Update:
The demonstration for "Preparing Oil Primed Linen" in my studio is now complete....and may be viewed on my blog Dunlop Demonstrations

Preparing oil primed linen in my studio - in this photo:  applying first application of Rabbit Skin Glue to stretched, raw Belgian Linen

It's been awhile since I've posted a new 'Daily Painting' .... as a full-time painter, it was always my desire to paint one little masterpiece each week, while working on my larger works. But, sometimes it just doesn't work out that way and here's one of the reasons why. I am one of those hands-on artists who savours every part of this creative process. I guess it's because it is so satisfying to be able to work with one's hands, be it carpentry, gardening or whatever. I have always built my own canvases and keep an assortment of different sized stretcher bars on hand at all times. I give my oil primed canvases another coat of lead primer so that I have my surfaces just the way I like them. Recently, my friend, artist Lisa Humes, visited me from Florida and brought with her some incredibly beautiful Utrecht raw linen as a gift. So, this weekend was spent not only stretching the raw linen onto stretcher bars, but preparing the supports with rabbit skin glue before priming them with an oil based primer. The photo above shows the process of applying rsg. After two coats of this over a few days, I will then prime the surface with oil lead primer, again preparing the surface to my idea of perfection. It's necessary to wait for a few weeks to paint on them, but it's so worth it. I hope to post the completed stages soon, as I complete them. In addition to building these canvases, I've also been busy building this new website...another work in progess!

Just another day in the life of an artist......pure delight.

 I use oil primed belgian linen for my larger pieces but for most of the very small daily paintings, I prepare panels. In this case, I began by first gessoing a panel of MDF board with two coats of acrylic gesso. The gesso was applied with a large flat bristle brush in random strokes - you can see the brushstrokes in evidence. Once this was dry, I toned the panel using a mixture of burnt umber and ultramarine blue with turps to make a greyed tone, rubbing off the excess with paper towelling and then letting it dry overnight. I set up the still-life in my studio under natural north light. Always, a concept forms firmly in my mind and at this time I begin to place the objects into the space using a large bristle filbert brush. I used a mixture of ultramarine and phthalo blues and burnt umber for this and concentrate on massing in the light and shadow, not on drawing.....this step takes just a few minutes to do, especially for such a tiny painting. When I can, I like to let this stage dry before I being to apply color. In this example, I let the paint dry overnight....

 Step 2: I've let the underpainting dry overnight....blocking in the first step takes about 15 minutes but if I can, I like to work on a dry surface for this stage. Again, with the largest bristle brush I can handle on such a diminutive panel, I begin to really have fun...applying paint! Again, I try not to concentrate on drawing, just enjoy the process of laying on pieces of paint. And of course, color.....the intial stage has captured the concept I have in mind...where the light hits the objects and where the shadow creates the space my little pot nestles into. I push and pull my values, in the darker areas keeping the paint thinner, while in the area of light and color, I've concentrated on color as well as paint quality. I love to see the brushstrokes and I try very hard to just lay in a piece of paint and not disturb it too much. At this stage it's inevitable because the little pot is being sculpted with paint. With brushstrokes, I bring the paint tube into focus, as well. Not too much going on with the berry branch as this point, but I have made a start on it....

 Completed Painting: "Petite Ochre Pot", oil on panel, 7x6
And, here is the completed painting. I have just continued to lay on pieces of paint with my larger bristle brush.....more paint, more refining, as I bring the background color in to create the beautiful shadows in the pot's form. In addition, to create space around the pot, I've lightened (made cooler) the surrounding area. You will notice the brushstrokes becoming more impasto in the completed piece, also. I've tried to leave them just as they are. To me, the brushstroke is incredibly beautiful. That's what painting is all about