There Is No Try

"Only Do", oil on linen, 11x14, © copyright Richard Luschek 2017
private collection

This year I'd love to post one blog post a week. So far not so good, as this is my first post this year, on the very last day of January. Get off my back.
I completed this painting a while a while ago. It now has a wonderful home in Brooklyn, NY. I had so much fun doing the painting and making the frame that I thought this would be a great topic to ramble on about.

This picture started out as a demo I painted for a group of kids in Ripley, Ohio. I did a talk and demonstration at the library before helping the kids set up and paint their own still lifes.
I have painted something very similar once before, as I am a Star Wars "kid" it is a recurring theme that I have no problem revisiting.
The idea was to have Yoda using the force to lift the toy plane- or at least appear to lift the plane.  You barely notice the coffee cup, right?

Demonstrations are fun- but challenging. I like to talk during demos and I've found I can either talk well, or paint well.  I tend to choose the former so I don't sound like an idiot. Honestly, I thought it turned out OK considering the circumstances.
In a demo you have limited time, limited concentration and in this case an audience of limited attention span. So I stopped when I could tell I was losing their interest- about 35 minutes. Often I will just wipe a demo canvas down and paint something else but I like this one and I decided to set it up in the studio and spend some time finishing it.

Once I got it back in the studio, I tried to set it up similarly to what I had in Ripley. The lighting was very different but it was a better looking composition.

Here are a few shots of the painting in process- each panel representing roughly a day of work. The first panel shows me making sure the drawing and the layout worked. I was painting over the demo painting so I worked a bit more bold then I normally do. Day two I spent time pushing it back, losing edges and getting breadth of treatment.

With the painting complete it was time to consider the frame. I wanted something unique and different. I love playing around and experimenting with frames. Lately I have been trying to spend more time painting and less time framing. That's what frame shops are for.
I had a cheap gold frame that was the right size. I thought this time I would go really crazy and make the frame look like a space station.

First thing I wanted to do was replace the corner flourish with Storm Trooper heads. I mean, this decision was obvious, right?
I made press molds in non-hardening clay and then cast the head by mixing up some Durhams Rock Hard Putty. Its wonderful stuff. I highly recommend it for frame repair, home repair, or any Martha Stewart crafty ideas you may have. Once it hardened they were popped out of the mold and sanded. I had to cast quite a few to get 4 good casts.

I had recently found a part off an old Star Wars toy in the bottom of a junk drawer. Back in the day (mid to late 70's), Star Wars toys came with assembly instructions, a list of parts, and an order form. If something broke you could send the form with proof of purchase into Kenner  and they would mail you a replacement part. The door on my Millennium Falcon broke (probably during an intense battle) so I had ordered a new one. This old broken toy part was perfect for the corners of my frame. I cut it on the band saw to so it fit and laid in on a bed of clay in a Tupperware container so I could make a mold. The piece I cut off was used on another part of the frame.

The first mold was a disaster. I used water based alginate casting material and it did not go well. I was mushy and crumbling as I used it. I tried again with a recipe I found online, using a tube of 100% silicone caulk thinned with mineral spirits, corn starch, a few drops of glycerine and acrylic paint. The next mold, while a bit stinky, was smooth and durable. Again using Durhams, I was able to cast 4 detailed corner pieces. I still have the mold, so this part may appear on more frames in the future.

Next on the list was to make the flat areas look like panels on a space vehicle. I tend to save all the cardboard from the backs of drawing pads. I comes in very handy. I cut panels to fill the areas between the corners, sketched out the designs and then cut them all with bevels. in a random pattern.
They were all numbered, laid out so I didnt get lost and later glued into place.

I used some left over model car parts (I recently have been building a model car for another still life I'm working on), strips of balsa wood, metal thumb tacks, and a piece of a plastic zip tie to decorate the frame.
I spray on automotive primer to seal it. I filled and sanded as needed.

A few coats and it was starting to look unified and smooth. For the final coat I went with a automotive flat gray. Space ship paint from NASA was just too costly.
After I got a few coat, I used brown and blue acrylic washes to tone the frame. I dry brushed raised areas with a light grey to highlight the edges and give it some dimension. Before a final clear coat I dusted it with various powdered pigments to get some age on the frame.

A close-up shot after the weathering and toning.

The frame took at least as long as the painting, but it was worth the effort.

