for direct painting but difficult for color mixing because it takes so much color to tint Titanium. Titanium is completely inert, does not change by aging or normal chemical action, but it does require more oil to grind than other whites and can show some yellowing because of the darkening of linseed oil when it dries. It does not dry very quickly and is more Zinc white in this respect. Titanium White does not dry as hard as Zinc white eventually will, and consequently will make a more flexible film.

Flake White - basic carbonate of lead
Flake white has a heavy pigment requiring very little oil, and combines in time with oil to make a very flexible film. It is regarded as the most reliable white on which to build a painting. It can be applied more heavily than other whites with less danger of cracking than other whites. Flake white dries well and is a "warm" white. Note: Being composed of lead, Flake white is poisonous if absorbed into the body, but this does not happen by external contact.

Zinc White - zinc oxide
The most popular and transparent of the whites, it is also slow drying. It is a "bluish" (cold) white color, not nearly as strong and opaque as Titanium White and therefore can be very easily controlled. Zinc is recommended for scumbling and alla prima painting. Impressionists who painted directly liked Zinc White for its transparency and slow dry time. But Zinc's slow drying time and brittleness does not make it a good choice for general painting.

When painting in the indirect method you need to remember the fat-over-lean rule: always paint a more flexible layer over a less flexible one. With that in mind, the brittleness of paint films created with Titanium or Zinc whites make them less suitable for this method of painting than Lead white.

"Fat" refers to the fatty drying oil used as a binder and in mediums. A fatty layer of paint has more fatty oil (linseed, poppy seed, walnut, etc.) in it than does a lean layer, or one containing less fatty oil. To paint "Fat-over-lean" is defined as painting in layers of paint, which contain successively greater quantities of fatty drying oil.

The purpose of this method of layering oil paints is due to the fact that oil paints do not dry by evaporation, but by oxidation, during which time the paint film flexes and moves. By adding more oil in each layer of paint you insure that the lean under-layers will dry before the top layers to prevent cracking. Whereas a lean layer painted over a fatty layer would completely oxidize and become inflexible, causing it to crack when the underlying paint layer flexes during oxidation

Painting on a flexible support, such as canvas, creates flexibility within the structure of the painting, which can be damaging. Any painting on cloth, which received a blow (whether from being bumped from behind or dropped, etc.) will cause a certain type of cracking which is usually visible in a circular pattern on the painting's surface. There is only one way to attempt to avoid this. Paint in a series of daubs of color separated so as not to create a continuous paint film. the flexing support can then bend between the brushstrokes without cracking them. However, this style of painting is very limiting creatively.

Most artists desire to create a continuous paint film across the support and have, for centuries, done so in varying thicknesses of paint: thin wash imprimatura, covered with transparent shadows and bold, thick highlights, glazed with transparent glazes and scumbled with thin layers of translucent opaques. The key is in knowing the amount of fatty oil in each color. Each pigment has different properties, including particle size, which determine how much oil is required to turn it into a paste. Craftsmen of past ages, who ground their own paints, knew which pigments were high in oil and which were low. The underpainting would then be produced in lean colors and successive layers used fattier pigments, or else more oil (in the form of a medium) was added to altar the paint film's elasticity. Lead white is a very lean color - it requires very little oil to produce a paste for painting. Each pigment chemically reacts with the oil to effect drying. Lead white reacts in a way which speeds drying times by increasing polymerization. It should be used in underpainting or for painting over washes of color, but is more likely to crack if layered over a very fatty color such as a thick layer of umber or carbon black.

As a general rule earth colors, especially those containing heavy metals, dry faster than do organic or synthetic pigments, which have finer particle sizes.
Because of the yellowing of linseed oil, many artists and paint manufacturers throughout the ages have sought to use other binders or vehicles for grinding pigments into paste, especially lighter colors and cooler colors which may be effected by yellowing. Rubens and others of his day ground whites and blues in walnut oil because it yellows less.

Today, many paint manufacturers, creating paints for the direct painting methods of the impressionists and plein air painters, use poppyseed, sunflower, or safflower oils. However, none of these are suited to layering paint. Archivalists discourage the use of poppy seed oil because it is brittle and cracks more easily. Safflower is also not a good substitute because it never dries and is thus not truly a "drying oil." Most paint manufacturers using these oils add dryers to the mixture to force consistent drying. But there is little that they can do to prevent the inherent brittleness of these paint films. The very chemical within linseed oil that makes it yellow is also the thing that makes it flexible.

Thursday, May 01, 2008

Linda Blondheim Art Studio Landscapes of the South

20x36 inches
oil on canvas

Painters Tip

Improving your work

If you really wish to stretch and grow in your painting you will need to do research and study. You need to take the time off from your regular painting schedule and have separate time to read and paint for learning.

There are a couple of good ways to do this. Some painters do some study first thing in the day, when they arrive at the studio or on location. The have a plan or an exercise ready to start and they use it as a way to warm up before serious painting time.

Another method is to take longer periods of time like weeks or months to study and research; an in studio artist residency or retreat if you will, taking yourself out of your usual studio routine.

I use both methods. I like to do a lot of exercises before I teach workshops and classes. In the summer, things are slow in the art world and I am home in the studio. If I have a sufficient inventory to last the summer, I will often spend the summer doing research, writing about paintings and doing various painting exercises to improve my work.

In addition, I will have a study topic for the year. This year I am studying the art of NOTAN. A couple of years ago it was painting architecture. Generally, I will study areas I am weak in,so that I improve and progress in my painting skills. I make a list of areas I need to develop and choose from that for my summer study or studio warm ups.

However you decide to study, do it consistently and take a lot of notes. You can make an excellent notebook about each topic to keep and reuse over and over again. You work will improve as much as you are willing to work. It you apply yourself with discipline you will improve. If you make little effort, you will get little in return. The best painters I know are always studying and working very hard on specific areas of painting.