As we settle into a new year, hopefully a better one than 2020, I thought it was time to learn something new on the art front. To that end, I’ve been attending a weekly Botanical Drawing class. The theme of “new” is splattered all over this class – it’s done virtually (a first for me), focused on botanical drawing (another first), and in colored pencil medium (yet another first… kinda).
This week’s subject was a pair of tomatoes on the vine. The first two classes were graphite only, no colored pencils, so this was the first session that introduced color. I’m using a small set of 12 SoHo colored pencils, which are very vibrant and so far seem to do the trick. It’s going to be a challenge pivoting from oil painting, where colors are seemingly endless through mixing of a core set of hues. The colored pencils are a different challenge because there’s only so much layering of colors that the paper will tolerate. In oil painting, if you overdo it with oil paint colors it goes brown or a dirty grey, but you can wipe it off the canvas. The colored pencils, however, can only support a limited amount of mixing on paper, and it’s largely un-erasable. It’s a wee bit stressful at times!
I really like the challenge of capturing the reality of botanicals, which is at the heart of botanical drawing. It will be interesting to see how the various compositions evolve on the color and value front over the remaining 5 weeks of class.
This week’s composition vine tomatoes is done on standard paper and measures about 7 x 5”.
Yes, another flower! The Pink Rose started off as a white rose, but some prodding from my wife got me to adjust to something a bit more interesting and thus the improvisation towards pink.
I’ll confess I’m not thrilled with the outcome of this small piece, but I think it’s simply a matter of style preference. The style is less realistic than I’d like, although as a drawing it works well… but it’s not a drawing, so there’s that.
The reference photo is a beautiful white rose, but in hindsight I can see that it’s flat and lacking variations in value. I didn’t figure this out until I was more or less finished with the piece, but it was a very valuable reminder that grinding through a painting isn’t always the right approach if your gut tells you something is off. I see a lot of paintings on-line that have this stylistic look, so I’m pretty sure it appeals to some folks, but, ironically, it’s not for me.
Today I wanted to share some simple varnishing techniques that can quickly and easily protect a painting. Nothing earth shattering here, but if you haven’t done a lot of varnishing of finished artwork before, or simply curious about other techniques, hopefully there are some tidbits for you in this post.
Varnish – I use Gamblin Gamvar Picture
There are various types of varnish that can be used to get a good protective coat on a finished painting, but I like this particular varnish because it’s virtually odorless and very easy to use because it doesn’t become tacky too quickly. Instead of a wide soft brush to spread the varnish around the painting, I like to use cosmetic wedges instead because a) they don’t shed hairs like a brush does, b) they’re cheap, and c) it’s easier to spread varnish.
I’m varnishing 2 pieces, one large canvas and one small panel. I’ll focus on the larger canvas piece, but I wanted to provide the smaller panel periodically to illustrate another surface.
This painting, Zip’s Flowers, was finished a couple months ago and has been stored on a drying rack, largely away from dusty conditions. Even in a nicely controlled drying condition such as this, I still take the time to wipe down the painting surface to get rid of the dust. What I find works best is first sweeping the surface with a wide clean brush, preferably one that hasn’t been used before, followed by a few wipes with a Swiffer dust cloth. The idea is to ensure that there isn’t a fine coating of dust anywhere on the painting, otherwise it’ll clump up when you apply the varnish.
To apply the varnish, lay the painting flat on a covered surface with some bright light overhead. Pour some varnish directly onto the painting. I like to pour a small puddle, about the size of quarter, in the middle of the painting, then slowly spread it around using one of the cosmetic wedges. Don’t overthink this part – just pour and spread. This allows me to see how the varnish will spread and the kind of coverage I can get with a small amount to start. It’s much easier to add more varnish than it is to try and gracefully remove excess; trust me, it’s not pretty. For every one of the DIY YouTube videos demonstrating varnishing techniques out there, I assure you there are 10 deleted videos of instructors slopped in varnish and/or furious at brush hairs drowning in tacky varnish.
Add more varnish as needed to get the entire painting surface covered, but remember it’s not about thickness, just coverage. The reason I suggested having a bright light overhead is to allow you to see the reflection of the surface and thereby quickly find spots that you missed.
Another advantage of using the cosmetic wedges over a brush is the complete mindlessness involved in spreading the varnish over the surface. Again, go back to any of the DIY YouTube videos and you’ll see how obsessed they are with brushing carefully so you a) don’t end up with too many brush hairs in the varnish, and b) getting a smooth surface. By contrast, the wedges are very soft and don’t even snag on impasto areas of the painting, so you can easily manipulate the varnish around the painting. Note that you might end up with some very tiny bubbles if you’re spreading quickly or pressing down too firmly, but they will go away in a few minutes and in my experience are never an issue.
After the varnish has been applied, I return the painting to its dust-friendly rack and let it dry. The varnish I’m using dries pretty fast, but I wait another week before applying a second coat. You can see in the gallery at the end of this post the results, but to set expectations remember this is not a high gloss finish, although you can use varnishes that give a more intense finish. Ultimately I’m looking for what I like to call fresh protection for the painting, meaning the varnish recharges the hues and vibrancy of the painting which also providing a protective layer that will allow your masterpiece to last a few hundred years.
The whole process takes about 15 minutes for the initial session and it’s very simple so there’s not a lot of trial and error involved.