Framing Options

Last post I discussed my newest painting. I have been trying to do standard size paintings so I can easily get frames, but this time I strayed from that promise to myself and painted an arched painting for which a special frame was needed.
I thought I would post the process for making these special frames.You can follow along and make some yourself, though it would be best that you have some basic knowledge of woodworking and own a few tools. If you don't, I suggest you make friends with someone that does- Oh, and by the way. I don't mean me. I have enough friends and this blog post is as far as I am willing to go.

Basic idea here is to take a frame you already have, place a panel in the frame where the painting would normally go, then cut a new opening for a smaller picture. This can be done for any size or shape. This time we will be making an arched insert. I really enjoy the arched top paintings. It is a pleasant shape in which I enjoy composing.
If you have a lot of frames hanging around the studio this also opens up your options. Sometimes a frames is not quite the right size or shape. I have quite the collection of old frames and am adding to that pile all the time. Small paintings often feel better with a big frame on. So you can take a 6 x 8 painting, using one of these panels to add an inch all around, and now the painting and panel will fit an 8 x 10 frame (did that make sense?)

After showing the steps to make the insert I will show you how to apply a painted finish. One "do it yourself" frame finish I am almost always happy with is the flat black, hand rubbed finish. I will explain how that is done at the end of this demonstration.

Below is a frame I purchased for $20 at Castner Frames. It is for a 16 x 12 picture, the opening is 15 1/4 by 11 1/4. For my 13 x 9 painting with an arched top, this frame will work perfectly. I just need to make an insert. This is basically like making a fancy matte for a frame out of wood. While I am doing this for an arched top frame, it can be done for a square or oval picture.

Step one- Cut your insert:
I will start with a quote by Norm Abram, one of my heroes. "Before we use any power tools, let's take a moment to talk about shop safety. Be sure to read, understand, and follow all the safety rules that come with your power tools. Knowing how to use your power tools properly will greatly reduce the risk of personal injury. And remember this: there is no more important safety rule than to wear these — safety glasses." 

I have a 16 x 12" frame, so with the rabbit in the back I need and insert that will fit. Measure its exact size to be sure. For my insert I use a material called MDF (Medium Density Fiberboard). It is like a hard cardboard, made of paper fiber, wax and resin. It cuts like wood and takes paint well. You can buy handy 2' x4'  sheets at most hardware stores. For these panels I normally like to use 1/2" thick, but all I had was 3/4". Either thickness will work.
I cut a piece to fit tightly in the frame rabbet- make sure it is square (you can check the diagonals, corner to corner, making sure those measurements are equal). I used a table saw, but a jig saw will work. I penciled out the size and shape of the new opening on the panel, making sure to center it. I drilled holes in the corners big enough to accept the jig saw blade.

Step Two- Cut out opening:
I use my trusty Jig Saw to follow the line as closely as I can.

Step 3- Smooth the cuts:
Using wood files and sand paper (100 grit) I sand the cut edges smooth. This step is important, so spend the time to get this right. You want smooth edged and nice curve. The saw is not exacting and will need to be cleaned up. I have an orbital sander that helped  speed things up. Be careful to not sand at an angle or dig into the corners.
Step 4:- Route the edges:
You will of course need a router and a few bits. You need one bit for the  edge that meets the painting. I used a simple cove bit- shown below on the right. A rabbet bit is used to cut the space in the back of the panel for the painting to fit into. The 45 degree chamfer bit eases the outside edge of the back of the panel were it fits into the frame. This is not necessary, but since I had a larger 3/4 thick board it just looked better. Read all safety precautions when doing this step. MDF resins contain small amounts of Formaldehyde, so wear a mask with cutting and sanding.

If you do not have a router, you could probably file an edge on the front as a transition, and just use z clamps to attach the painting to the back without a rabbet. This will take some time to get your hand filed edge even, but it could be done.

Step 5- Chisel the corners:
The router bits are of course round, resulting in rounded corners. You can leave them, but I think it looks cheap. I use a straight edge to mark off squared edges and use carving chisels to cut them square. I first cut straight into the corner, with a straight blade. Next I carefully make slight cuts on the squared lines I drew. Use the rounded chisel to ease out the material from that corner until it looks like a smooth transition. Sanding is usually required to clean things up. Go slow, as it is easier to take off more than to add some back.

 Step 6- Suck it up and don't be a wuss.
Sorry for the graphic nature of the next image, but I want to demonstrate two things. One, that you need to be careful when using sharp chisels, always cutting away from your hand. Second, I wanted you to see what a total bad ass I am.
Did I stop here? No, I continued on like a man.

