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.

Hay Field Montgomery Alabama II

14x18 inches
oil on canvas
1000.00

Purchase at: www.lindablondheim.com




Painters Tip


Composing


Take your time while composing your painting. The biggest problem I have, and see in other's work, is rushing into a painting. We are so excited by the possibilities and in being at a lovely place that we forget to slow down and compose our paintings carefully.

I like to take the time when I can, to consider many possibilities before committing myself to a composition. I usually start my block in with one color, using the rule of thirds to grid off my canvas first. I place the major elements in the scene and then use a second color to correct for size or moving an element to correct for placement. After I have carefully arranged the elements of my composition, I then consider what I can use to lead the viewer through the painting and keep him there as long as possible.


Spend a little more time composing and your paintings will improve. I always know when I have blown that part because the painting just isn't right.

Hay Field Montgomery Alabama

14x18 inches
oil on canvas
$1000.00

Purchase at www.lindablondheim.com




Painters Tip



More on Studio Open House


Now is the time to spiff up your studio as much as possible. Remove all clutter, easels, unfinished paintings, your student's paintings. Leave nothing in the studio but paintings you wish to sell and the food you have to offer. I cover all my shelves with a sheet, so that no clutter shows.

I clearly mark all sale bins so that people know where the lower priced work is for sale. I bring in rugs from my home to cover the paint spots on the floor. I go around with a brush and paint to touch up the walls so they have a fresh clean look. I use a vacuum and sweep the porch, putting fresh potted plants out for color.

I use a nice vanilla insense stick in the room and play soft jazz or classical music.


I make it as attractive as I possibly can and as much like a gallery as possible.

I wear comfortable unpainted clothes and greet guests as long lost friends so that even strangers will feel welcomed.

This is my home and so I want to welcome all guests with joy.

Santa Fe Cypress Trees

30x40 inches
oil on canvas
2500.00

Purchase at: www.lindablondheim.com


Painters Tip


Open House

More on having a studio open house. You will need to give folks an incentive to come. Having a drawing for a small painting for collectors or giving away a few lessons will entice people out to your studio.

Make sure you put your open house in the calendar section of your local paper. I f you have time. be sure to do a post card mail out to your list as well as an e-mail out about the event.

Town and Country Farm

18x24 inches
oil on canvas
1000.00

Purchase at:
http://lindablondheim.com/




Painters Tip



Planning an open house.

Once a year I have a studio open house for friends and patrons. It is a great way to enjoy conversation and to share new work with friends. It is also a great way to clear out the studio of older paintings. I always have a sale bin as well as new work. I also put out old frames which I don't use anymore, for a few dollars to get them out of the studio.

Be sure to have a nice guest book for people to sign up for your mailing list, both postal and email.

This year I am having a Chili Party, which will be simple and hearty. I'll have sour cream, fritos, diced tomtoes and peppers, and shredded cheeses for toppings.

Some kind of refreshments will be greatly appreciated. I buy wine, beer and sodas in simgle serving containers so that no one has to play bartender.

More on open houses next time.......

Cypress Trees

Cypress Trees
4x6 inches
oil on board
$65.00
Gold easelback frame

Purchase at: www.lindablondheim.com



Painters Journal



Friends, I am going to be away traveling for about 10 days. I'm off to Daytona Beach first to judge the Halifax Art Festival, and then to Alabama to paint for several days. I am really looking forward to painting in Bama in the fall. It is so lovely there this time of year.

While I am away, please enjoy this blog about a recent paint out I was in, in High Springs, Florida.

http://www.theartofnatureinhighsprings.blogspot.com


I hope to have Alabama paintings to show you when I get back home.

Love,
Linda


Painters Tip


Exercise in defining color


Pick out an object or area and try to decide what color family the objct comes closest to. Is it more green or more blue or some combination? Compare obects around the object and compare them as to color and temperature. When you see the exact color of an object, the things around it will become more clear in their color too.

Cypress Trees

6x9 inches
oil on panel
silver frame
$350.00

Purchase at: http://lindablondheim.com/gallery.php



Painters Tip



Consider Pre-Mixing


Often when I am out on location, I have little time to get down what I wish to say on canvas.

Taking a few minutes to pre-mix my palette of colors will save time.

Pre-mixing also gives me a limited palette so that I have harmony in my painting.

Onde the palette is mixed, the painting progresses quickly.

Fall Cypress on Santa Fe River

Fall Cypress on Santa Fe River

4x6 inches
casein on board
Gold Frame
$65.00

Purchase at www.lindablondheim.com





Painters Tip


Linear Perspective

horizon line: The artist's eye level

Station Point: Where the artist is standing

Picture Plane: Imaginary surface through which the artist views the scene, or the actual format edge that the artist will work from.

Cone of Vision: Limits of vision beyond which distortion occurs.

Vanishing Point: A point at which parallel lines appear to converge.