The Amanda Palmer painting auction has ended, with a final bid at $950 which helped 95 people get counseling. If you bid, shared, or tweeted thank you very much. You’ve helped a lot of people. Special thanks to Stoya, Amanda Palmer and her team, Neil Gaiman and Kim Sherrell and everyone who helped spread awareness of the auction. News on the next one soon.

I’ll write more soon about the show and the three paintings I’m working on now for my next show.

Oh – and a hardbound book collecting all the paintings in the show is available at the gallery.

Hope to see you on Saturday

This is what a gallery show looks like:

I’m a collection of conflicting and high energy thoughts. “Is anyone going to go?” “Will the paintings sell?” “Do I care? The goal was simply to have a show” “But it’d be cool if some sold” “I’m going to miss the paintings if they sell, the remind me of this time in my life” “Can I make a book? Can I make a video?” “Did I forget to tell anyone?” “What am I going to paint next?” “I want to take a long break.” “I can’t wait to paint more”

I’m a mess.

But it’s fun.

This week is about merchandise and promotion. I’m trying to make a Blurb book about the show. I have all the images and I’m messing with the software tonight.

I’d also like to make a few t-shirts, I may just have to simply go with Cafe Press for now and do something cooler later.

A video would be cool to have at the gallery. I have videoed many of the paintings in progress and a moviemaker friend offered to film some stuff.

The good news is that prints have been made and of course, even better news is that all the paintings are done and have been protected.

Unsure of what to do, other than doing the math over and over again, I talked to Trish about it and she suggested that I change the way I had been painting. Instead of painting a complete piece, I could use the technique that I had used in 2006 when I did my first series and that I use often when I do my Halloween paintings.

Sunday, January 24th
Inspired by this and running on fear/excitement adrenaline, I started painting. I wasn’t sure exactly what the color scheme was going to be for the next seven paintings, or even the style, but I found myself using an old technique that I wanted to bring back soon and after about a half hour, this was the result:

I put that off to the side, still drying and then did this:

The technique was similar to one I used in late 2008, but I hadn’t tried it with the new watercolors I was learning how to use. This time I put water down, then threw paint down.

I felt very differently after I had painted those two. The plan was to paint every night, for about a half hour to an hour. Just before sleeping. Working on the same type of stage on all seven. Backgrounds, then fabric, then hair, then portraits. While I began to work on these paintings, I also had to prime two 24″ by 48″ canvases with the magic watercolor gesso.

I had planned out five pieces that work work together:

Wednesday, January, 27th

Thursday, January 28th

Friday, January 29th

Sunday, January 31st I drew the images on the two 24″ by 48″ canvases.

Monday, February 1st

Wednesday, February 3rd

Another view

Saturday, February 6th

Monday, February 8th

Tuesday, February 9th

Wednesday, February 10th

Thursday, February 11th

Saturday, February 13th Did this:

and this:

Got some nice feedback on Twitter. That really helps me keep painting.

Sunday, February 14th, I did this:

Then reworked it:

Knowing I had to finish the fabric, I worked on this:

some more

Monday, February 15th, I realized I had to wrap up the next stage, the hair marathon. In order:

You can see it’s getting crowded in the studio.

I hope to finish these seven paintings by 2/28.

I’ll have an update next Monday.

I’m working on a lot these days, so I haven’t updated as much as I’d have liked. I’m going to keep at it to get all the information up here.

The work for the show is going to made up of four separate series. The first, called “Reflections” is about personal development and evolution. It’s also loosely based on Tool’s Lateralus album which deals with the same themes.

Here’s the work I did for the Reflections series in August and September just before our baby boy Patrick arrived. I was ahead of schedule and had five out of what I thought would be twenty-two paintings I needed for the show.

The originals: ahead of schedule

[View with PicLens]

And here’s the work I did for the Reflections series in November and December. I have four for what will be seventeen paintings.

The re-dos: behind schedule

[View with PicLens]

Because I can’t use any of the originals and had to redo them all.

Why?

Here’s the story.