Yeah, Sorry about that Norm.

Step 7- Attach insert into frame:
You need to attach the MDF insert into the frame. I used pocket screws, being careful to not screw through the front of the frame. I have done this before. When this happens it is followed by about 15 minutes of profanity, and an extra 30 minutes of work repairing the frame. You can glue the insert in, use nails or just use z brackets as if you were putting a painting in the frame. I also fill the screw holes so it looks better. Not necessary unless you have OCD like I do. Finally, go over the frame, sand any sharp edges front and back, fill any holes and generally make sure the frame is ready for paint. I clean off any dust with a rag or tack cloth.

Step 8- Prime and paint:
I used Red Iron Oxide primer in a spray can to coat the frame. I suggest you do this step outside if you can. You will find any remaining imperfections after you prime it. You can fill and sand those and then prime it again. I usually paint the front and back making sure to cover all the edges. The MDF will suck up a lot of paint. Painting them will make the fibers swell on the edges a bit. Sanding and priming a few times will get them very smooth. After the primer dries (usually I wait 24 hours) I coat it with a fast drying ultra flat black. One trick I do, is to force the paint to crack. I like this look as it adds age and variety. If you want some cracked or wrinkled looked to the finish, Look for a can with  instructions suggesting you recoat it withing two hours or to wait 5 days. Paint will continue to cure even after it is dry to the touch. The paint is still uncured enough within two hours to accept a second coat. The paint will tighten and move as it cures for days. I disobey the directions and paint it after the suggested time. I wait about 4 hours and then spray it with a heavy coat, being careful to not get any runs. I paint heavier on the larger flat surfaces. This top coat which dries and shrinks faster than the under coat will start to crack in a few minutes. This is not an exact science, but it almost always works. I will say on this frame I got just a bit carried away. I prefer the cracking to be a bit more subtle.

 Here is the frame after a final coat. You can click for a close up view to see how the paint cracked.

 Step 9- Silver leafed edge and Final finishing :
I decided to add a silver leaf edge. There is a silver coffee pot in the painting so it will match. A leafed edge can help ease the transition from the frame to painting. I am not a leafing expert. This topic would require its own blog post. I suggest you look elsewhere for gold or silver leaf advice. If you want you can also paint the edge silver or gold. At times that looks almost as good.
I lightly sand the frame, especially the raised edges slightly to get through the black paint to the red primer. This gives it some age, distress and variety. The final step is to use butchers wax. Most hardware stores should carry the wax. Using a clean rag, I scoop up some wax, giving it a nice even coat. I then use Rotten stone, a gray powder used for polishing. I use that to dust the corners and draw around the edges with a brush that has been dipped in the power. Blow off the excess. After the wax as set up a bit, I take a clean soft cloth and buff the frame. It will get a very deep shinny finish. I leave the rotten stone in the corners. It will stick to the wax and give it an aged look that I like. You can see that powder stuck in the cracked paint as well.

 On the back I add the picture wire and the z clips for holding the painting.

Here it is all put together.
I really should stop making frames and just paint more pictures- but wasn't that fun?

Elevating the Figure

I have been wanting to build a new model stand for a while. The one I had in the studio did the trick, but it was too small, a bit rickety, and was just not fancy enough- it's main fault being that I did not build it. I wanted the new one to be a bit bigger for reclining poses- so I got to work.
I am a bit of a pack rat. I have a room in the basement that is basically an old furniture grave yard (this room is right around the corner from the stone, glass, and tile room and the old frame room). Part of my collection of junk were some wonderful old carved legs, just the right height for a model stand. I am guessing they are from a pool table. I found them in a house that a friend bought at a police auction. The previous owner had just walked out one day and it was left full of junk. The thick wood top I found on a drive home one day sitting in the garbage. One great reason to drive a van. The drawers are from a very old priest's wardrobe I got out of an abandoned convent that I was looking into renting for studio space. This wardrobe had 7  huge drawers- 53 by 35. I had them all stored up in the rafters of my garage. They were very old and in bad shape, so I had to bust them apart and use the parts to make new drawers which ended up being 24" wide and 32" deep. A great size for storing drawings. Everything had to be sanded down and refinished. The sides and back of the basic box of the stand are made with 2x4's. I sanded and filled them and did my best to fancy them up with face frames and  trim.

