Wet Panel Carrier

MAD 3775 Wet Panel Carrier
Ray Mar Art Supplies makes these great wet panel carriers for plein air painters. Unfortunately they’re only available in inches. I tried to get Sandro at Zecchi to make them with centimeter sizes but no dice. Since I’m about to go painting on a boat for a week I decided to make my own with that hollow plastic sheeting they sell at hardware stores, and I just copied the Ray Mar design (actually my wife figured it out, I discovered I can’t visualize a 3D object as a flat shape).

Here are few pictures of it:

MAD 3776 Wet Panel Carrier

MAD 3777 Wet Panel Carrier

MAD 3778 Wet Panel Carrier

MAD 3779 Wet Panel Carrier

And here is the design, for 20 x 30 cm panels, if anyone wants to make their own. I just sealed it up with electrical tape, and made the slots from slices of the plastic sheets. I would get a medium thickness for the plastic, the one I used was the full-sized one and it’s too thick. Also, next time I would rip up an old CD case for the slots to hold the panels.

wet panel carrier cm Wet Panel Carrier

Wet panel carrier for 20 x 30 cm panels.

Zagreb Paintings – Spring 2014

Ribnjak Ulica Zagreb Paintings   Spring 2014

Afternoon Shadows, Ribnjak. 25 x 35 cm, oil on panel

Here are some recent plein air landscape paintings from Zagreb and the surrounding countryside.

Tina Speech Zagreb Paintings   Spring 2014

Tina Practicing a Speech. 25 x 35 cm, oil on panel.

Ribnjak Sculpture Zagreb Paintings   Spring 2014

Modern Sculpture, Ribnjak Park. 20 x 15 cm, oil on panel.

Zvijezda Garden Zagreb Paintings   Spring 2014

Garden, Zvijezda. 35 x 25 cm, oil on panel.

While the Croatian coast is rightfully famous for it’s beauty, the countryside inland has a lot of charm to it as well. It’s a very peaceful place to work since there is a real emptiness in some areas. Often I’ll paint on the side of a road and no more than one car or tractor will pass during the hours it takes me to finish a painting.

Sisinec1 Zagreb Paintings   Spring 2014

Šišinec. 20 x 30 cm, oil on panel.

Brkisevina Chapel Zagreb Paintings   Spring 2014

Chapel near Brkiševina. 20 x 30 cm, oil on panel.

Below is an updated image of a large plein air painting of a path in Maksimir park. It’s for an even larger studio painting that was requested by a gallery I work with.

Maksimir Park Zagreb Paintings   Spring 2014

Path in Maksimir (updated) 60 x 80 cm, oil on linen.


Recent Larger Landscape Paintings (2014)

Korcula Boats Recent Larger Landscape Paintings (2014)

Korčula. 29 x 37 in. Oil on linen

Here, quickly, are some of the recent larger landscape paintings I’ve been working on. A couple are plein air landscape paintings, the others were done in the studio.

These are off to Sag Harbor for my solo show at the Grenning Gallery in late June.

Laundry in the Wind in Korcula Recent Larger Landscape Paintings (2014)

Laundry in the Wind. 36 x 28 inches, oil on linen.

Big Sur Cows Recent Larger Landscape Paintings (2014)

Big Sur, Afternoon. 42 x 55 inches, oil on linen.

The portrait of Tina under an olive tree will be in the show, as well as a number of small and medium-sized plein air pieces from the last year.

I spent much of the winter on the painting below but I can’t figure out how to resolve it. I hate abandoning large pieces after months of work, but sometimes artists have to cut their losses.

Afternoon in the Tuileries Recent Larger Landscape Paintings (2014)

The Afternoon Chat (unfinished). 42 x 55 inches, oil on linen.

I have a few more larger pieces on the burner which I’ll add soon.

Backlit Tuscany

Below are some paintings from a very short (weekend) trip to Tuscany. Since I had so little time to paint I chose only subjects that were backlit, i.e. had the sun behind them.

