Aug
24
2012

A Jerry's Online Street Team Art Project with Julie Petro

Julie Petro is an artist working in paint and residing in Colorado, and has gravitated to the impressionist school of art since she was a child. Her gallery of work is substantial, impressive, and varied. Beautiful painted flowers, commissioned portraiture, and smaller scale still-lifes find homes within her portfolio of work. But it is her magnificent paintings of dancers that perhaps best showcase her ability to render grace and movement frozen in a single instant, or as the artist herself calls it, "a moment of quiet concentration." All of it, though, is of a piece and is easily recognized as a Julie Petro.  Learn more about Julie in her Jerry's Artarama Artist Spotlight blog post, or by visiting her website at www.juliepetro.com.


"Reflections on 40" — Jerry's Back 2 School Sale Catalog cover

Featuring LUKAS 1862 Artists' Oil Colors

Artists have different reasons for doing self-portraits. Most of the time my reason is pretty simple: I want to paint from life and I'm the most available model I know. Any artist who's ever done a self-portrait can appreciate how easy it is to set up with a mirror and get a quick study done. But with Reflections on 40 I wanted to make more of a statement about my life as an artist after an important birthday milestone.

As with almost all of my paintings, this one started with a very clear vision. I worked out a few sketches, concentrating the painting's structure (composition and value) and giving myself several options to choose from. Then I used the sketch I was happiest with to set up a photo shoot in my studio. I probably took 200 photos that day, and 200 more on subsequent days to zoom in on different parts of the painting as it progressed and I determined that I needed to add or change elements.

Since I was working in a larger format (24" x 30"), I did a small, proportional color study, 8" x 10", to work out value and color relationships.

For the most part, the LUKAS 1862 Oil Color palette I use is consistent:

  • Titanium White
  • Cad Lemon
  • Cad Yellow Light
  • Cad Yellow Deep
  • Yellow Ochre Pale
  • Cad Red Light
  • Alizarin Crimson
  • Burnt Sienna
  • Viridian
  • Green Earth
  • Cobalt
  • Ultramarine Blue
  • Ivory Black

The richness of the pigments of the LUKAS 1862 Oil Colors I used ensured I was able to capture the sumptuous variety of textures in the painting: glass, knit fabric, denim, hair, fur, wood, skin, paint, canvas, metal. The texture of the paint itself is buttery and flows easily. Since LUKAS paints seem to dry fairly quickly and this was a larger, more complex piece, I used poppy seed oil to extend the working time so I could return the same passage day after day if I needed to.

Also, with larger paintings I usually start out with a vine charcoal sketch so I can adjust the composition as I need to before I commit myself to paint. I follow up with a thin wash of a brownish color, massing in large areas and working up to thicker washes for darker areas. I then begin to block in color notes in their appropriate areas, slowly building up layers and thickness of paint, working all over the canvas at once.

 


Jerry's Artarama is pleased to feature Julie's impressive self portrait Reflections on 40 on our new Back 2 School Sale Catalog! For more information on Julie Petro and her lovely, impressionistic paintings, please visit http://www.juliepetro.com/.

 

This is brought to you by the Jerry's Artarama Online Art Team - Promoting Art and Artists in our communities - For possible inclusion or to learn more about this program, please email us at webmarketing@jerrysartarama.com

Aug
20
2012

Artist Spotlight - Julie Petro

A Portrait of the Artist: Julie Petro

by Kyle Kirves for Longmont Council of the Arts

It's easy for the mind's eye to conjure an image of a child, legs akimbo, head down, gazing intently at an open book. Maybe the level of exactitude in the details varies, some highly realistic, others as if seen through a slightly distorted piece of glass. Dreamlike and fluid, this single moment is worthy of capturing on canvas.

And if Julie Petro were to paint that mind's image, it might be called Self-portrait as a Young Girl.

Petro, an artist working in paint and residing in south Longmont, has gravitated to the impressionist school of art since she was a child. "I remember seeing John Singer Sargent's Fumée de Amber Gris in one of my mother's art books when I was really young," she says. "And that picture just kind of stayed there. The details of how he painted her hands. How her face — barely visible under the hood — was rendered with what seemed to be just a few perfectly placed brush strokes. It's a fascinating study of a person, especially since every detail isn't clearly defined."

Indeed, that early exposure manifests itself in Petro's own work, culled from the traditions of the impressionism. Citing that genre's ability to evoke energy and movement, Petro enjoys creating work that communicates a mood, personality, and fluidity via its focus on subjects captured in motion, or in a moment, rather than "details" in the strictest sense.

"It's an invitation," Petro says. "The person who looks at one of my paintings is invited in. You're invited to slow things down, read into that moment and find perhaps even find things that maybe aren't readily apparent."

That principle of moments makes Petro very open in terms of subject matter as well, finding inspiration in any number of sources. "I might be drawn to something as simple as a color in any given scene. Or a shape. Or edges or texture. And sometimes it's an observed moment in a life. A snapshot of sorts."