Is that not an awesome drawer?

Below is the model stand before I stained and clear coated it. I believe the top is poplar, 2x4s are pine and the legs are some sort of mahogany. I had to stain it in layers and use a tinted polyurethane to get an even color. 

The only thing I had to buy for this model stand was a sheet of plywood  for the bottom platform and large bolts to attach the legs to it. Everything else was reclaimed wood. It is a very Green model stand.
I am looking forward to putting it to use this Tuesday.
The basic dimensions of this stand, if you are interested in building your own is 35" deep, and 58" long. It is 20" tall, a great height for portrait, as the seated model will be at eye level.
Just looking at this beauty makes you want to disrobe and pose on it's finely finished surface.  Feel free to stop by the studio and do so.

Different Point of View

You might find this hard to believe, but I have decided to change my view point. When it comes to Art, you can't always look at things the same way. You must have an open mind. I am officially announcing that I am going to be more liberal when it comes to my point of view.

My normal viewpoint on art, at least for still life, has been about 48 inches.
A typical still life stand is about 4 feet tall, which puts your subject at eye level when painting. Lately I have been designing some pictures that are asking for a lower, more top-down view.
I had considered just cutting down an existing table to 30 inches- about the typical height of a dinner table or desk.   Instead, I decided to make a still life table that would allow for adjustment.
Here is what the old fashion, non-adjustable still life stand looks like in my studio. I built these a few years ago using some old porch columns I found in the garbage.

First thing I had to do was cut the main column down to the minimum height. I chose 27 inches.
Now I had an open box into which I could insert a smaller column like a piston.

I built the box 1/8 inch smaller than the inside diameter of the main column. It would be snug with a bit of wiggle room so it would slide freely up and down. I made it about 30 inches long so it would slide up a good distance.

The box is slid into the column all the way down. A hole is drilled through the outside column and the inside box. The hole is in the middle of the front and back side, about 2 inches from the top of the outside column. The box is slide out. I used the drilled hole as a guide to mark off lines where I will cut a slot. I cut the slots in two sides, front and back. These slots need to be big enough for bolts to slide through freely. I used a 1/2 inch carriage bolt, about 2 inches long. After I marked it off in pencil on the inside box, I drilled two holes in the top and bottom. Then used a jigsaw to cut the slot between those holes. You should be able to see above that I made sure the slot did not extend too close to the ends so as to weaken the side.
I painted the box. When the paint dried I waxed the box so it would  not stick.

A bolt is feed through from the inside and a wing nut place on the outside.


Here is the column slide all the way up, wing nuts are tightened down. 

I then attach the top. The top is a light 1/2 sheet of plywood 3 foot square with a block on the bottom that will fit into the column. I can screw it on tightly.  The whole thing is painted with some left off miss matched house paint I have sitting around. I did realize that the piston created some suction and made it hard to pull up, so I drilled an air hole at the bottom of the column to prevent this.
Here is the finished still life stand in the studio at its lowest setting.

 Here it is at it's highest setting.

Now, I have a still life stand that I can adjust anywhere from 30 inches to about 46 inches.
Ta Da! The official Richard Luschek Magic Adjustable Still Life Stand © patent pending.

Paintings with a new point of view will be appearing on this blog very soon.

Luschek Frame and Sargent Palette

Thought I would share a few projects I have been working on at home.

I have been making a few palettes for friends. I made this one out of birch plywood from the hardware store. Not to sound like an old curmudgeon, but 'the dag nab plywood just ain't what it used to be'.  Actually, the quality of all wood at hardware stores has drastically gone down hill. Took forever for me to dig through the stack to find anything acceptable.
In any case, I found two good sheets and made these magical palettes. This palette is traced from my palette, which was traced from another palette, that was traced from a palette that was traced from of an original Sargent palette. It's a John Singer Sargent palette three times removed.
So, this shape was on Sargent's arm. It's a nice, comfortable shape and has plenty of painting area.
I traced it on the plywood so the grain runs length wise- A 2' x 4' panel will give you 2 palettes. The off fall I will cut into squares to glue canvas onto for panels.
After shaping the palette with a rasp, rounding over the edges, and shaping the thumb hole so it is comfortable, I sand it till it is smooth all over. I wipe it down with a tack cloth and then apply a few coats of tung oil (please note: tung oil has little, to nothing to do with your tongue).  The photo above shows it after a second coat. I let it set up for 15 minutes then wipe it down with a soft, lint free cloth. After it dries I lightly sand with 220 paper and then rub it with fine steel wool. Repeat till you get a smooth surface. The palette can  be oiled with linseed oil or even baby oil (a fragrant and cheap mineral oil). The palette is ready for use.
If you want to use the Sargent palette on the Sargent palette have a look at this link. 