Mercato Santo Spirito Backlit Tuscany

Market Stall in Piazza Santo Spirito. 25 x 35 cm, oil on panel.

It’s probably different for every painter, but I find I can work much faster and get better results when painting towards the sun. It becomes much more about drawing and values. Frontlit subjects require a painter to capture every small nuance in hue and chroma which, for me, takes much longer.

Montisi Backlit Tuscany

Burning Leaves, Montisi. 20 x 30 cm, oil on panel.

Piazza del Carmine Backlit Tuscany

Piazza del Carmine. 25 x 35 cm, oil on panel.

Pescatori sul Arno Backlit Tuscany

Fishermen on the Banks of the Arno. 20 x 30 cm, oil on panel.

It’s interesting to look at historic landscape painters and their preference for lighting in their views. For example, the Spanish painter Carlos de Haes went for the backlit subject in many of his plein air and studio landscapes.

haes 600x380 Backlit Tuscany

Carlos de Haes -La Torre de Douarnenez

picos de europa c 1875 600x374 Backlit Tuscany

Carlos de Haes – Picos de Europa.

And Camille Corot’s best works are usually backlit:

Jean Baptiste Camille Corot 006 600x414 Backlit Tuscany

Camille Corot – The Bridge at Narni.

As are Dennis Miller Bunker’s:

Chicago art inst bunker larmor 600x381 Backlit Tuscany

Dennis Miller Bunker – Brittany Town Morning.

The French Impressionists were also big on the midday backlit view, which is surprising since their draftsmanship wasn’t the best and they seemed so focused on color.

Claude Monet   The Cliff of Aval Etrétat   Google Art Project 600x427 Backlit Tuscany

Claude Monet – The Cliff of Aval.

On the other hand, the Spanish painters Joaquín Sorolla and Martín Rico y Ortega seemed to love the bright whites, dark skies, and strong hues of frontlit subjects in Spain and Italy. And the Italian painter Rubens Santoro painted some amazing sunlight-filled views of Italy which are also often frontlit.

Sorolla 600x311 Backlit Tuscany

Joaquín Sorolla y Bastida – The Return of the Catch, Valencia Beach

view of paris from the trocadero by martc3adn rico y ortega c 1883 600x297 Backlit Tuscany

Martín Rico y Ortega – View of Paris from the Trocadero.

santoro 600x354 Backlit Tuscany

Rubens Santoro – On the Mediterranean Coast

Isaac Levitan’s best paintings are usually frontlit (or overcast).

levitan 600x491 Backlit Tuscany

Isaac Levitan – March.

And finally, on the other side of the world, the great Australian painter Arthur Streeton also used the frontlit view often to show the heat of the Australian summers.

streeton 600x398 Backlit Tuscany

Arthur Streeton – Sunlight.

Obviously, all of these great artists tried to capture a wide variety of light effects in their paintings. Still, looking over a single painter’s oeuvre, it’s fun to try to discern a pattern. Some of the other great landscape painters I (briefly) researched for this post were John Singer Sargent, Telemaco Signorini, and Edward Seago, but I wasn’t able to see any preference in their work (even Sorolla was a bit of a stretch).

Plein Air Painting in Cape Town, South Africa

Cape of Good Hope Plein Air Painting in Cape Town, South Africa

Cliffs at the Cape of Good Hope. 25 x 35 cm, oil on panel.

I was in Cape Town, South Africa for a week last month, escaping the long European winter. It’s a beautiful part of the world. The foliage, colors, and climate are all very similar to Central California.

Here are a few of the sketches:

View from DeMorgenzon Plein Air Painting in Cape Town, South Africa

The View from DeMorgenzon, Stellenbosch. 20 x 30 cm, oil on panel.

Stellenbosch Vineyards Plein Air Painting in Cape Town, South Africa

Vineyards near Stellenbosch. 20 x 30 cm, oil on panel.

