Primed and Ready. Why prime a Pre-primed Canvas?
Jackson Pollock didn't always prime his canvasses and sometimes even used household emulsion when he did. So why prime canvasses before painting? Like anything in life, quality is built on good foundations.
Jackson Pollock didn't always prime his canvasses and sometimes even used household emulsion when he did. So why do I prime my canvasses at least three times before painting? Simple, because I want a good surface to work on and I want my paintings to last. Like anything in life, quality is built on good foundations.
A well primed canvas is the foundation to any good painting
Almost all commercial canvasses arrive pre-primed and some even claim to be triple-primed and ready for use. However, I've found that all need some preparation before use. Priming the surface means making it ready to take on the acrylic or oil-based paints one intends to use and to also improve the painting's life span. Apparently, some Jackson Pollock paintings were not primed, or were even primed using household emulsion (yes, really!) and are already showing premature ageing.
Why can't I use pre-primed canvas?
So what's wrong with pre-primed canvas, I hear you ask? Put simply, it is not in the economic interests of commercial suppliers to prime canvasses with thick layers of high quality gesso (the primer). They are more likely to apply thin coats of weak primer simply to provide a modest layer over the canvas. This results in a surface, fresh out of the box, that can be inconsistent (rough and smooth in different places) and a lot more porous do you will use more paint. The surface may also be relatively rough (toothy) which may be fine if that's what you want (some artists like and use this effect) but I find a smoother surface much easier to work on and I use less paint.
How I prime my canvasses
I'm sure every artist has their own ways of preparing their canvasses and this is mine. It takes some effort but it is worth it, in my opinion. In summary, here's what I do:
Dust off the unpacked canvas with a lint free cloth.
Lightly sand the surface with a very fine grade dry sand paper.
Dust off the surface again with a lint free cloth.
Apply a generous layer of good quality primer with a wide flat brush, brushing in both horizontal and vertical directions.
Allow to dry completely.
Sand the surface again with very fine grade dry paper and dust off.
Repeat the application of gesso primer followed by sanding and dusting.
For the final coat, apply the gesso primer with the flat brush but the smooth the surface, before it drys, as follows.
Using a wetted mop-head brush with very fine hairs brush straight across the canvass in horizontal strokes in a single movement from left to right. Work down to the bottom of the canvas. This smooths out any lines caused by the flat brush.
Allow to dry completely.
The canvas should now be ready for use.
This method works for me and I have found that my paints are much easier to apply and work on the canvas. I prefer not too have too much tooth showing in my paintings so this method also serves to reduce this effect. Beyond this, a solid foundation should ensure that my paintings last for as long as possible.
But if it was good enough for Jackson Pollock….
Now, you may wonder why it's not advisable to use household emulsion. After all, it's cheap, has a consistency similar to gesso primer and it was good enough for Jackson Pollock. Well, quite simply, it isn't good enough. Some of Jackson Pollock's works have already started to suffer from premature ageing. Most notably, cracking. One only has to consider how emulsion behaves in the home. Over time, and with exposure to varying temperatures and humidity, it will crack. It's just not designed to cope with movement and one can imagine how much movement a cotton or linen canvas would experience. So, don't skimp on primer. Use high quality gesso and leave the emulsion for your house!
Introducing The Artist Formerly Known As Doctor!
The Artist Formerly Known As Doctor! Why I identify as an artist rather than a scientist. And why I'm not called TAFKAD!
I wasn't always an artist. I actually only started about a year ago. My background is science, and nuclear-related at that. With a PhD in chemistry I have the pre-nominal title of doctor but I don't use it in my art world. Here's why.
Artist or scientist? I think it's obvious!
I started my career that led me to become a research scientist in the nuclear industry a long time ago. 32 years ago, in fact! Crikey, am I really that old? During all that time I'd never painted and, to be honest, art wasn't really my thing. And abstract art definitely not. In fact, I recall years ago when my wife dragged me to the Tate Modern in London and I was stunned at what was being passed off as art: a stack of different coloured towels (we had that same artwork in our airing cupboard at home!) and a broken fence panel painted in garish blocks of colour! I'm not joking. This trip did not inspire me to fall in love with art.
