The vast majority of my painting for a long time was plein air, which is to say painted on site. Urban or otherwise, landscapes had become my subject matter of choice. There is an immediacy to painting that way that really appeals to me. The downside to that, though, is the fact that when you want to paint, you have to pack up all of your gear, hope for decent weather, and head out to your painting location. The problem is that, with a full-time day job, a thriving business that I run with Angela which is another full-time job and being a full-time parent, trying to find the time to paint can be a real challenge. I found that I wasn't painting as much as I needed or wanted to. To that end, I decided to switch to still life for awhile. I could paint on a daily basis and still be close to home where I needed and wanted to be. The one downside to painting at home is that the light in my 'studio' aka 'the garage' isn't the greatest. To that end, I came up with a system where I could control the light and set up my subject matter exactly the way I wanted to. If, by 'came up with a system' you mean 'stole from Carol Marine, who is my new favorite artist and inspiration as a daily painter and can be found at http://carolmarine.blogspot.com '.
Here, then, is the place where all the magic comes from, and how it came to be.
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| The materials |
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| The Boy, added for scale |
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| Bottom and backing panel added |
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| The Final Setup |
So there you have it. Thanks again, for all of you that have signed up for my mailing list and have been along for the ride with 52 Weeks 100 Paintings. I'll be picking back up with painting #54 when I get done with all of my painting commissions and other assorted holiday projects.