Banana Trees in the Kirstenbosch Gardens Plein Air Painting in Cape Town, South Africa

Banana Trees in the Kirstenbosch Gardens. 20 x 30 cm, oil on panel.

Towards the Lions Head Plein Air Painting in Cape Town, South Africa

Lion’s Head from Victoria Road. 22 x 33 cm, oil on panel.

Sea Point Plein Air Painting in Cape Town, South Africa

Above Sea Point. 20 x 30 cm, oil on panel.

Hout Bay Afternoon Plein Air Painting in Cape Town, South Africa

Afternoon in Hout Bay. 25 x 35 cm, oil on linen.

The wine and food are terrific and their currency is way down too so it was a very reasonably priced stay. I would highly recommend the place for anyone looking to paint in the Southern Hemisphere in February. I hope to go back soon.

Stellenbosch Sunset Plein Air Painting in Cape Town, South Africa

Sunset, Stellenbosch. 18 x 28 cm, oil on panel.

Nymphs in Arcadia

Since my current larger projects are taking a while I thought I would rehash some older work. This is part of a series of paintings I did in 2008 of the small Piaggio Apini or ‘worker bees’ (as opposed to the Vespas or ‘wasps’ made by the same company). They were used by the artisans and tradesmen in Florence until they were banned recently by the new mayor.

untitled 34 Nymphs in Arcadia

Ape, Via del Campuccio (?). 25 x 35 cm, oil on linen.

amore ti amo Nymphs in Arcadia

Amore Ti Amo. 20 x 30 cm, oil on linen.

Since they move pretty quickly and I couldn’t always stand in the road with my easel, some were done from photographs. This was the only time I ever tried working solely from photography and I decided it wasn’t for me. I spent too much time training my eyes to work from life.

ape piaggio oltrarno Nymphs in Arcadia

Apino, Via Maffia (#2). 40 x 30 cm, oil on linen.

Ironically the ones I painted from life often look more photographic than the ones painted from photos. I think it’s because one has so much more information available when working on site.

nymph in arcadia Nymphs in Arcadia

Nymph in Arcadia. 40 x 30 cm, oil on linen.

The title of the post comes from a show I had in 2008 in a local cafe showing these little sketches. They say selling art in Florence is like selling ice in Antarctica, but these proved surprisingly popular.

ape del trippiao Nymphs in Arcadia

I’Trippaio di Sant’Ambrogio. 20 x 30 cm, oil on linen.

ape campagna Nymphs in Arcadia

June Rent. 25 x 40 cm, oil on linen.

ape oltrarno Nymphs in Arcadia

Via Toscanella. 25 x 40 cm, oil on linen.

camionetto via maggio Nymphs in Arcadia

Via Maggio. 30 x 40 cm, oil on linen.

apino del contadino Nymphs in Arcadia

Apino, San Gimigniano. 20 x 30 cm, oil on linen.

via maffia Nymphs in Arcadia

Via Maffia (#1). 30 x 20 cm, oil on linen. 

apino torrigiani Nymphs in Arcadia

Vivaio Torrigiani. 20 x 25 cm, oil on linen.

Photographing Paintings with a DSLR

When I wrote about photographing paintings last time, I discussed hiring professionals and the equipment they use. In the years since that post, digital camera technology has developed a great deal and in a direction which works well for photographing paintings.

What an artist needs in a photograph of their work are the correct colors, values, and chroma of the piece, with a distortion-free lens, in a very high resolution which can show the detail in the brushwork, as well as the varying sharpness and softness of the edges. For years the best way to do this was with a medium format camera with a digital back. The price for this equipment could run easily into tens of thousands of dollars. The major recent change in consumer digital photography is that the camera companies have engaged in what technology writers derogatorily refer to as the ‘megapixel war’. This race for better sensors with higher pixel counts has pushed the capabilities of DSLR sensors into the range of the low-end digital backs, potentially saving the DIY painter a ton of money.