Fade out
The week after Patrick was born, I did some tests because I knew the Dr. Martin’s dyes I used would fade in sunlight. I’ve known this for years, but figured someday I’d deal with it. In the summer, when I discovered UV protectant sprays, I was confident I didn’t have to worry about the fading. BTW, the UV spray I bought happens to have an ingredient that causes cancer. I used it outside. And before Patrick was born.

But it didn’t work.

• Half a canvas exposed to sun
• Half exposed to the sun, but protected by UV spray
• A little square that was not exposed to sun

If things went well, the little square and the protected half would be a rich, deep blue.

But they weren’t.

Both exposed sides faded.

No problem, I thought, I’ll just try a different UV spray. The kind that doesn’t have an ingredient that causes cancer.

Same problem.

The Fugitive
So I did some research online. Turns out the UV spray is known not to really work, and the Dr. Ph. Martin’s dye-based Radiant Watercolors are not lightfast. I learned that “lightfast” means “doesn’t fade.” I also learned that “like all aniline dye base colors, they are fugitive when exposed to direct sunlight over time.” Also that they “are primarily formulated for graphic arts work on paper surfaces intended for reproduction.”

F.

It’s not how you fall, it’s how you get back up
So now the search was on. I had a lot of questions? Should I pay for frames and museum-quality UV glass? Should I paint the show in oils? Should I cancel the show? What other paint can I use?

With an intention to paint all the paintings in oils, which I had learned to use just a few months before in early in ’09 …

… I decided to try some inks and watercolors first. During my research, I learned that Dr. Martin’s makes Hydrus Watercolors. Which are lightfast. I also learned about India inks (surprise, they come in more colors than just black) and acrylic inks. All lightfast.

I also liquified some water-based oil paint.

In the lab
Then I set to experimenting.

You may be able to see that I exposed half of all these squares to sun with a lot of tiny post-its covering half of each square. I also added bleach to some, because that turns the dyes to white and I’ve become pretty dependent on that affect. Unfortunately it only works with dyes and only the red Hydrus watercolor.

The winner here in terms of being vibrant, translucent, the right hues, and lightfast were the Dr. Martin’s Hydrus. I was actually rooting for them because they were the most similar to the Dr. Martin’s dyes and (despite their disappointing tendency to go all “fugitive” on me) I’ve grown quite attached to those dyes. And spent a lot of money on them:

It works! Now, how do I use it?
So, now I test the color choices I have and how they all work together. The Hydrus watercolors are a little tougher to find than the dyes and I had to buy some from Dick Blick and some from Jerry’s Artorama. They come in either three sets of 12 bottles (least expensive at Dick Blick), or individual bottles (only at Jerry’s).

Looks pretty good.

I also did experiments with my splattering, with various effects and with the red options. There’s no “red” there’s magenta and an orangey-red.

But the only way I could know for sure if I could change to this type of paint forever was to do a painting.

Winner!
Which I liked. So we had a winner: Dr. Martin’s Hydrus watercolors. (Imagine you hear trumpets. Or the theme when people win on the Price is Right.)

It’s a different look, but one that lets me express what I want to express. In a twist that makes one believe in fate or subconscious influence, of the media I work in, watercolor is my most comfortable. So by switching to the watercolors from the dyes, I’m able to use all my watercolor rendering skills, in addition to all the skills of color and value manipulation I acquired using dyes. So even though this was intense – because it was happening at the same time that I was learning how to parent a two-week old, and with the clock ticking on my first solo gallery show – it will be for the best.

Back to the painting board
Now that I knew which old medium, but in many ways, brand-new medium (I had painted in watercolor, but never in this semi-abstract style) I was going to use to paint these twenty-two paintings, I had to decide which paintings to paint.

What would I do with the original reflections series? Paint over them with watercolor? Paint over them with oils? Redo them?

It all hurt my head.

And when could I tell anyone about this? (Aside from Trish who supported me through the whole thing)

I decided (I think this was Trish’s suggestion) to paint one of the images from the Reflections series that I hadn’t painted yet. Conceived as an eight piece series, I had only painted five.