The other project is all Luschek- though I think Sargent would be impressed.
I designed and made a frame a few years ago for a series of still lifes that I wanted to be joined together in  a chain-like configuration, so I made a frame that was hinged between panels. Just in case, I made a pine practice frame to see if it would work. It did work and this prototype has been sitting around the work room for a while. The final, 5 panel frame was made out of oak.
This one did have a few accidents with the router, so I had to do some filling and sanding. I decided to go with a flat black finish. I will probably gold leaf the inset later.

Here are the painted frames  ready for assembly. The hinges are connected with long screws. The openings are around 8 x 10.

The Luschek Hinge Frame © 2011

In addition to looking cool, one of the nice things about the hinge frame is that it is free standing. I am not sure what I will kind of picture I will paint for this frame, but it will certainly be two paintings that play off  each other thematically. Maybe something like a handsome self portrait on left, and a handsomer self portrait on the right, staring lovingly into ....my eyes. Seriously, it will probably be something less creepy.
Any ideas?

Workshops in Iowa

My love for Iowa is well known and documented on this blog. If you are in Iowa, you are probably getting ready for my return which is less than a week away.

A handsome shot of me in Iowa, with a John Deere cap, in front of a field of corn.I shot a lot of photos in Iowa and everyone of them had a John Deere hat and corn it somehow.

I am heading north by north west again to do a few workshops: The first is an Illustration Workshop. I think this will be mostly for teens and young adults. 

The second class will be an Evening of Figure Drawing- the classical approach. Teens are welcome, but will need a permission slip from the parent to attend.

I thought I would post a bit about the classes here with a rough supply list for both.

Illustrative Iowans 

January 28 - 29- Friday from 6pm-9pm,
Saturday from 9am 5pm
A workshop on illustration where we will learn how to draw and paint:

·         -Stuff that doesn’t exist, like Dragons

·         -Events that you wish you had seen, like the time Lincoln sucker punched Zombie Napoleon.

·         -And things that will only happen in the future of your dreams, like a self portrait with a mustache. 

We will look at illustrators of the past to see how they worked.
Using these techniques we will create some illustrations of our own. These pictures will include:

·         A small pen and ink illustration.

·         A series of thumbnail sketches for approval

·         A finished drawing from the sketch and reference photos  or drawings.

·         Color study for a finished picture.

·         To finish on your own will be a final picture based on all of the previous work.

Topics covered will include- basic composition, drawing in line and mass, traditional materials, new technologies in illustration (working digitally), what to read and how to continue your studies.
Each student will receive a few illustration assignments to complete during this course.

Friday- Discussion of Illustration, it’s history, the job, and basic techniques. There will be a slide show. The assignments will be handed out.

Saturday- Assignment 1- Pen and Ink spot illustration: assemble your reference, do a sketch, ink.
Assignment 2- The cover illustration: sketch out ideas for approval, assemble reference, final thumbnail sketch, Finished drawing, color study. The overview of the class, discuss how to transfer the drawing to the painting, and start with a rough lay in. Discuss how to move the work to finish. 

Basic Supplies: 

-A sketchbook. It can be cheap paper for working out ideas. 

-A drawing pad with a good heavy paper- I like Strathmore medium Drawing paper- 80lb. 9"x"12.

-A variety of pencils, though a simple #2 pencil will work. 

-A kneaded eraser and a white rubber eraser.

-A tray of water color paints. 

-Drawing pens, I recommend  Sakura Pigma Micron Pens. They have sets which are nice, the Pigma Micron Pen Set of 6, Pigma Manga-Comic Pro Set of 8, or just get a few 005, 01 and 02        size.

-India ink

-A good drawing brush- I like the Raphael #2  -they are expensive but last a long time if you care for them. A similar but cheaper brush would be fine.

-Some Quill pens will be provided

-Gel Medium 

-Oil paints, a palette, and brushes.

-Deoderant

An Evening of Figure Drawing

the Classical Approach

January 30^th, Sunday, from 3:00 to 8:00

At the Eclectic Eye, in Moline.

$40 / person (includes cost of model)

Contact me or Pat Bereskin if you would like to sign up for the class. mrsbsart@gmail.com

Learn the greater art of “seeing” as practiced by the Boston School of painting and how it is applied to the figure.

Working from a live model, students will learn the basics of the pencil sketch and then move on to a finished charcoal drawing.

Participants will begin by learning the basics of the visual language, the craft and order of drawing in traditional media.

Focus of class: to provide initial or further introduction to the steps taken and principles applied to the art of drawing.

This includes:

i.         the basics of composition and gesture.

ii.       setting up a pleasing pose.

iii.     using the tools available (charcoal,  good paper) and creating a comfortable setup

iv.      the execution of a start, the idea of  the light and dark, and flat shadows    

v.        Main focus that Drawing is the interpretation of form

vi.      The use of these drawings as a means to completing finished paintings.

for more information:

Call (513) 479-3322 or email: richard_luschek@yahoo.com

See more work at Richard’s Website  www.richardluschek.com

Basic supplies (Some supplies can be shared):

• Some sort of easel- I would prefer you stand an an easel rather than sit
• Drawing pencils- you can use what ever you have. A perfect set would contain various soft and hard pencils.  4H, 6H, & HB would be plenty.
• Sketch book (8x10, 9x12, or 11x16)
• A hard rubber eraser- for pencil drawing.
• A drawing board made of a flat smooth sided material that will hold pushpins. I often use a ceiling tile for a drop ceiling as a drawing board. Get the smooth kind. They are cheap and can easily be cut to any size.
• Pushpins
• Three grades of vine charcoal (Hard, medium and soft)
  -you will mostly need hard, so I recommend a few packs
• Medium-fine sandpaper on a small board ( I will bring a few with me), you can buy the pad, but I find them too small. They will work if that is what you have.
• Kneaded eraser- for charcoal
• White charcoal paper (I like white or ivory colored Ingres Fabriano)
• Plumb bob (basically a small weight on a string- fishing weight, washer, or a key.
  
  Optional:
• A 24 inch ruler
• Mirror
• Black mirror (Claude Glass- glass with back painted black or black plexi) I will have some with me. 
• A mahl stick. A simple dowel rod will do. It keeps your hand off the paper surface when drawing.

Don't Shush Me!

In the last post I told you about the Secret Artworks Sale that I was participating in. I am sure it was a big success, and thought I would show you a photo of the work I donate for the cause.

Copy of The Girl in the Black Hat by Frank Duveneck, 7X5, Oil on panel.

This is a little copy I did of a Frank Duveneck painting called Girl in a Black Hat.
This painting was actually a result of experimenting and playing around with a more earth toned palette for painting portrait. A few colors suggested to me by Carl Samson who using them to great effect in his work. I am used to a very chromatic palette, with no earth tones. So it has been a struggle for me to figure it out and work them in comfortably. This exercise was very helpful to understand the benefits and limits of each color.
I did a test canvas using all the colors in various mixtures. These extra colors are: Greenish Umber, Burnt Sienna, Indian Red, Light Red, and Vermilion. I just tested the colors with white, and then all the others on my palette, then started using the colors to work up a thickly painted copy in the corner.I strongly suggest that everyone do this with their colors. It is a good way to get to know your palette of colors.

Down Town View

Late Fall Evening on Gilbert
28x22, oil on linen, 2009

This is my latest plein air painting. We finally had some decent weather where the temperature wasn't insanely cold. It was in the upper 40s on Friday, which I can handle. I have been admiring this view of downtown for a while. I see this effect everyday when I leave the studio to drive home. There are wonderful flat, atmospheric blues that glimmer off the skyline. I had to practically stand in the street for this, and the effect really only last for about 15 minutes, so I laid this in from a photograph and did all the color from memory. As expected the painting was missing a lot of the warm from the photo reference.
The photo also helped paint the cars. I wanted to put out cones to stop traffic so I could paint them from life, but there are apparently some laws against this. Fascists!

I also worked on a different canvas than usual. I thought I would try a rougher canvas, so I purchased the Claessens style 29. A super heavy weight linen that has a tight weave and rough texture, almost like burlap. It was different to work on, but if you paint thickly, you get some effects that almost feel like a pastel drawing.
It should be hanging in the window of Rottinghaus Gallery in Obrienville.

This also is a great example of how terrible I am at photographing my work. This is a terrible image. I need to take this to a professional.