Obviously hiring a professional photographer will achieve better results. They will have better equipment and the experience to know how to use it. They are also incredibly expensive (in Italy I paid €100 per photo, or about €1000 for an hour’s work). You can buy a whole set up for the price, and since photographing paintings is really a one-trick pony, getting it good enough isn’t that difficult.

To photograph artwork well one needs the following equipment: A tripod, proper lighting covered by polarized film, a color calibration system and gray card, a decent DSLR body which can be tethered to a computer, a computer with tethering software, a good macro (micro) lens with a circular polarizing filter, and software to edit and archive the work.

First place the painting on an easel with two bright, full-spectrum, lighting sources at 45 degree angles to the artwork, put the camera on a tripod so the lens is parallel to the surface of the painting, as shown below. Lights, painting and camera should be at the same height. There should be no other light sources, and anything white that can cause a glare on the painting should be covered.

Photograph artwork Photographing Paintings with a DSLR

My set-up for photographing paintings.

Put your calibration card in front of the painting, photograph it, then run it through the included software (if needed convert RAW to DNG with Adobe’s free DNG converter). The software finds the color squares, measures them and makes a preset for your camera. Save the preset. Remove the calibration card and put a gray card next to the painting.

X Rite Passport1 Photographing Paintings with a DSLR

X-Rite ColorChecker Passport software screen.

Photograph the painting by first putting the camera in mirror-up mode (or set the remote connection to use mirror-up mode). Set ISO to the lowest number, usually 100, and operational mode should be aperture priority or manual (program mode will work too if you can change the aperture setting). Set image type to RAW. Set the lens to manual focus mode. Turn the polarizer on the lens until the glare on the painting is gone.

Next turn on live-view monitoring in the tethering software on your computer, put the tethered image in full-screen mode, zoom in to the maximum and manually focus the shot by hand. If your tethering software can take the photo in mirror-up mode, shoot from the computer screen, otherwise use a shutter-release cable or remote. Do not use the shutter-release button on the camera as it can move slightly and blur the shot. Experiment with various f-stops to find the sharpest for your lens, normally with a macro lens the middle range from f/4 to f/11 will be best.

Import the photo into your editing software and apply the calibration preset (click the eyedropper on the grey card if the white balance is off). Make any other corrections, i.e. rotation, crop, lens profile adjustment, etc… I then tag the paintings with the year, location and subject, so I can find them easily later. I’ve also made export presets for all the possible uses I’ll have for the photos. It makes preparing images trivial.

dalessio 1 4 Photographing Paintings with a DSLR

Some tips for larger paintings: If you don’t have polarizing sheets, the lights can be at angles greater than 45 degrees to reduce glare. If there are problems with getting an even light across a large painting, find an area with even lighting and take multiple photographs, moving the painting on a flat plane at the same distance from the camera until you have photographs of sections of the whole painting. Then use stitching software such as Adobe Photoshop,  PTGui or the free Microsoft ICE to put the individual images together. This method can also be used to get ultra-high resolution images of larger paintings while using a low-megapixel camera. With a bit of work you can capture an amount of detail which would give medium format cameras a run for their money. Subtle HDR is another idea if the value range is too great for the camera.

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Williamsburg in Florence

williamsburg Williamsburg in Florence

Williamsburg makes some of the best tube paints (in my opinion). And finally, after years of my badgering, Zecchi in Florence is selling some of Williamsburg’s better colors.

Their cadmium colors are as good as anything I ever ground myself. Their cadmium red light, for example, is the best warm vermilion substitute I’ve found. It reminds me of the older, real vermilion pigments I learned to grind paint with. Their other cadmiums (red medium, yellow light and medium, and orange) are all staples on my palette. They have beautiful hues and, because of their great tinting strength, one tube will last a long time. Cheaper paints usually have a lot of filler in them, so you go through the tubes much quicker as changing a color will require much more paint.

