Blondheim Art Original Landscape Painting Cotton Field

6x8 inches
acrylic on linen panel
300.00
silver frame
Purchase at: www.lindablondheim.com


Painters Tip

Happy New Year dear friends.

I have started doing the paperwork for taxes, as I try to get them out of the way immediately after the holidays. One of the things I do, is analyze what worked for me in terms of investment for marketing, advertising, equipment, and supplies, and what was a waste of money for me with little or no return.


I am always dismayed to find that some of my brilliant ideas were a complete waste of money and time but hindsight is easy isn't it? I think it is important to study our expenses in order to become more efficient with our money.


One of the things I will do this year is to not jump into events which have little promise for financial gain. In the past I felt like I should do every event that came along, every paint out, museum or gallery show, just because I was invited. It took me a long time to think first, what is in this for me? What are the chances for financial gain, prestige, good PR? Are the artists just being used for their name recognition instead?



Art is a business and anyone who wants to paint for a living needs to understand profit and loss.


One thing I need to remember is good time investment as well as money. I wasted a lot of time in 2006 on projects which were not fruitful or good for me. They did not fit my personality well and caused great annoyance for all parties involved. I learned that I am very independent and do not work well in groups or by committee. I am the captain of my own ship and I will not make that mistake again this year.


You may want to go through this analysis of your art business or even your hobby and figure out what is a good investment of time and talent and what is not.


Are you in groups which take up time but give you little value? Are you investing in advertising which gives little reward in sales? Are you using equipment and mediums or are they sitting in a corner? Are you satisfied with the medium you are using or is it simply a habit?


This is a good time of year to re-focus our work and our goals. Starting fresh is a good thing once a year. Sweep out the cobwebs and get to work with new ideas and inspiration.

Blondheim Art Original oil painting Chickens

10x10 inches
oil on canvas
550.00
Deep Gallery Wrap canvas, wired and ready to hang unframed.
Purchase at: www.lindablondheim.com


Painters Tip



Jump Start Your Process


All art is a great experiment. Don't worry about it being good or sellable.


Get out your old paintings and use them as experiments. You have nothing to lose. You might come up with a masterpiece!!


Start fresh and try new materials and techniques.


Get Organized. Set up a work space which is conducive to regular work.


Get some help. A workshop or lessons from an artist you admire will jumpstart your creative process.


Play with cropping. Take old paintings and cut them up to make interesting new paintings. They can be mounted on panel and completely renewed.


Plan Ahead. Do sketches and thumbnails for new ideas before you jump into a new painting.


Use a journal. Make notes about new ideas you want to pursue and new themes you might want to explore.


Play good music in your studio while you work. It is fun and relaxing. You will be less intimidated by that canvas if you are feeling good.


Don't be afraid to try anything, even if it seems stupid or silly. Be innovative and you will be open to great ideas.

Blondheim Art Original Acrylic Landscape Painting

Fall Reflections
8x10 inches
acrylic on panel
silver frame
500.00
Purchase at: www.lindablondheim.com


Painters Tip


Changing materials

I test a lot of products for my workshops sponsors and I really enjoy using products and materials I've not tried before.

Trying new materials, formats, and sizes is a good idea. When you are starting out especially. It is easy to get into a comfort zone rut and hard to get out of it after awhile. I know painters who only paint in one or two size formats and only specific brands. They feel comfortable with it and don't want to try anything new.

The problem with that is that sooner or later an opportunity for commissions or some other project will come along and they will not be able to paint well because they are using something they are not used to. The same goes for paints mediums and brushes. I think it's a good idea to be able to use all mediums at least proficiently, because you will have many more opportunities when you are versatile.

Blondheim Art Landscape Painting Econfina River

5x7 inches
acrylic on panel
unframed
115.00 includes shipping
Purchase at: www.lindablondheim.com


Painters Tip

Encaustics

Encaustics have been re-discovered and are all the rage now. I see them everywhere at art festivals. They are in fact, a very old medium abandoned at one time in favor of more modern paints.

Encaustic paint is basically beeswax, pigment and a little bit of resin.
For many years pre-made colors were not available and many artists made their own paint. You can find many different formulas in the reference books. (Some good and some that are dangerous).

Tools

Since encaustic involves heating wax, there are a few tools that must be used that you don't use in other types of painting.
You will need an electric frying pan or hot pot.
Palette knives, brushes, sticks or hairbrushes can make interesting paintings.
You will need a tool to reheat and fuse the paint so that it does not delaminate or flake off the panel or canvas.

There are several companies who sell all of the encaustic paints and supplies on the web. Just Google search encaustics to see the history of the medium and to buy supplies. There are several artists I know who have gone to encaustics and the medium lends itself well to abstract or contemporary art rather than traditional realist art.

Blondheim Art Puzzle Original Acrylic

Original Art Lotus Blossum Puzzle
6 pieces
original acrylic
10.00
Purchase at: www.lindablondheim.com





Painters Tip


Using Alternative Formats


We always think of painting in terms of canvas or panels. There are lots of other things to paint on, including glass, plastic, wood, aluminum, furniture, paper, matboard, illustration board, our walls, and decorative things like picture frames, mirrors, fabric and other items. There is no end to the possibilities.


I like to make art puzzles out of plain old craft sticks. They make terrific conversation pieces for your coffee table and kids love them too. You can throw out a bunch of them on the floor and the kids will be fascinated by them. They make great original art gifts as well.

Think of your own way to make alternative fine art.

Blondheim Art Floral Painting Lotus Blossoms

5x7 inches
acrylic on panel
115.00 includes shipping
unframed
Purchase at www.lindablondheim.com


Painters Tip


I like to paint flowers, not in the traditional realist style but rather in an iconic expressionist style. Whether you prefer photo realism or impressionist, or whatever style one can come up with, the secret to good florals is clean crisp color. Flowers are all about color. I include crisp whites in that statement too.

I recommend pre-mixing your colors for florals so that they stay clean. I like to mix from three to five values of each blossom color in advance, carefully laying the values in side by side with very little blending. You want to avoid muddiness in your floral work. After getting the values layed in you can take a clean dry brush and just soften the edges here and there, without destroying the crisp color.

Blondheim Art Historic Building Acrylic Painting

Loius Lunch
Gainesville, Florida
10x10 inches
gallery wrap canvas painted a neutral solid color on the sides and wired for hanging without a frame.
550.00

Available at: www.lindablondheim.com


Painters Tip

I've been advising artists to think about their goals for the last week or so. Now I have my list to share for 2007:

I want to focus my marketing effort on the internet and most specifically, my web site. I want to make my web site the online store for my work, where it will be easy to purchase my work online. I want art buyers to feel secure and comfortable with purchasing directly online from my studio. How will I make them understand this and feel secure? My goal is to figure that out with better communication skills.