Snapshots play a key role in Petro's technique, too. She frequently carries a camera to capture moments from everyday life. Then, with these pictures in hand, she goes through an exercise of creating thumbnail sketches, playing and modifying the content and composition until the balance seems right and the "story" is there. She considers the angles of light and how that affects the image as a whole. Only then does she work up the idea as a compositional and value study on canvas and then scale up to the new piece. It's a practice that has brought her much success and that she places her faith in.

Petro says, "There's no substitute for good preparation. Laying the groundwork, putting the foundation down and building a solid structure is invaluable. It can take up a majority of the time spent on a painting." Then, half-laughing, "Proper preparation before the paint comes out is key. It doesn't matter whether you're painting a canvas or your kitchen. Once the prep work is solid, the painting sort of paints itself."

Her gallery of work is substantial, impressive, and varied. Beautiful painted flowers, commissioned portraiture, and smaller scale still-lifes find homes within her portfolio of work. But it is her magnificent paintings of dancers that perhaps best showcase her ability to render grace and movement frozen in a single instant, or as the artist herself calls it, "a moment of quiet concentration." All of it, though, is of a piece and is easily recognized as a Julie Petro.


Jerry's Artarama is pleased to feature Julie's impressive self portrait Reflections on 40 on our new Back 2 School Sale Catalog! For more information on Julie Petro and her lovely, impressionistic paintings, please visit http://www.juliepetro.com/.

Aug
1
2012

How To Prime Ampersand Wood Panels

How To Prepare Ampersand's Unprimed Wood Panels with Oil Painting Ground or Acrylic Gesso

Ampersand's collection of unprimed wood panels, the Natural Wood Panel™, Unprimed Basswood™ and Hardbord™ are excellent substrates for all types of oil primers and acrylic gesso grounds. When properly sealed, a wood panel is a better painting substrate than canvas because it is not as subject to expansion and contraction as it absorbs moisture. Here are some basic guidelines and tips for properly preparing our unprimed wood panels for use with oil painting grounds and acrylic gesso. For best results, always consult the directions provided with the product you are using in addition to the information provided here.


Instructions for priming with oil painting grounds:

Gamblin® Oil Painting Ground is our first choice in a good quality oil primer. However, these instructions are virtually interchangeable with a number of other oil painting grounds if there's one you like better or have more readily available. Gamblin® Oil Painting Ground contains an alkyd resin vehicle that allows it to dry within a matter of hours. A number of other pre-made oil primers are also available and generally, they are made up of a white pigment, linseed oil and driers or solvents. Primers that use alkyd resin binder instead of linseed oil dry faster and are non-yellowing and more flexible than traditional grounds. Both may be applied in the same manner with either a large putty knife or a large stiff bristle brush. If you are using a traditional oil primer, it may need to be thinned with Gamsol® to a workable consistency enabling easy application over the sized panel. Never add oil to a primer! Its leanness must always be preserved.

STEP 1 - Size and Seal the Wood
A size is a thin solution (often a weak glue) that is brushed directly onto a support. Sizing or sealing is recommended to protect Ampersand's uncoated panels from any harmful oil absorption from the linseed oils used in some primers and oil paints. If wood is not sized or sealed properly before applying the oil painting ground, it can slowly disintegrate over time depending on the type of ground you are using. In fact, it is extremely important to properly seal any and all un-primed wood substrates to prevent support-induced discoloration that can cause your paint film to yellow over time. Hardbord™ is manufactured using Aspen fibers, a wood with a very low acid content, but still needs to be sized and sealed. The Natural Wood Panel™ and Unprimed Basswood panels are made with a thick basswood plywood top that has been sanded ultra-smooth. They are both seamless and knot-free and provide a perfectly smooth and uniform painting finish. When you apply the size and primer to the basswood surface, you won't experience the raised wood grain fibers that can happen with some other rougher types of plywood; the surface stays nice and smooth. The basswood panels have solid wood cradles and braces that may be more susceptible to moisture and environmental changes than the birch plywood cradles we use on the Hardbord™. Therefore, Ampersand recommends that you prime both the front and back of the Basswood top to ensure long-term stability of the panel. The best products we have found to seal wood are Golden® GAC100 [2 coats] and Gamblin® PVA Size [4 coats]

Apply Golden® GAC100 directly to the basswood or hardboard surface with a 2" paintbrush or putty knife. Apply to the front and back if applicable. Allow the GAC100 to dry completely and follow with an additional coat. Do not sand between layers. Before applying oil primer or the painting ground, allow the GAC100 to dry for 1-3 days so that the sealer can coalesce into a uniform film for maximum protection. If you're using Gamblin® PVA Size, use 4 coats and follow the same application instructions as for the GAC100.

