Archive for the 'supplies/studio' Category

Anyone have a spare dumpster?

IMG_2522 IMG_2524

It’s time for serious Spring cleaning – whenever Spring gets here, but I will keep the cat.

Preparing for winter with a little shopping

This winter I’m painting outdoors. I was born and raised in Hamburg New York, where Buffalo NY’s snow really falls. So you may not know that if I weren’t suffering from excessive inertia, I’d move to a far more tropical locale. Nope, painting in the snow won’t come naturally. But it can’t kill me, right?

So the other day I inspected the handwarming offerings at REI and decided more is more. Hands will need to stay warm, they also need to be able to hold and manipulate a brush.  Wish me luck. I don’t expect a repeat of last years record breaking winter heat.

From left: wool fingerless gloves with mitten with Velcro to keep the mitten up and out of the way, wool gloves that fit snugly and have rubber dot grippers, and glove liners with a pocket for the hand warmer and metallic threads to conduct the heat.

Also purchased, an insulated hat, long wool underwear and thermal socks. I already own some LLBean boots and a battered down coat decorated with oil paint.

So to any deer hunters out there- as experts at hanging out in the cold and yet still want to avoid frostbite – anything else I should try?

Getting ready for Vermont

Acryla gouache on gessoed paper, cup image C. 5x4/5 inches

In July I’ll be at a week long workshop –  The Figure in Context with Susan Lichtman – painting with acrylics (this time, relatively new acrylic gouache) for the first time since college. So I had a little practice time last night – liking them better than before, but they disappear fast. I will be going through a lot of paint.

I will be also bringing along my oils/french easel and traditional gouache. Never want to be short on supplies in Bennington.

So, what have I been doing?

Well, I’ve been procrastinating, designing a postcard for my show, framing a bit, wiping down multiple paintings that just didn’t seem up to par, harassing the teen, a bit more procrastinating, reading Cronin’s The Passage (the first section was absolutely rivoting, and now I’m experiencing the pain of addiction at 3am in the middle section that I just don’t find quite so wonderful ) and did I mention procrastinating? Just four frames left, to be made in a week, not so bad, right?

Power tools

They are a thrill, instant mitered corners – wow. Of course it takes some practice to get those corners clean but I spent 2 full days at a Woodworking for Painters workshop in the woodworking shop at Mass Art learning the ropes, vocab, safety, how to think through the moves at a machine before doing the cut – the better to keep ones fingers. On the 2nd day I was able to put together a floater frame from poplar for the Lavender and Roses painting. I’m proud. Yes, still have to finish – poly? or wax? the frame, some wire and screw in the painting. Photos to come.

Trying out my Soltek easel – Santa came early and he is SO good to me.

This easel is very light-weight and a breeze to set up; it will replace my wooden Julien in the field.

Given the current late November weather and my personal inclinations not to test my temperature tolerances, I’m testing the easel on the distinctive terrain of the Victorian townhouse. It works well on hardwood floors – I am avoiding the rugs. The way the legs adjust, it should be possible to put the easel up even on stairs, as I focus on the interior landscape this winter.

I like the neutral gray Plexiglas palette, fits into the case beautifully – would like it better if I could hold it while painting. The additional hole in the palette would be worth the loss of palette real estate to me. The storage space is adequate but less than I’ve had in the past.

I was cautious with the easel – setting up on the 2nd floor landing, art books to my left and stairs to my right,  and the likeliness of a spill spreading through the entire house will do that.  I’ll test again tomorrow. All the moving parts are attached to a central core – I need a sense when working as to how much pressure the work surface can take . . .

My first sketchbook

01141stbookbinding 01141stbookbindingdetail

This is a 4 hole pouch book – a Japanese style bookbinding. The workshop offered by MIT Libraries Preservation Services was just what I’ve been wanting – with a few relatively inexpensive tools, I’ll make my own sketchbooks with my own favorite papers in my own preferred sizes. So egocentric!

Additional information:

japanbookThe recommended book is

Japanese Bookbinding: Instructions from a Master Craftsman
by Ikegami, Kojiro
Supplies needed include 2 sheets of beautiful paper for the covers and 10 sheets for the interior. I’m going to buy the book and hopefully learn if there are recommended maximum page numbers and other details. The sewing was done with embroidery floss/sturdy needle. For the inner binding, a little wheat paste and twisted Japanese paper are needed. Little squares of book cloth are attached to the ends of the spine.
Tools: protective cutting board, covered weight (we had bricks carefully wrapped in fabric) awl, previously made template for positioning holes, bone folder
I have everything but the awl – the toughest part just might be finding a work surface free of paint.

What’s on the nightstand?

The Tools by Phil Stutz and Barry Michels. Tao Te Ching translated by Stephen Mitchell
June 2018
« Sep    


© 2012 Carol Schweigert. All rights reserved. Please contact Carol for written permission for use of images or text.