My painting goal this year is to thoroughly explore trees as a major subject, and farms, ranches and rivers as a secondary theme. I believe that narrowing my subjects and themes will allow me to study in depth, while improving my work.

I have made the recent decision to give up my regular local painting classes and to focus instead on teaching one to seven day workshops and art camps,teaching online students, and writing more tutorials which will allow me more painting time,and more research and development time to teach about what students are interested in, thus making me a more effective teacher.

I also want to expand my mailing list this year and use it more effectively.

I want to have more visitors to my studio, which I thoroughly enjoy. I am planning two studio parties for 2007 and I will have special incentives once a month for visitors to the studio.

I want to continue to support and mentor emerging artists, because I feel it is so important to lend a hand to those who are coming along. I think if I were to discover that I had helped a budding super star to achieve a high level of recognition, I would be delighted to know I had been instrumental in their path to success. I will never be famous, but what if I mentored someone who will be? What a thrill!!!! I started a tradition of purchasing small paintings from artists a few years ago. I give the paintings to friends and to my daughters, so that they will have original art for their homes.

I have other goal too but these will be major goals in 2007

Have you started your list yet?

Blondheim Art Original Landscape Yellow Marsh

5x7 inches
acrylic on panel
unframed
115.00 includes shipping
Purchase at: www.lindablondheim.com


Artist Journal


No tips on this holy day.

Instead, I give thanks for the following:

my beautiful children

a roof over my head

a fine studio

my family

my network of many, many artists who give me encouragement and support all year long

my patrons who provide my living

whatever skill I may possess as a painter

this beautiful earth we take for granted

each new day that I wake to with joy

my workshops sponsors, Jack Richeson & Company and French Canvas

my e-painting sponsors, Judsons Plein Air Outfitters,Paddiwhack Gallery, High Springs Gallery,Pearl Country Store, Uptown Cafe',Canvas Place,Hector Framing and Gallery,Books Inc.

every person who has helped me to further my career and to tell others about my art


Shouldn't we all take a moment each year to think about all who have helped us along our paths.

I thank you all sincerely.


MERRY CHRISTMAS TO ALL AND TO ALL A GOOD NIGHT...........

Blondheim Art Landscape Painting Dairy Farm

8x10 inches
oil on panel
115.00
unframed

Purchase at www.lindablondheim.com



Painters Tip


Marketing your art


If you are an emerging artist, thinking about selling your work or already selling, think about niche marketing. Galleries are not the only way to sell. I read recently that 80% of art buyers never set foot into a gallery.

Think about what group of people have something in common with your subject matter. If you love doing florals, what better place to market than a garden center or botanical garden? How about a Victorian tea room?

If you like to paint pets, market to veterinarian offices and dog groomers.

I market my work to land conservationists, farmers and ranchers, and outdoor enthusiasts.

There are almost unlimited possibilities to sell your work if you think outside of the mainstream gallery route.

Blondheim Art Landscape Painting Rabbit Hill Trees

18x24 inches
oil on canvas
silver frame
1500.00

Work in Progress




Painters Tip




More on acrylics

I have tested and used several brands, but my favorites in descending order are Stephen Quiller, Golden, and Winsor & Newton's Finity. In my opinion the Quiller brand is the best of all. They have wonderful color and pigment load.



Golden makes wonderful mediums. I really like their glazing medium and the gloss gel, which gives the paint a little more body.



My favorite acrylic brush is the Polar Flow 1/4 inch flat synthetic. It is extra long and flexible. The cool thing is that the polar flo is super cheap, but a great brush. I wait and buy them when they are on sale. I buy two dozen at a time because I use them for both oils and acrylics. I also love the Jack Richeson series of small rounds. Terrific little detail brushes.



I like to put a few drops of retarder in my brush water. It keeps the paints from drying too fast. Using the retarder in the water instead of mixing it with the paint keeps the paint from getting a gummy texture. Using a spray bottle with water and a drop or two of retarder helps too.



I use a piece of 8x10 inch masonite or mat board slipped into a clear page protector, the ones that go into three ring binders for papers to slide into. First I use one side for a palette and when that gets messy, I flip it over. When both sides are used. I toss it and slide the board into another one. No mess at all.

Blondheim Art Landscape Painting Palm Hammock

5x7 inches
acrylic on panel
unframed
115.00 includes shipping.
purchase at: www.lindablondheim.com



Painters Tip


Working with acrylics


I have had a love hate relationship with acrylics for a few years now. I have been painting with oils for many years and love them, but I like to experiment with other mediums, giving myself a rest from oils. I'm one of those painters who believes that you have to mix it up to stay fresh.

The first year I worked with acrylics was disastrous. My paintings were ridiculous to put it mildly. The color was harsh, the paint looked plastic and transparent. They were a mess. I put them away and said I would never use them again.

About every 6 months I would get them back out to play again. I guess it galled me that I was going to be defeated by them. I just couldn't let it go.

I have now reached the stage of moderate success with the medium. Somehow, magically, I overcame the value shifts, the garish colors and they no longer look like plastic. I discovered that toning down the color was imperative for success. I also learned that subtle value shifts were the key to painting, rather than trying to blend. In other words, laying paint next to paint with slight value changes, looks like blending.

Most importantly, I learned that they are nothing like painting with oils and to make that attempt is perilous. I think that was my biggest mistake. Because the are painted on canvas and panel like oils, I assumed they would be in the same process.

I am beginning to think of them a a friendly adversary at this point. I paint with them everyday now. They are no longer banished to the closet shelf.

Blondheim Art Landscape Painting Palms

5x7 inches
acrylic on panel
unframed
115.00

Purchase at: www.lindablondheim.com




Painters Journal


Workshop Reminder


The Big Three

Study color, composition and values with:

Mary Jane Volkmann
www.maryjanevolkmann

Kathleen Wobie
www.kathleenwobie.com

Linda Blondheim
www.lindablondheim.com


January 27-28,2007

at Paynes Prairie State Park near Gainesville, Florida

9AM - 5PM

Morning snack, lunch and afternoon snacks, a wine and cheese social on Saturday night all included.

Workshop Fee 385.00 Remember, you are getting three instructors for this workshop.

contact Linda at: lindablondheim12@hotmail.com or sign up on Linda's web site.


DEADLINE: January 10, 2007



Painters Tip



Where do you want to go from here? If you are a relatively new painter, you may be wondering where you want your painting to progress? It is a good idea to take the time to think about what you like in paintings and who paints the way you want to go.

I'm not talking about copying someone else's work or their style, but rather looking at a lot of different painters and choosing the commonalities in the works that you are drawn to.

You will start to discover consistencies in other paintings that are appealing to you.