So that worked out. The energy/fire part was different than with the dyes. Probably the biggest change/challenge.

I then stopped by the gallery to finally measure everything to see how all the paintings would work in the space.

That’s how twenty-two became seventeen paintings. The space is a little different than I thought and we can only fit a smaller number of paintings.

This was good news. Because at this point, it’s taking a long time to finish these paintings.

Buoyed by the painting test and the reduced number of works I have to make, I decide to redo the “Reflections” series.

Success!
I start at the beginning with “Assumption”

I move onto “Patience” which I knew would be the turning point for finishing the paintings for the show. It would require the most patience (intentionally), detail, and time. Once that was past, I could work with increasing speed.

Finally I re-painted “Triad.” This painting has the biggest difference in all the re-paints, in the change from the ‘smokey’ energy effect in the middle I had in the original “Triad” to the ‘fire/crystal’ effect I have here. I liked the ‘smokey’ effect a lot, but, as with the other two, I like the overall painting more than the original. The switch is painful but ultimately, beneficial.

So, phew. I’m back where I was a few months back. Slightly better for the journey. I’ve got four paintings in this series now because the wall they go on in the gallery can only fit four. I may paint the remaining three and put them on another wall, but only if I find I have time after I’ve painted the other thirteen paintings.

Back on track
Next time, I’ll tell you about how I had a bit of a meltdown over the weekend of Jan. 23rd, resulting in a very productive week following. After that, in a series of posts over the next few weeks I’ll tell you how I decided to have a show, how I learned this style, how I chose the models I’ve worked with, how I got the show, and how I chose the subjects for the paintings in the show.

What it means is that I’ll be taking a break very soon.

I’m in the midst of painting three series of paintings for a gallery show in April at Amberella Sugary & Sweet Gallery & Boutique in the Piazza in Northern Liberties in Philly. April 2nd, 2010.

I’ve also got a few pieces in a digital display at Obscura, on 10/17/09 in Newark.

Here’s some of the work in progress for the show at Amberella.

[View with PicLens]

Things I’d like to write about:
How I came up with the themes for the Reflections series.
How I got the show.
How it’s working out with the watercolor canvas.
How it feels and what it means to finally get a gallery show.
Hearing from people in person about the blog/painting/sketches but rarely digitally
Dr. Sketchy’s in Philly and NYC
My visit to Studio Incamminati

Wish me/us luck.

I’ve done some sketches here and there, and got in a painting that I really liked, but haven’t been able to paint the way I’ve wanted to.

I have eight projects in various states of progress. Two of them are on canvas now, waiting to be painted. Each project will have between six and twelve paintings in each. I keep getting tripped up by trying to do them all simultaneously. It’s not fun having nothing to show and having more ideas than ever. I feel completely unproductive and yet overwhelmed. I’ll fight through it and hopefully have some of the simpler stuff out before the boy arrives.

I think I need to stop, slow down, work on one at a time, and follow the same process I’ve used for the past 13 years for my Halloween paintings.

More soon

Here’s an image from my second or third shoot ever. I recently got back in touch with this model after a very long time. Thanks, Facebook.

I’m working on more from the shoot. I’ve tried to paint from these images for years, but because of the lighting, they just didn’t work well in watercolors or dyes. Now that I’ve learned to paint in oils, I can give them another shot.

Here’s crappy pics of the them, I shot some quality ones outside today, but I’ll have to pull them off the flash card tomorrow / Monday night. Weird trivia: a couple of nights I turned down drinking with friends and painted instead. Coincidental. But, hey, if you want to help me paint, throw me some drinking invites. Apparently they drive me to paint.

Thanks to all my friends who commented on these already. It’s flattering and keeps me going even when I just want to enjoy the weather. Though now I’m painting in oils maybe I’ll paint outside old school.

Here they is:

Mosh from 5/8

Lilah from Cinco de Mayo

Veronica from 5/3

This one’s next: