Studio Notes

The month began with me finishing up a small series of nature-inspired paintings, including this 8 x 8 inch painting of an American Bittern. So far I have six in the series, but I plan to have at least nine (or more) so they can be hung in a grid for presentation. The Mute Swan and painting of Hegewisch Marsh Park are also part of the group.

Onto Swirling Blues

After finishing up the nature-themed work I wanted to focus on some abstract paintings. A few of them ended up also being inspired by nature but they don’t attempt to capture an exact representation of a place. Instead, I try to capture how it felt to be outside in nature.

This piece, entitled “When the Inertia Becomes Unbearable,” is quite large, at 30 x 40 inches. It is based on the force of waves hitting the breakwater at Montrose Point in Chicago, when I went walking there on the first day of the year in a bitter but exhilarating wind.

I also completed a smaller painting based on the same spot, but with a differed focus and intent. This 12 x 12 painting is called “Repatriate the Tumult into Peace” and it contemplates the place behind the breakwater where the churning, frothy water calms.

I noticed while working, that I kept returning to certain paint colors on my palette, despite having a full range of color choices. Whenever the cerulean and pthalo blues ran low, I would reach for the tubes and squeeze out more paint. I tried to shift the tones to challenge myself and not be stuck in a rut, but whenever I did I was actively unhappy with the results and would paint over them the next day. I finally accepted that I am just in a phase where these blue tones really appeal to me. Eventually, I’m sure it will pass, but for now I’ll continue to explore them.

I also noticed that this group of abstract works was definitely more influenced by the natural world than much of my previous abstraction. This seems to be a natural progression for me, so I am just going to watch it unfold for a bit. I definitely see a relationship between the last piece in this group and the bittern in the reeds at the top of this newsletter.

What’s on my easel?

This is the same triptych from the last newsletter, but I’ve arranged it on to two adjacent easels, instead of laying it flat on a large table. It has changed dramatically many times. I’m not happy with it yet, but I think the newsletter is a great place to share my painting process, which means sharing paintings that might be in an ugly or unresolved middle phase. It is comprised of three 16” x 20” canvases, for a total size of 48” x 20.” I tried to bring the breakwater into this piece, and now I’m struggling with the decision to make it representational. I feel it has lost some of it’s joyful energy.

Ask an Artist

Thank you to the reader who submitted questions for this issue of Studio Notes! I love getting your art-related questions. Reach out to me at studiokeating1@gmail.com and put “Ask an Artist” in the subject line and I will try to answer your query in the next issue.

I want to start painting but don’t know where to start. What would you recommend for a beginner who doesn’t want to break the bank?

I’m going to assume this writer is interested in painting with acrylic paints rather than oils (or watercolors).

I recommend start with a boxed set of paint. These are usually more cost-effected than pricing out tubes individually and can include all the colors you need to get started. It’s better to mix intermediate colors yourself if you are on a budget. You’ll get more comfortable with the skills you need to paint. Additionally, your work will have more continuity and nuance as a result of worker within a tighter limited palette.

Art supply stores are fun, but can be overwhelming. I often shop at Blick which has everything you need at the beginning and if you get everything at once, you should be able to get free shipping. I recommend getting the standard 2 oz. tubes of paints. Some sets offer mini-tubes, but it is important to get a feel for pushing paint around at the beginning. “Modern” color sets generally use less toxic colors than the traditional cadmiums and offer very good quality.

Golden Heavy Body Artist Acrylic Set - Modern Theory Mixing Set, 2 oz Tubes
Blick Studio Acrylics - Set of 6 colors, 120 ml tubes (this is the tight budget option, you only need one set of paint to get started.)

Additional supplies needed are a wet palette system, brushes and substrates to work on like paper or canvas. If you are just getting started, paper is a great option. I use old jars and yogurt containers for holding and rinsing out my brushes. Paper towels will also be handy.

Masterson Handy Palette - 8 1/2" x 7" (budget option or if you intend to work small)
Masterson Sta-Wet Premier Palette (larger, more standard size)

Short-handled brushes are for working at a table or desk, long-handled brushes are for working at an easel.

Royal Langnickel Soft Grip Golden Taklon Brush Set - Beginner, Short Handle, Set of 5
Utrecht Manglon Brushes-Set of 4, Long Handle

Finally, you need a substrate, something to paint on. Paper is a great place to start, but it needs to hold up to pressure and not buckle when wet. If you are drawn to canvas, get a student pack. Look for a surface size that appeals to you. Many sizes are available.

Strathmore 400 Series Mixed Media Pad - 9" x 12", 15 Sheets
Blick Academic Cotton Stretched Canvas Pack - 9" x 12", Pkg of 2

I hope this helps get you started if you are interested in acrylic painting. Feel free to send me a note or further questions!

Thank you for reading Studio Notes. I hope you find some time to play this month!

Studio Notes is a monthly email about creativity, painting, and life from the studio of Tara Keating.