This all changed when my wife bought me a set of water colours for Christmas in 2018. As I didn't paint I thought this was a rather odd gift. However, my wife is always looking for new hobby ideas to keep me occupied (or out of trouble!). A year later I start to play with the paint set and painted every day for a month until I'd cracked it. Those 30 days are detailed in my About pages if you want to know more.
As my artwork has taken off so too has my appreciation of just how much thought and work goes into a piece. Yes, even abstract! I now paint many abstract paintings and I can truly say that I get it. My own pieces all have a deeper meaning or intent behind them. They are not, as I once thought, just random splodges of paint on a canvas. There is a lot of thought required to be able to produce something that is balanced and thought-provoking.
Since July 2019 I have been amazingly lucky to have been selling my paintings on a regular basis and can even boast a small community of collectors. I could not have imagined that a year ago. And I love it! I am constantly stunned that I'm able to create artwork that others want, and want enough that they will pay good money for and display in their own homes. When I produce a commission, the look on the face of a happy client is also huge bonus for me and I want to keep repeating it.
So, despite over 30 years in the nuclear industry and holding three degrees and the title doctor I'm more happy to identify as an artist. In fact, when people ask what I do these days, I tell them I'm an artist. I don't mention my day job at all. Would being titled doctor help me sell more art? I doubt it. I think people buy art because they like what they see not because of someone's title. So, I don't tend to use mine. In a nod to the pop legend that was Prince I'm now The Artist Formerly Known As Doctor! TAFKAD! Oh dear, perhaps not!
Getting ahead - preparing for my biggest commission yet
Preparing for my first 4-figure commission. Only a lot scary! Here's what I have to worry about.
A couple of days ago I received a request for my biggest commission so far and my first 4-figure sum. This was not to be taken lightly and I need to build up to it. It's going to be big!
Getting prepared to practice for the commission
Here you can see that I have one background-prepped canvas on the easel and another two triple-primed on the floor. They might become pieces to sell but that's not their purpose just yet. The commission is going to be big, up to 7 feet long, and painting anything on this scale is going to need some new skills. Maybe s bigger studio too?
First off, the paint needs to stay mobile for longer and not dry out before I've had time to blend it. As paint dries it tends to seize up and stall as one tried to apply it across the canvas. Some magic retarder liquid will be in order.
Then we have the colours. What works on a small scale may not work the same way when going large. Experimentation and practice is needed. Yes, I get the irony - colour blind artist worrying about the colours!
Brushes! I'm definitely going to need a bigger brush! I guess I could go all Sean Scully and use s fence brush!
Finally, I need an idea! As usual, I have no idea what I'm going to do but for something this size I feel I should at least have some kind of plan. If for no other reason than I need to know what paints to have available.
The one thing I do know is that the commission will be an abstract piece which sounds easy but, as I've learned, there really is an art to it (pardon the pun!). The skill is in creating something that invokes a feeling or a mood and isn't just a mess! We shall see if I can pull this off. Stay tuned!
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Abstract may be me!
I've discovered that dynamic abstract art may be my niche. Read on to find out why.
Yesterday I posted three paintings titled The Elements and put them up for sale. In less than 24 hours they were sold! I then started work on a larger abstract piece and this prompted a request for a commission. I think I may have found my niche!
Going large with abstract!
Creating this piece was a lot of fun and just a little messy. There is definitely something to be said for flinging paint around! My wife had something to say too!
This piece isn't quite finished yet. I think I want to add a bit if geometry to it so who knows what it will look like later today!
I found myself completely immersed in the moment when painting abstracts and could happily spend all day making these. And now, I have a much bigger one to work for a client. That should keep me busy for a bit!
Have a great weekend!
A Winter's tale - another commission finished
Today has reminded me why I love painting and why this hobby of mine has stayed with me when so many others have gone. No, it's not because it earns me money! The smile on the clients face when he saw his painting for himself for the first time. He was rather pleased to say the least.
One happy client with his commissioned artwork by Roy P Awbery
A Winter's Tale by Roy P Awbery - close up
This painting was very challenging but I got a great deal of satisfaction from finally getting this one right. The original plan was just to have a night snow scene but, as the painting developed, the client asked for the addition of wolves and an elk.
I managed to capture a sense of movement with the animals which was not easy. I'd not tried to do it before but it seems to have worked.
I'm seriously pleased how well this one turned out and now understand why my followers were not too happy with the very simple Jumble Animals. Lesson learned!