Such elements like composition, color palette, texture, brushwork style, tonal or contrasty work, loose, somewhat detailed, or highly detailed rendering in a more illustrative style, cool or warm biased palettes, will all help you to know what turns you on to painting. These clues will shape the style of painting that you will eventually adopt as your own. Let me clearly say that I am not talking about emulating or copying another artist. I am talking about discovering what makes you tick and in what direction you are headed. There is a danger in becoming too impressed with another's work. I have seen many many would be Richard Schmids. He seems to be a popular artist to copy. It's great to learn from other painters but be true to what makes you unique.

Blondheim Art Landscape Painting Trees

24x24 inches
oil on canvas
Sold


Painters Journal



2007 will be the year of the trees for me. I love trees and enjoy studying them. I'm going to teach a workshop in June:

Linda Blondheim Art Studio

Linda's Summer Art Camp

All About Painting Trees

Saturday, June 23, 2007
9AM - 5PM

Continental breakfast,lunch,afternoon snack included.

Limited to 9 students

beginning and intermediate level students

This art camp will be in Linda's air conditioned studio, 11 miles from Gainesville, Florida.

75.00

Contact: lindablondheim12@hotmail.com

You can sign up for the workshop at my web site: www.lindablondheim.com




Painters Tip



Painting With Caseins

Casein is a very old medium. Casein (kay'seen) is a quick-drying, aqueous medium using a milk-based binding agent, and is one of the most durable mediums known to man. Nine thousand year old Casein cave paintings have been discovered in Asia, and later, the medium was used by Byzantine, Roman and Renaissance artists including the Old Masters.

I have been using the medium on location for a few months. They’re very versatile, allowing loose, impressionist brush strokes and very tight detail. They clean up easily with water, and the palette cleans with water as well. Just a paper towel with water will scrub the palette clean.

There is one problem I have had with caseins. They do not varnish evenly. Some areas remain matt and others shiny. The can be buffed if you wait for about week.

Blondheim Art Landscape Painting Barn

8x10 inches
oil on panel
500.00
silver frame
Purchase at: www.lindablondheim.com



Painters Tip


Brush work


Think of your canvas or painting support as a foundation for your paint. The idea is to lay the paint on top of each layer while disturbing the under layer as little as possible. The paint will build up thickly in some areas and remain thin in others. The more you smush it around and blend it on the support, the muddier it will become.

Brushwork takes some finesse on your part. Think before you lay on paint. Why are you applying paint? Do you have a plan? Are you considering the texture and local color of the scene you are painting? Many artists have the idea that painting is random and intuitive. There is an intuitive quality, which gives an artist creativity, however, deliberate planning and thinking about why you are laying on strokes, will make better paintings.

One of the biggest problems I see for inexperienced painters is that they are just fooling around on their painting, stroking away randomly with no purpose. They reach the stage where they don't know what to do, but instead of stepping back and thinking for awhile, the just pile on more paint. Big mistake.

My advice is to step away for 5 minutes and rest your eyes and mind. Take a quick walk, or sit down and rest for a bit. You will look at the painting with new eyes and see problem areas.

Using a rhythm in your brush work will make for good painting. Variety is good but make it cohesive by weaving similar strokes here and there in the painting.

Blondheim Art Landscape Painting Trees

8x10 inches
acrylic on panel
silver frame
500.00
Purchase at www.lindablondheim.com





Painters Tip


Reference Materials


I keep a huge reference library and I add to it in various ways. I try to take my camera with me when I travel, to snap pictures of interesting trees, landscapes, vintage architecture and other subjects.


I also scour the internet for copyright free images of places and things which interest me. Google and Dogpile both have great images. I will often see interesting places when I drive around and I have been pleasantly surprised to find images of them on these search engines.


I also purchase a lot of books, calendars and magazines about Florida and other soutern states to get reference photos. My paintings never look like my reference photos at all. The photo to me is just a jumping off point to fire my imagination. Respecting the copyright of others is very important so copying photos unless they are public domain, is a no no.


Organizing all of these images can be a problem so I use three ringed notebooks to keep them in. They are easily organized by subject, year, or any other method which is useful for you. I simply use a three hole punch on the image either printed from my computer or cut out of magazines, calendars, etc. They stay in the notebooks until I am ready to look at them.

Blondheim Art Landscape Painting Econfina River

5x7 inches
acrylic on panel
unframed
115.00 includes shipping

Purchase at: www.lindablondheim.com


Painters Tip



Going from a small study to a large finished painting

Difficulties:


How do you recreate the energy that you applied freely to a smaller painting?
How do you not "generalize" what you've already recorded?
How do you keep areas of dead spaces which will become only larger and more intimidating, interesting?
How do you avoid losing interest in what you're doing?


The Advantages:

You have the opportunity to improve your vision , composition, and color.
You also have the opportunity to REVISE your vision.

You can fine-tune your skills over days, weeks and months without worrying about the light changing in two hours.

Studio painting in a larger format is a more deliberate process, more thoughtful. It is wonderful way to paint with oils. They are ideally suited for painting in stages with periods of drying in between. Slowing down to make decisions in the process will yield wonderful results. you will have the time to consider design elements which are not practical in the field alla prima. You can also enjoy the process of transparent oil glazes, which add richnes and depth.

Blondheim Art Landscape Painting Beach Dunes

6x8 inches
oil on panel
silver frame
300.00

Purchase at: www.lindablondheim.com



Painters Tip



Keeping A Painter Journal


I ask my workshop students to start a painting journal a few weeks before
my workshops. I am a big believer in keeping a painter journal. I take notes all the time about places I go and things I see. I use the journal for notes on paint mixing, various palettes I may be using, ideas I have for paintings and series, technical information,research, marketing ideas, thumbnail sketches,field notes on atmospheric conditions, direction of light,local color, etc.

I also use it to record my ideas for future projects and impressions I get from the world around me.

I know some people just like to journal about their life in general, but that is not my goal. I am recording specific information, relating to my career as an artist.


I hope you will start yours today.

Blondheim Art Landscape Painting Tree

5x7 inches
acrylic on panel
115.00 includes shipping
unframed
purchase at: www.lindablondheim.com



Painters Tip


I am starting my new study for 2007. I will be painting trees this year as my focus. I start a new study each year around this time. It take that long to really understand a subject or technique. I spent two years focusing on architecture, because it was difficult for me.


Generally, I find if I am avoiding subjects in my painting time, it means I am afraid of them and don't know how to paint them. That is nothing to be ashamed of, and is easily corrected by making a commitment to learning. Yes, you will do some awful paintings for awhile but they can be painted over, sanded down and re-painted, or thrown in the bonfire.

It is a good idea to break up your subject into small studies, not doing large finished paintings for a few months, but rather studying parts and pieces which are difficult. Over the years I have studied back lighting,atmospherics, patterns in water, contrast, texture, architecture, clouds, and many other areas of painting.

I'm not suggesting that you give up all of your other subjects of interest, but rather that you make time to include concentrated study of a subject regularly throughout the year. I find that my study comes to me automatically, as I become interested in places, or objects.

My larger area of focus has become Florida rivers, and farms and ranches. It happened gradually without any planning on my part.