STEP 2 - Prepare and Protect the Cradle
Ampersand Hardbord
™ is available in either a flat 1/8" panel, with a 3/4" cradle, or with the 2" DEEP cradle. The Ampersand Natural Wood and Ampersand Unprimed Basswood panels are available in both a 7/8" cradle and 1.5" cradle profile. You have the choice of painting all the way around the cradle or leaving the natural wood showing for framing purposes. Be sure to size and seal the bare wood if you want to paint completely around the edges of the cradle. Or, to protect the wood from paint and primer, cover the sides of the panel with painter's tape up to the edge of the surface. Do not remove the tape until the painting is finished. Painter's tape does not leave a sticky residue like many household masking tapes that can be difficult to remove, and will leave a pristine surface underneath when the painting is complete. For more instructions on different ways to prepare your cradles for presentation, click here

STEP 3 - Apply the Oil Painting Ground or Primer
Begin by mixing small amounts of Gamsol® with the primer to thin if necessary. You can test the right consistency by picking up the paint with a knife and shaking it gently. If it falls from the knife like soft butter, it is ready to use. When priming with a putty knife (or wedge tool), begin by placing a portion of the oil painting ground or primer in the center of the (already sized) panel. Spread it in one direction, and then in the opposite, and finally in a diagonal direction. Clean the putty knife and run it over the ground to smooth and even out the surface. Also, prime the edges of the panel and the cradles if applicable. Don't forget to apply GAC100 on the cradle edges first if priming them for painting. Allow the front of the basswood to dry completely, then, prime the reverse side.

When the first coat of oil painting ground is completely dry (about 7 hours), lightly sand the surface with a sanding block using light grade 400/grit sandpaper. A second coat can be applied the next day or any time after the first coat is dry. If using basswood, for each additional coat to the panel face, apply the same number of applications to the panel back.

If priming with a brush, use a large bristle brush, at least 2"-3" wide (proportionate to the size panel you are using), and apply the ground or primer with quick alternating strokes, working it well into the surface. After evenly distributing the ground or primer over the entire surface, finish by going over it lightly with a clean brush, carefully in straight lines, or use a short-nap [cotton] roller. Let the first coat dry, then sand and apply a second coat. At least two coats of ground or primer should be applied. The more coats of ground or primer that are applied, the smoother the surface will become. For basswood panels, follow the same instructions, but also prime the back. For each additional coat to the panel face, apply the same number of applications to the panel back.

STEP 4 - To Finish
Eliminate any unevenness
on the finished primed surface by lightly sanding the panel after it has thoroughly dried. The finished primed panels should be allowed to dry completely at room temperature before painting. If you prepare several panels at a time, then you will have stock on hand that is dry and ready to paint when needed.

Materials List:


Instructions for priming with acrylic gesso:

Golden® Acrylic Gesso is our first recommendation. However, these instructions are virtually interchangeable with a number of other brands if there's one you like better or have more readily available. Gesso is a flexible liquid ground that seals, protects, and gives "tooth" to wood panels, which promotes good paint adhesion. It comes ready-to-use, but can be mixed with water for thinner applications. Golden® Gesso is available in Black or White, and can be mixed with acrylics to produce a range of colored grounds. Gesso can be applied with a brush, roller, putty knife, or sprayed on. Dilution of the gesso is only necessary for spray application, but may be desired for brush or roller applications as well. When diluting with water, use a maximum dilution of 25%. Any mixture within this range offers little risk of cracking or other adverse effects.

STEP 1 - Size and Seal the Wood
Follow the same directions as listed in Step 1 above
for priming with oil ground. The sizing process is the same in both cases.

STEP 2 - Prepare and Protect the Cradle
As before, either seal and prime any cradle edges for painting, or mask off with painter's tape

STEP 3 - How to Apply the Acrylic Gesso
Thin the gesso with up to 25% water for the first coat so that it will flow more evenly on the (already sized) panel. Use a 2"-3" brush for the first coat and a foam roller for subsequent coats. Begin by working the gesso back and forth with the brush in one direction and then in a cross direction with a little pressure so that the gesso penetrates the panel better. Apply gesso to the side edges of the panel and the plywood cradle if applicable. Don't forget to seal the cradle with Golden® GAC100 first if you are going to gesso the edges for painting. The basswood panels have solid wood cradles and braces that may be more susceptible to moisture and environmental changes than the birch plywood cradles we use on the Hardbord™. Therefore, Ampersand recommends that you gesso both the front and back of the basswood top to ensure long-term stability of the panel. Allow the front of the basswood to dry completely, then gesso the reverse side.

STEP 4 - To Finish
After the first coat of gesso is dry, smooth out any rough spots with light grade sandpaper. Apply a second coat of gesso with the foam roller (or brush). Allow it to dry and then sand again. For best results, apply a minimum of 2 coats of gesso and sand in between. Subsequent layers of gesso will produce an even smoother painting surface. For spray application, you may have to apply more than 2 coats to achieve a film similar to a brush application. For basswood panels, follow the same instructions, but also prime the back. For each additional coat to the panel face, apply the same number of applications to the panel back.

Materials List:

  • Ampersand Hardbord 1/8", 3/4" Cradle, or 2" Deep Cradle
  • Ampersand Natural Wood Panel or Ampersand Unprimed Basswood Panel 7/8" or 1.5" Cradle
  • Golden® GAC100 or Gamblin® PVA Size
  • Golden® Acrylic Gesso
  • 2"-3" flat bristle brush
  • Small foam roller (optional)
  • Sanding block with fine 400 grit sandpaper
  • 1"-2" wide painter's tape (optional)

 Did you find this post helpful?  Have you ever primed your own wood panels before? Tell us about it in the comments below!

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