Q. Where is your larger work available?
I have two galleries that carry my larger pieces:
Davis Gallery, Austin, Texas
Anderson Fine Art Gallery, St. Simons Island, Georgia
(And of course, some is available in my own studio - please inquire about the
availability and whereabouts of any piece you are interested in -
Q. Why is there such a jump in price from the small work?
My galleries carry paintings in the larger sizes and it's important to keep prices consistent in every venue my work is available. I offer my small work (6 x 6's and 6 x 8's) exclusively through my own blog site for my followers and online viewers to purchase at a relatively affordable cost.
Q. You're a "Daily Painter" - why not just post the more typical small work?
My blog is about sharing whatever I am currently working on. I do paint almost every day, but I do a lot of studio and plein air work in larger formats. The small work happens in between - sometimes as studies for larger pieces, sometimes as warm up exercises, and sometimes when I have limited time but still want to paint. I simply post them as they come.
Q. What are the general sizes you work in and what happens to them?
Small studies (5x7, 6x6, 6x8, 8x8) – these are a great tool for warming up, trying compositions, testing color, etc. They are also good for a short plein air study if time is limited or weather threatens. Some get enlarged, some don’t, and I post them for sale on blog exclusively once I am done with them.
Plein air work (9x12, 12x12, 12x16) – these are my standard sizes for painting outside. I limit my choices in the field for uniformity of supplies. These sizes work well for me and the limitation of options makes it easier to travel. These go to galleries and plein air shows.
Large studio work (18x18, 24x24, 18x36, 24x30, 30x40, multiples of these for diptychs/triptychs) – these are the sizes I typically work in when in the studio. For these, I am working from studies and field work (plus some photographic reference) to paint larger scale paintings. These go to galleries and juried shows.
Q. What colors are on your palette?
I use a limited palette that includes a warm and cool of each primary, white and 2 neutrals:
Cadmium Lemon - cool
Cadmium Yellow Deep - warm
Cadmium Red Light - warm
Alizarin Permanent - cool
French Ultramarine - cool
Pthalo Blue - warm
Raw Umber
Burnt Sienna
White
Q. What brand paint do you use?
Gamblin Oil Colors
Q. What medium do you use?
Refined Linseed Oil only. No turps, no solvents.
Q. If you don't use turpentine, how do you clean your brushes (at home and in the field)?
I use lots of brushes - typically one for each basic color in the painting - I don't clean them as I paint. I will wipe them out with paper towel as necessary to keep the color clean. When I am completely finished painting for the day I clean my brushes with warm water and Masters Soap. I also condition them every time with a paste made of the Masters Soap; I reshape the ends and wrap them in paper towel to retain the tips.
Q. What brushes do you use?
Usually all flats and nothing fancy - Winton brand or Windsor Newton Artist Oil Brush brand.
I use all flats because they are so versatile. I’ll use broad side to fill big areas, then turn it and use a corner tip for a point in small areas. The flat edge get be great for lines… and sometimes I just scrub so eventually they all become filberts.
Q. What support do you paint on?
For plein air and small studies I use cotton canvas glued to a rigid panel: Panelli Telati from Jerry's Artarama, or Raymar panels from Raymar Art. For larger studio work I use cotton stretched canvas.