Their cerulean is beautiful -not Old Holland beautiful, but half the price. Their cobalt blue is also good, though it seems hard to botch a cobalt blue, I’ve never used a bad one.

Not all of their colors are great. For ochres I prefer Old Holland’s golden ochre or Zecchi’s own Roman ocher.  I also find the Williamsburg ultramarine totally unusable, Old Holland’s ultramarine dark is much, much better.

Williamsburg’s ivory black is the closest to hand-ground that I have found, though it is still a touch lighter. They sell a flake white too, but hand-ground lead white is really essential to good studio painting.

In 2010 Williamsburg was bought by Golden, the acrylic paint company, hopefully nothing will change.

November Posts in December

Varese painting1 November Posts in December

Varese. 30 x 20 cm, oil on panel.

The blog hasn’t been updated in a bit. My apologies. I’m working on larger pieces for gallery commitments and commissions which take a long time. I also have a couple of in-depth blog posts in the works which require a lot of study, expenditure and filming on my part.

That said, I was in Varese, Italy last month to sell my Defender (I’m landscape painting from a 2-wheel drive Kia now), and did a few small sketches which are posted here.

Sacro Monte di Varese November Posts in December

Sacro Monte. 25 x 35 cm, oil on panel.

Varese November Posts in December

Varese #2. 35 x 25 cm, oil on panel.

There were also a couple of interviews with me posted online: One here on The Artist’s Road, and another on painting near Volpaia, Italy posted here on Outdoor Painter.  Outdoor painter also wrote briefly about my post on Adro Hibbard’s ‘Hibbard Mitten’ with some more photographs of the artist working. For anyone interested in plein air painting in the snow you can read about it here.

The blog format also changed on its own due to a software update on my host. I’ll try to fix the header to look more elegant when I have a minute.

Plein Air Painting in the Tuileries Gardens, Paris

Pont Alexandre III1 Plein Air Painting in the Tuileries Gardens, Paris

Pont Alexander III in the Rain. 25 x 35 cm, oil on panel.

I was in Paris for the week painting landscapes. Here are a few of the plein air paintings from around town. Landscape (or cityscape) painting in a big city like Paris is a lot of work. Traveling around takes forever, there are so many people, and there is so much subject matter to chose from. I restricted myself to the Tuileries Gardens as it was near the metro line which I needed to take to get home. I figured if I started walking and looking for views I would never stop.

Edward Seago’s plein air work is a continual inspiration to me, and many of his Parisian paintings were of the Tuileries Gardens.

Tuileries Gates1 Plein Air Painting in the Tuileries Gardens, Paris

The Gates to the Tuileries Gardens. 18 x 30 cm, oil on panel.

Statue in the Tuileries Plein Air Painting in the Tuileries Gardens, Paris

Empty Chairs. 20 x 30 cm, oil on panel.

Tuileries in Fall Plein Air Painting in the Tuileries Gardens, Paris

Autumn in the Tuileries. 25 x 35 cm, oil on panel.

Tuileries Plein Air Painting in the Tuileries Gardens, Paris

The Afternoon Chat. 20 x 30 cm, oil on panel.

dorsay from tuileries Plein Air Painting in the Tuileries Gardens, Paris

The d’Orsay at Dusk. 20 x 30 cm, oil on panel.

I lived in Paris for eight months in the late 90′s and really loved my time there. I rented a tiny room on a houseboat outside the city and got a free studio space in an artist’s squat in Belleville (you can see my semi-communal space in a film someone made here, I’m briefly on screen at the 43 min, 20 second mark). I would draw from the sculptures in the Louvre everyday on my way to the studio by using a museum pass and the back escalator to get around the lines. It is always a pleasure going back.

Below is a quick sketch of a friend’s baby.

Ahlem Plein Air Painting in the Tuileries Gardens, Paris

Ahlem Sketch. 20 x 30 cm, oil on panel.