My advice is to choose a subject you are unsure of this year and paint like mad. This time next year you will feel very comfortable painting it and you will be proud of yourself for tackling something you were afraid of.

Blondheim Art Landscape Painting Palms

5x7 inches
acrylic on panel
unframed
115.00

Purchase at: www.lindablondheim.com



Painters Tip



More on Glazing

There are various mediums used to enhance the glazing process. One of my favorite companies for mediums is www.studioproducts.com This company has very high quality products of all kinds related to mediums and solvents as well as hand made paints.

One of the traditional methods for indirect painting involves doing an underpainting in monotone called a grisaille.

Grisaille
Grisaille was originated in Renaissance times and was used intensively in the Baroque. It is a technique for figure compositions or still life with no prior preparations or very little. The artist sketches directly on the canvas with thin layers of paint washes. Few colors are used and basically fast drying ones. With these washes it is possible to create the whole composition without making the canvas over-loaded with paint. Corrections are easy to do and all changes are done on the canvas. Then under painting is used for final colors to be as sound as possible. I have found it to be an excellent study technique in the studio, particularly combined with glazing with transparent oil colors.

I have used this method on location to do the underpainting and then gone into the studio for the glazing process.

Blondheim Art Landscape Painting

12x16 inches
acrylic on panel
silver frame
800.00

Purchase at: www.lindablondheim.com



Painters Tip



Glazing

An artist wrote to me and asked about glazing with transparent color. I glaze with both ols and acrylics. I use Permasol transparent oils and they work very well. I like to use a scumbling technique, using old brushes to scrub the transparent paint over dry areas in the underpainting. I use multiple layers of transparent paint to build up subtle colors. It gives a richness to the color which cannot be achieved with other methods. I often go back with Q-tips to rub off the glaze in some areas.

With acrylics I use a special glazing medium which makes acrylics even more transparent than they normally are.

Blondheim Art Santa Fe River Landscape Painting

24x24 inches
oil on canvas
1800.00
Available through High Springs Gallery
paddiwhack@bellsouth.net


Artist Journal

I have four college students living in my studio this week so painting has been minimal. It's fun having a house full of young people. Wow!!! Can they eat!!!!!


Yesterday, I spent some time drawing cartoons instead of painting. I love cartooning and would have enjoyed career in that. I get commissions for greeting cards and special invitations for my cartoons. People seem to love them. It is a relaxing departure from the serious business of painting.


Painters Tip


Painting Water

Three basic types of water:

Quiet- nearly motionless
Some Motion- a fish jumping
Rough Water- water contantly moving such as the sea or a river

Look for major patterns and the large major shapes first. Study and observe patterns of waves and reflections before you try to paint them. Look for the way water repeats itself.

A simple wave is made up of two reflected shapes, front and back. The wave is rolling in toward you, like a mirror turned forward. It will reflect the sky. The back of the wave is like a mirror tilted away from you. It will reflect objects behind it.

The color in waves can vary greatly because they are reflecting bits of color from objects in the water, the sky, the sand beneath the water and objects on the shore.

Blondheim Art Landscape Painting

8x10 inches
oil on panel
500.00
silver frame
Purchase at: www.lindablondheim.com


Painters Tip

Try this exercise for painting patterns in water:

If you observe bodies of water you will notice patterns and shapes.

Use only French Ultramarine Blue, Pthalo Blue, Ivory Black, Cadmium Yellow Lemon, and Titanium White. Observe the body of water for awhile to see the patterns and rhythms. Look for changes in color near land masses. You are only concerning yourself with the water, not doing a landscape or composition. This is only a study. Establish the patterns in the water first and then fill in slowly around them.

Blondheim Art Original Landscape Painting Trees

5x7 inches
acrylic on panel
unframed
115.00 includes shipping.
Purchase at: www.lindablondheim.com


Art Journal

I have moved ito the 21st century with a notebook computer so that I can use my computer when I travel. It's all very exciting. My daughter showed me how to use a little gizmo called a jump drive. It downloads all your files on the computer hard drive and then transfers them to another computer. Very cool. It is tiny and can fit on your key ring or a cord to wear around your neck. Amazing stuff going on now.





Painters Tip



During this hectic time of year, I find it very difficult to focus on doing serious work in he studio. I try to set aside the holiday time to paint small studies each day or to take my time on a larger painting, doing short sessions on it over a period of days or weeks. It would be easy to stop painting all together, but I think it is important to keep working at least a bit each day.


The other thing I do this time of year is to think about projects I would like to start for the next year. I think about the direction I might want to go in marketing, my web site, perhaps a new series of work, and new painting techniques to study. A roadmap for the next year for my career.


This might be a good time for you to set a plan for yourself for 2007. Is there a workshop you would like to take, or a painting trip? Is it time to re-arrange your studio to make it fresh and more efficient? Sit down with paper and pen and make your list, checking it twice :>)

Blondheim Art Original Painting Coffee and Dessert

5x7 inches
acrylic on panel
115.00
unframed
Purchase at: www.lindablondheim.com



Painters Tip



Let's Talk about Light


I paint on location a lot and so I am always concerned with light in my paintings. They are high contrast and full of light. I think that is the cosistency of my work, light and contrast.

Here are elements of light:


Light Source- Where is the light on an object coming from? It can be from several sources, including direct light from the sun as well as ambient light. It can be diffused or focused, bright or dim. It's position and intensity can effect the appearance and the mood of a painting.

Highlight- The brightest point of light on an object. It is found in the middle of the lightest area and is a reflection of the source of light. It can be hard or diffused and gives a visual clue to the texture of an object.

Light Mass- This is the area of an object which receives direct light. The light mass can have variation depending on the height and angle of the light source. For instance, the sun may be showing as back lit straight up, side lit and diffused by fog, etc.

Shadow Mass- This is the part of an object that is hidden from the sun and not lighted. It can be small areas or large, depending on the shape of an object.

Cast Shadow- This is the shadow which is a result of the object being in light. The sun or light source cannot reach the area which is closest to the object away from the light source. A cast shadow is darkest close to the object and then becomes lighter as it moves away, because filtered light is reaching it.

Reflected Light- This is dim light reflected into shadows from other surfaces.

Landscape Painting Original Art

North Florida Farm
12x16 inches
acrylic on panel
800.00
silver frame
Purchase at: www.lindablondheim.com


Painters Tip


Palette Accessories


Pans- Pans are sometimes attached to the side of a palette to make mediums and solvents easy to reach. They are usually metal and look like little cups. They are sometimes joined into one unit or they have a clip which allows them to attach to the palette.

Palette Knives- are long thin and flexible and made for manipulating and mixing paints. They should be flexible and the blade should be firmly attached to the handle.

Painting knives- Are made to actually scoop paint up like a miniature trowel and to deposit the paint on canvas or board. They come in various sizes. Some artists use them exclusively rather than brushes.

Rags- Some artists use real rags at the easel but I prefer paper towels. I keep on in my hand constantly to wipe off my brush or to rub out a section of my painting that I don't like. Using the rag to keep brushes clean first and then swishing, will keep your solvent clean far longer. You can also dip your rag in solvent and then paint and do a process of under painting called ragging in. It makes the underpainting process extremely fast, using your finger inside the painted rag to draw in and cover large areas of your canvas or board.

Mahl Stick- A mahl stick keeps your hand steady for doing details on wet canvas. It allows you to rest your fore arm on it while painting. I must admit that I have never used one but some artists use them a lot.

Boat in Apalachicola Florida Landscape Painting

6x9 inches
oil on panel
350.00
silver frame
purchase at: www.lindablondheim.com



Painters Tip


More on Palettes


Ideally, the color of your palette would match the color of the ground un your painting support. Since many of us use a variety of undertones on our paintings, a more practical solution is to use a neutral color on your palette. You can use different colored papers to slide under a glass or plastic palette. I use a warm taupe colored marble tile for mine because I have a warm bias to my work most of the time.

For glazing work, you may want to use a white palette so that the glazes are pure in color as you mix them.

Clean your palette after each working session. Do not be tempted to leave it. You will constantly be faced with scraping and cleaning up before each session and the constant scraping can damage your palette.

Starting fresh each time gives you a chance to reconsider your palette of colors and the mixes you are doing. If you need to save the paint from the previous session, put it in baby food jars.


More on palettes tomorrow.......

Cross Creek Florida

12x16 inches
acrylic on panel
silver frame
800.00
purchase at: www.lindablondheim.com



Painters Tip


Painting Palettes


Shapes- The traditional palette is large and kidney shaped with a thumb hole for ease of holding and to put brushes through. The shape allows you to hold the palette close to your body and to provide balance.

Small palettes have an elliptical shape to give a larger paint mixing surface.

Rectangular palettes are usually designed to fit into various paint boxes, including studio table easel boxes or pochade boxes which are used to paint on location with a tripod.

Then there are the untraditional choices like plastics, glass or marble tiles. I use marble tiles as my personal choice and I love them. You can combine four to make a very large palette or use them individually as smaller palettes. They are very strong, glass smooth, neutral in color and easy to clean and scrape.


More on palettes tomorrow..........

Merry Christmas to All

5x7 inches
acrylic on panel
unframed
115.00
Purchase at: www.lindablondheim.com



Art Journal


This is my annual Christmas Painting for 2006. I do a new painting each year to reproduce as cards for friends and to send out via email to friends and clients. I change it each year. Some years I use a combination of symbols from other faiths too. Some years I do cartoons. It just depends on where my mind takes me on an given year.

Many of my collectors save their cards and some have purchased the little paintings from a year they like.

I have found it to be a fun project each year. I never think about it or plan ahead, I just wake up one day in December and say "This is what I'm doing this year".

I remember doing a Palm Tree one year wrapped in lights. That was one of the most popular years.

You may want to start this tradition for yourself. Some artists keep theirs every year and bring them out to display as a group, adding one every year.





Painters Tip


I don't know about you but I always get a bit melancholy during the holiday season, thinking of those who are away or gone now from my life. There is so much rush and madness during this time that we hardly have time for ourselves.

I think it is nice to spend a bit of time with our friends when we can. How about inviting your friends over for a studio party? Make some hot chocolate and stop by the bakery for some treats? Put on some good music and enjoy time together with other artists. Don't clean up the studio, leave it in its messy glory. Artists love to poke around and look at other artist's work. Set up some easels so they can paint together.

I have done these parties from time to time and they are the very best of fun.

Palms

5x7 inches
acrylic on panel
115.00 shipping included
unframed

Purchase at www.lindablondheim.com



Painters Tip


Toning Your Canvas


The painting above was done on a panel toned with red iron oxide. I often tone my canvas or panel with either red iron oxide or cadmium red light. This warm undercolor really works well with landscape painting as it makes the greens lovely and rich in color. Some painters go too far for my taste with screeching color, but that is a matter of preference only. To each his own.


I prefer to have hints of the undertoning show here and there and the harmony of color that toning gives, rather than the shouting that others enjoy.


For lovely fogs and misty paintings it is useful to use cool grays to pre-tone your supports.

For cool rich hues, it can be useful to tone your canvas with a cool blue.


It is handy to pre-tone several different colors to use later because you never know what you might want to paint.


Some painters use heavy paint application to tone their supports but I find that a thin wash of color works better for my purposes. I use just a bit of color in my solvent to do a thin wash in one direction and then a thin wash in another direction after the first has aired for a few minutes. I put the canvases out to dry for an hour or overnight and they are ready to paint on. As I said in yesterday's blog, I like to do it at the sessions end and use left over paints on my palette.

Homage to Dr Seuss

Art Journal


Today's image is part of a project by the Daily Painters group to paint eggs. I really have no idea why they chose eggs. Pears were discussed too. There was some argument back and forth about the wisdom of doing this sort of project and whether sales would be lost, but I decided to be a good sport about it and join in the fun.

I have always been a cartoonist as a side line to my "real job" as a serious painter.

I love the fun and freedom of drawing in such a primitive direct way with large flat spaces of color. There is a lot of design involved in cartooning as well.

I've often thought of transforming my cartoons into larger paintings but have never gotten very far with it.


Painters Tip


Sometimes I like to paint on toned canvas. I use my old paint left on the palette to tone canvases or panels for the next painting session. Yesterday, I started a few small paintings on acrylic panels toned with red iron oxide. They create a very nice moody effect with the light acrylic colors over them. They are most successful with simple minimalist compositions. It's almost like doing color field work but with subjects rather than shapes. I'll show you one tomorrow....

Cone Flowers

5x7 inches
acrylic on panel
115.00
unframed
purchase at www.lindablondheim.com



Painters Tip



A thematic approach


I have been painting in multiple series for many years. I think painting the same subject frequently gives you an interesting approach to design concepts. Finding a way to present a recurring theme in a fresh new way is a challenge.

My multiple series include the folowing themes:

Night Palms
Cone Flowers
Red Trees

I also like to paint in the same fields, the same trees, rivers, etc. including:

Evinston Florida
Florida Rivers
Orange Lake
Florida Farms and Ranches
Cross Creek Florida

These places are a part of my life and I have spent many happy years painting them. I know the people who live there and the history of the area.

The old cliche' paint what you know applies here. I believe having an intimate knowledge of your subjects will show in your work. I don't paint the South West or desert because I know nothing about it, nor have much interest in that region. Knowing that the SW is all the rage in painting these days, that may be shooting myself in the foot, but I do believe I paint what I know and love the best.

Having said this, I believe that we will paint what we are interested in whether we live there or not. I love fields and wine vineyards and I traveled in Italy and France some years ago. I really love painting vineyards, though there are relatively few in Florida.

You may want to think about painting thematically from time to time. My Red Tree series has been going for about 30 years and it is not something I work on often, but now and then I feel the urge.

Pnk Marsh

5x7 inches
acrylic on panel
115.00
unframed
Purchase at: www.lindablondheim.com




Painters Tip


Studies


I have been ill with this blasted stuff that is going around all this week and so I have focused most of my painting time on small studies which take limited time to complete. They also have simple compositions which I believe can be very effective.

Whether you feel fine or not, studies are very important for growing in skill. Devoting some of your painting and drawing time to studying a subject or composition will make you a better painter when it counts, on larger serious paintings.

Get into the habit of starting your daily painting session with a quick painting or drawing on something you are interested in developing. Perhaps a new series of works.

Consider the quick paintings as warm ups or prototypes.


Thinking of them as studies will free you up and take the pressure off of making a good painting. Without that pressure, they will often be great!!!

Fall Vineyard

5x7 inches
acrylic on panel
Available on www.ebay.com opening bid 39.00 Type Blondheim into the ebay search.



Painters Tip


A Body of Work

You may hear the term , Body Of Work, but not really know what it means.

A body of work is a collection of art with three characteristics:

Consistent theme

Consistent technique

Quantity

A consistent theme and consistent technique define the artist’s visual style and creates an identifiable look to their work. It is the stamp of an artist's hand. Their brushwork, palette, etc. It makes their work instantly recognizable.

A quantity of 10-25 paintings shows the artist’s dedication to artistic exploration. It’s also often the minimum quantity that galleries request from artists. An artist may have many bodies of work over the span of their career.

The most frequent problems regarding a body of work are:
an artist not having a body of work that fully explores a theme/technique or
an artist who blends several bodies of work together not making a clear statement.

A well defined body of work is what most serious collectors are looking for and most galleries too.

Florida Palms

14x18 inches
oil on canvas
1000.00
silver frame

Purchase at: www.lindablondheim.com




Painters Tip


Experimenting with palettes


Now and then it's fun to work with a severely limited palette. The palette from the painting above is:

Ivory Black
Sap Green
Transparent Red Iron Oxide
Cadmium Yellow Lemon
Titanium White


I like to challenge myself to mix colors out of few choices. This palette makes nice tonal work. It is great for overcast days in Florida. Surprisingly, you can get a fairly accurate sky without blue. The Ivory Black is a pretty good substitute.

I used this palette for another painting on the blog recently. It was palm trees on the Econfina River. I liked it so much then that I have decided to do a few paintings with it to explore the possibilities.

It was quite by accident that I used these colors on that painting. They just seemed to fit the mood of the painting.

The next time you do a painting with a short list of hues and you like it, write them down and do some more paintings with them.

Red Onion

5x7 inches
acrylic on panel
unframed
115.00
Purchase at: www.lindablondheim.com



Art Journal


This week a friend of mine has her first art exhibit. She is a fine young artist. Her daytime job is as a web and graphic designer, so this is a new experience for her. I feel very good about helping her to accomplish this event. I lent her frames and helped her with press releases, a guest book and so forth and I will help her to set up and hang her show.

I think it is important for established artists to lend their expertise, advice and even their studio and equipment to help a young inexperienced artist get a start in this business.

Mentoring is so important and it doesn't take a lot of time or money, just a lot of caring. I also bought a painting for my daughter this week from an emerging artist.

I believe we artists who are secure in our careers have some obligation to help those who are coming up behind us. If artists wont nurture each other, who else will?

It's a tough business we have chosen and few are able to survive in it. Is there an artist you know who could use some advise or a purchase of a small painting? Is there someone who just needs a bit of encouragement?

Take an artist out for coffee one day and spend some time together.

Fall Vineyard

5x7 inches
acrylic on panel
unframed
115.00

purchase at: www.lindablondheim.com



Painters Tip


More on Supports


I was asked about adhering linen or canvas to supports. There are several methods to this including very complicated formulas by various panel makers. I like to use the old fashioned rabbit skin glue for mine. I think it has weathered the test of time. If it was good enough for the old masters, it's good enough for me. I use a heavy weight on the panel after it is glued down overnight. Having said that, I usually just purchase panels from my favorite company Source Tek www.canvaspanels.com, if I want to use linen panels, but now and then I have an old piece of linen clothing I can use.


There are several choices for rigid supports including:

Wooden panels- oak, poplar, birch, and mahogany have all been used for painting supports. The biggest problem with wood is the weight and warping in humid climates.
cradling the back can solve the warping problem.

Plywood and MDF are pretty good substitutes for hardwoods, however they can get very heavy too in large sizes.


Hardboard ( Masonite being a brand name for hardboard) It is fairly inexpensive and easy to cut in panels. I have a cabinet maker who gets mine and cuts it precisely for me. I love painting on hardboard.


Mass-produced canvas boards- For studies and experiments, student work, these inexpensive boards are fine. Some producers are making archival panels now covered with high quality linen and canvas. Be careful to choose an archival panel for serious work.

Metal- These panels are really nice for oils. A company called Wind River Arts makes wonderful panels from metal. http://www.windriverarts.com I tested a metal panel from them a few years ago and it was great.


Gatorboard- This product is lightweight and very hard. It reminds me of foamcore but much stronger.

Paper and Mat Board- I use both for acrylic painting. I have even done oils on them but they must be carefully sized and protected from the oil paints before using them.

Polyflax- There are now synthetic fabrics which are very strong and durable and are much like canvas in texture.

Freddy's Garden

5x7 inches
acrylic on panel
115.00
unframed

Purchase at: www.lindablondheim.com




Painters Tip


What should you paint on?


There are lots of possibilities. Lets start with fabric.


Linen- There is nothing like painting on linen. The fibers of the flax plant make linen and they are longer than the fibers of cotton. It is a delight to paint on. I prefer it glued to a solid support like birch or hardboard. (Masonite) I often save old linen clothing to cut and affix to board for painting.


Cotton- This is the most common fabric for painting. It is less expensive than linen and has a more mechanical feel to the weave. It is used by most commercial stretched canvas companies.


Flax and Jute- These are coarsley woven and must be well sized to protect the fibers from oil paints. They are often used for contemporary abstract work in large sizes. I know one painter who uses burlap bags in her work.


Calico- is a lighter fabric than cotton and usually used for small paintings affixed to a rigid surface like birch.


More on supports tomorrow......

Winter Trees

5x7 inches
acrylic on panel
115.00
unframed

Purchase at: www.lindablondheim.com



Painting Journal



The Art Police



I have noticed a disturbing trend in the arts of late. There seem to be many artists who dictate what and how we should show our work and how we should paint. I belong to a group, who posts a new painting on their blogs each day. This whole concept of painting every day or doing a painting every day has been taken over by artists who remind me of "Nurse Ratchett" or "the church lady". Thse kinds of artists expect everyone to march in lock step together and I expect they would be even happier if we all set a timer to paint our paintings exactly at the same time.




I have notice similar trends in the world of plein air painting. Lengthy arguments about whether a painting is en plein air if it has 10 or more minutes of studio work, or if it is painted in your car, or on a porch, is it a legitimate painting? If it is not in the California style does it have any value? If it is not framed in seamless "plein air frames" is it inferior? If you dare to paint in casein, acrylic, or "gasp" watercolors, can you be a real plein air painter? Do you have the audacity to paint in studio and still call yourself a plein air painter?



Whatever happened to the rebellious artists we all were? Whatever happened to diversity in art?

If you dare to disagree with them, you are considered to be impolite, and not level headed. A trouble maker and a difficult, unstable person. They don't want to play with you anymore.



Watch Out for the art police in your neighborhood!!!!!!






Painters Tip






Add Ons To Your Mediums



Venice Turpentine- Resin Balsam from Larch trees commonly used in glazing mediums. It will add to the gloss and retard drying.


Oil of spike lavender- This oil is distilled from spike lavender(not the perfume oil). It can be used as a substitute for turpentine. More expensive and slower drying.


Liquin- Very popular alkyd resin. It can be mixed with mediums to shorten drying time. Some painters use it undiluted for thin glazes.


Oil of Cloves- Retards drying time considerably. It is often used to retard the drying of paints left on a palette but too much may effet the structure of the paint.


Bees Wax- Produces a matt finish and can increase the thickness of the paint. Using a large portion reminds me of the look one achieves with encaustic painting.


Darmar Varnish- Increases the transparency of glazing mediums. It is one of the main varnishes used to protect paintings, but des tend to yellow with age.



Tomorrow we move on from mediums. You may be tired of them by now.

Mead Gardens

8x10 inches
oil on panel
500.00
silver plein air frame

Purchase at: www.lindablondheim.com


Painters Tip




Solvents and Thinners


A thinner is mixed in the binder to improve the flow of the paint. Solvents are used to clean paint off brushes and to thin paint during the lean step of a painting.


Solvent is also used to thin out portions of a painting in the early stages, allowing removal of areas which are undesired.


Too much thinner in a medium can leave the paint film weak and prone to cracking.


The measurement of solvent to binder depends on the absorbency of the surface, how much manipulation of the paint you desire, and the amount of glazing, reworking the surface, and layering of paint, and finally, the quality of the paint.


Solvents:


Distilled Turpentine- This is a very popular long used diltillation of resin from pine trees. It's strong odor can be unpleasant and many painters have begun using substitutes to avoid the fumes.


Artist Mineral Spirits- A petroleum product which shares many similarities with
turpentine.


Household White Mineral Spirits- Best for using as a brush cleaner, not for painting mediums.


Odorless Thinners- are now very popular because of health concerns. My favorite one is Weber Turpenoid in the blue and white can.


More on mediums tomorrow.........

Winter Vineyard

5x7 inches
acrylic on panel
unframed
115.00
purchase at www.lindablondheim.com




Painters Tip



Oils for Mediums




Linseed Oil- Most commonly used oil, processed from flax seed.



Raw Linseed Oil- Used mostly for industrial paints.


Refined Linseed- Hot pressed oil mixed with sulfuric acid and water. Used since the 18th Century by artists. A standard binder in most tube manufactured paints.


Cold Pressed Linseed- A very fine traditional oil. Used in high quality paints. Excellent handling and dries a bit faster than refined oil. Excellent stable paint film.


Stand Oil- Very thick, made with linseed oil that is polymarized through sustained heating.


Sun Bleached Linseed Oil- Often used as a glazing oil because of it's pale color and rapid drying time.


Safflower Oil- Has a buttery texture but is fairly new and untested over time.


Walnut Oil- Dries faster than Linseed oil.


Poppy Seed Oil- Pale, thin and odorless and a buttery texture. There have been warnings about this oil because experts fear cracking with age.


More on mediums tomorrow........

Tonal Day

8x10 inches
oil on panel
silver plein air frame
500.00

Purchase at www.lindablondheim.com



Painters Tip


Mediums

Let's explore mediums for a few days.

Medium is the term for the fluid that is added to pigment to facilitate handling.

For oil paints the medium is a binder, a thinner with sometimes an addition of resin, varnish, drier, retarder,oils, or textural materials.

For acrylics there are various mediums which retard drying, make paints more transparent, and thicken the paints for impasto work.

Binders:

The binder is the most important element in a medium as it adheres to the painting surface, holding the particles of paint and drying them to the surface to form the paint film. Oil paints are ground pigments with a small amount of binder to secure their storage and transfer from tube to palette. To make them workable with the brush, you need to add more binder known as medium.

More tomorrow on mediums...........

Field Near Cross Creek

6x8 inches
acrylic on panel
300.00
gold frame

Purchase at: www.lindablondheim.com



Painters Tip


Whites:


Flake White
Also called Cremnitz or Lead White may be the earliest mineral pigment. It is a flexible opaque paint. It dries fairly quickly and tints in such a way not to change the original hue too greatly.


Titanium White
Used since the early 20th century,is smooth, pure white and opaque. It cools down paints it is mixed with. It dries slowly.


Zinc White
Semi-transparent cool white which is useful for milky glazes or subtle overpainting. It is a less flexible when dry.


There are other combinations of white sold in various brand names like Permalba. Most of them combine zinc and titanium to improve flow and flexibility of zinc.

Orange Lake Palms

8x10 inches
oil on canvas
silver plein air frame
500.00
purchase at: www.lindablondheim.com



Painters Tip

Take a Break!!!



Sometimes you can actually paint too much. For professionals, I think it is a good idea to take a break now and then from your work. I have not painted since my trip to Alabama, due to preparations for my Open House last weekend ( Hugely successful. They loved the chili.)

Now I feel rejuvinated and ready to set the easels back up and get busy painting. Just that short break gave me something else to focus on for a while. Now I will go back to painting with enthusiasm.

I plan to take the holiday off and cook all day. Painting too much makes me apathetic toward my work. I never want that to happen.

Jacksons Gap

Jacksons Gap
6x8 inches
oil on panel
300.00
silver plein air frame

Purchase at: www.lindablondheim.com

SOLD



Painters Tip


Storing Paintings

When you run out of space but you don't want to have a studio sale, you must find a way to store your paintings. One way is to remove the canvas from the stretcher bars and store the paintings in a flat file or in a plastic box that folks use for large sweaters or coats. You can find them at home improvement stores. They are large rectangular flat boxes. Stack the canvases in the box with freezer paper in between back to back and front to front. I like to put a silica capsule in the box to keep any moisture out but that is because I live in Florida.

I have made a storage place in the ceiling of my studio for large stretched canvases by putting heavy hooks in the ceiling and using bungie cords to hold up canvases. Once one is secure, you can slide other canvases on top of that one. It works great and hardly anyone notices that they are there because the ceiling in the hallway is high.

I stack smaller paintings on panels on top of each other,back to back,front to front, after putting them in plastic sleeves, in a drawer in my framing chest (old Dresser). In a decent sized dresser drawer you can store 30-40 paintings unframed.

Stretcher bars can be dismantles carefully and stored together as four pieces wrapped up in tape or a bungie.

Of course there is also the under bed and sofa storage too. Untilizing furniture as a hidy hole for paintings is a great use of your precious space.

Melrose Garden Gates

8x10 inches
oil on panel
silver plein air frame
500.00

Purchase at www.lindablondheim.com



Painters Tip


Miniature Studio


So you have no space in the house for a studio. Have you thought about a hall closet or a walk in closet? Most of us could clean out one closet and use it as a studio. You can store the closet contents in boxes under a bed.

A closet has shelving for supplies. You can purchase a table top easel which folds up or a mast easel which also folds flat. You can use a small folding table if you do drawing or watercolor painting. Most closets have a light in the ceiling but if not, a portable shop light can be hung from the ceiling and plugged into an extension cord. Your painting supplies can be kept in clear plastic boxes with labels on the closet shelves.

The closet door could also be removed to make the space more convenient or have a pocket door installed. When you wish to paint, pull the easel out into the room, lay a drop cloth down, paint to your heart's content and then fold up the easel and put the supplies back in the boxes for another time.

No it is not the ideal studio space but it IS a studio and a solution for an artist with no space.

Farm Pond

5x7 inches
acrylic on panel
silver plein air frame
Purchase at:
www.lindablondheim.com




Painters Tip



If you are just beginning a painting career and setting up your studio for the first time, here are some things you may need:

Good sturdy easel:
This is number one. Buy the best studio easel you can afford. It will last for many many years and serve you well.

Tools:
Pliers, blunt nosed and needle nosed. A set of good screwdrivers. A good hammer. A variety of screws, nails, picture wire, d-ring hangers, Scissors, tape measure, heavy duty stapler, regular stapler, t-square and various length steel measuring sticks, canvas pliers if you stretch your own.

Assorted large brushes for sizing, grounds, varnishing.

Assorted brushes for painting, canvas in various sizes, panels for painting out of masonite (hard board), Masonite is a brand name for hard board. Birch or MDF if you prefer wood. A table or skill saw if you wish to cut your own. I hire a carpenter to do mine because I am lazy and I buy stretched canvas for the same reason.

Assorted paints in whichever medium you prefer. You may want to purchase a tube squeezer.

I keep clear tape, masking tape, white framer's tape and scotch tape in the studio for various needs.

I use marble tiles 12x12 inches for palettes. You can put four of them together for a large palette or use them for small individual palettes. They work great and are less likely to break than glass palettes. I usually buy a neutral colored marble. They are easy to scrape too.

Furniture:
You can make studio furniture out of old dressers, chests, etc. I buy old stuff at garage sales. I took the drawers out of a chest and cut plywood to cover the bottoms. Now I have a nice shelf unit for flat files or storage. I used an old dresser to make a framing table. I put double layers of bubble wrap on the top to make it cushioned for framing and I keep my framing tools in the drawers. I used an old night stand to make my palette table. I opened the drawer and nailed it open for my paints and I put my marble palette on top. It works great. I used an old microwave stand and put a large plywood top on it to use for a large palette table.


If you are going to do framing you will need a miter saw, mat cutter, glass cutter, etc. I purchase frames from various manufacturers and install the paintings myself in my mini frame shop because I like to paint rather than spend time framing.

Lighting:

If you are lucky enough to have good north light that is great but most studios are in garages, warehouses, closets or spare bedrooms. I bought a bunch of plug-in shop lights which I hung around the room in strategic spots. They work great. You can use a mix of bulbs for natural light imitation.


There are a lot more things you can buy and put in your studio, but I like to keep it simple.

More on studio set ups next time......

Salt Springs Run

12x16 inches
acrylic on panel
silver plein air frame
800.00

Available at Paddiwhack Gallery : paddiwhack@bellsouth.net





Painters Tip


Keep Growing


Mature painters who are secure in their own style may feel that they have done it all. I don't!!! I think we still have so much to learn. I do painting research each day, attempting to improve my technique and style with better information.

If you have been painting the same way for years, perhaps it is time for a change or a new technique. It doesn't have to be permanent. Try a new palette of colors, different brushes or format size. Take a summer class or a workshop in a new medium. Spend time looking at artists you have not been familiar with and go to the museum. It is very easy to get complacent when you have been painting for years and years.

Shake up the old routines for a bit of time. You will have a fresh new outlook on your work.

Old dogs can learn new tricks.

Fall Vineyard

10x10 inches
oil on gallery wrap canvas

Purchase at: www.lindablondheim.com





Painting Journal



Linda Blondheim Studio

Annual Open House and Chili Party

November 18-19, 2006

10 AM - 5 PM Both Days


Get directions from my web site on the contact page www.lindablondheim.com

I will have lots of older paintings and small studies in the sale bins. I will have a lot of beautiful new work displayed as well.

Patron Club members receive 20% off all paintings in my studio.




Painters Tip


Caring For Paintings



If a painting could be maintained in an optimum environment, in one location at a constant temperature and humidity level, many of the problems requiring the services of a paintings conservator could be prevented.

Paintings generally do well in environmental conditions that are comfortable for people, with relative humidity levels between 40 and 60 percent. Environmental guidelines have been developed for different types of materials. Paintings on canvas may react more quickly to rising and falling humidity levels than paintings on wood panels, but the dimensional changes that can occur in a wood panel can cause more structural damage. Owners of panel paintings should be particularly conscientious about avoiding unusually low or high relative humidity and temperatures to prevent warping, splitting, or breaking of the wood.


Museums strive to maintain constant temperature and humidity levels for works of art, but even with expensive environmental control systems this task can be difficult. In most cases, gradual seasonal changes and small fluctuations are less harmful than large environmental fluctuations.


Avoiding drastic environmental changes is very important. A painting stored in what would generally be considered poor conditions may remain structurally secure for centuries, but begin to deteriorate rapidly if moved into "stable" museum conditions simply because of the extreme change in its environment.

Paynes Prairie State Park

12x16 inches
oil on canvas
800.00

Purchase at: www.lindablondheim.com



Painters Tip


Web Site Advantage


For those of you who have a web site for your work and who sell paintings from your web site.

I discovered an unexpected advantage. I decided to put my artist bio, artist statement and current resume right on my "about me" page on my web site a couple of months ago. I noticed in reading my site statistics that I get a lot of people who come to the web site because they might be searching for an art event, city,organization, etc. that I have been involved with and have listed. I never thought about that before, but it is bringing people to my site.