HTMaGPG: Part 7

Step 12: Finish it up. Because I took the time and energy to really get things right in this second layer, there are only a few things left to do. The first is get it back in it's frame and down to the gallery.


The second is to give it a slight glaze layer. This is really an isolation layer because there is no color in it, as it is a transparent layer. But it gives the painting an even sheen until it can be varnished, and then when the painting is varnished, it will keep the varnish from adhering to the paint. Years (even decades) down the road, the varnish can be removed and reapplied without affecting the paint layers.


Now all that is left to do is sign the back of the painting and leave it to dry. Hopefully the couple who loved it in it's process will also love the completed painting and it will soon be hanging in a new home!

- jb boyd

HTMaGPG: Part 6

Step 11: Remember. Way back when I posted about about a color change in the water with a storm pushing in the bluer ocean water to the coast. I still wanted to keep the dark green typical coastal Carolina water, but use the lighter colors to add a little hope and positivity and also create some symmetry with the sky. So basically I added more light to the top of the gradient, and ended it with a similar value of green. Should have snapped a before, but here is the after:



- jb boyd

HTMaGPG: Part 5

Step 10: Keep the devil down in a hole (FYI, devil=details). And here in the foreground area above the waterline, I actually want to control the level of detail, making sure there are no sharp edges or noticeable points where the soft blurs look created.


This is especially important at the waterline, which is the biggest color shift (in the smallest area) in this painting.

- jb boyd

HTMaGPG: Part 4

Step 9: Reflect the sky. The brilliance of water is how it is a mirror to whatever is around it.



Using the excess paint that was mixed for the sky and creating the darker tones that you don't see in that section, I paint the water.



These photos are each a day's work, with the main care going into smoothing the curves and keeping the colors clean.



And I have a new app for the frames around these photos. I'll be trying out different ones. If there is one you like best, leave a comment and let me know!

- jb boyd

HTMaGPG: Part 3

Step 8: The devil is in the details. With the sky freshly completed and it's paint is still wet enough to work into it, I will use this time to fill in the clouds and establish a soft horizon line.


Using a 2-iron from my golf bag as a maul stick, and probably getting the best use I've ever had from it, I can paint the top of the clouds without dragging my hand through wet paint.


And while you can barely see what I did with the horizon, it is probably the most important four hours I will spend on this painting. The gentle arc creates the wave, while just the right amount of softness creates the illusion of space. But this takes patience and time. As I said, the devil is in the details.

- jb boyd

HTMaGPG: Part Duex

Step 6: Oil it out. This is where a long discussion on how paints dries should be. But that would make for a very long post. Instead, think of what's in the glass jar (thinned stand oil) as glue for paint.


To properly adhere a new layer to the previous, I drip a small amount onto the cloth and thinly spread it over the surface. If you look at the painting, the area above my hand is ready and has a shine to it. I continue down to the horizon line, the area I hope to complete in 48 hours before the "glue" dries.


Step 7: Make one big color shift. Although this is a long day and it is structured and meticulous work, it is gratifying to seamlessly and slowly shift from an intense blue down to a soft yellowish grey. On the right of the glass palette above, you can see the color range to that point.


Here the sky is finished, leaving the clouds and horizon line for the next day.

How To Make A Good Painting Great

Step 1: Ignore everybody (who say they love it). This is easy when your studio is on an island, but when you're painting downtown it is much harder. There is a point when a painting is done though...



Step 2: Use magic. Or hangman hangers to make the painting float on the wall.



Step 3: Sand. This removes all the brush stroke topography of the previous layer so if you change something, there isn't a ghost image of what was underneath.



Step 4: Mix paint. These are my base colors that the sky gradient will go through, with the cloud colors under that.
Step 6: Get some sleep. The next day (which will be long) is all ready to go...

- jb boyd

F.F.T.A.B.A.: #4

Continuing my list of why I love being an artist is number four: pulling the tape off the edges and getting a finished piece in it's frame.


Pulling the tape is incredibly gratifying because the slop along the sides is replaced by a clean crisp black line. Also, it represents completion, as the tape has been quietly waiting months and sometimes even years for this moment.


And although I painted this one in it's frame, it is always nice to see the finished product in it's house. Now all it needs is a home!

- jb boyd

Sadly The Digital World...

...is not kind to the reproduction of my art. Then add on the limitations of the 72dpi, 16 color world of the Internet, with pictures taken on my aged iPhone and you get where I'm headed.


But I took this completion series of photos for the blog, so why not share them?


And you will just have to trust me that the colors got cleaner, the transitions are silky smoother, and something in fact was going on in this final layer.


In case you didn't see me working on this (us 20 (grace)) in the gallery during my solo show, it is a 24" tall by 50" wide oval painting on panel.


Special thanks go to Matt and Colin of Handcrafted Construction LLC, who made both the panel and ovular floater frame (no easy trick).


Their work always exceeds my expectations, and thrills me to stay out of the workshop and in the studio instead. Thank You Thank You gents!


-jb boyd

Turns Out...

...I was burnt out. It wasn't a lack of inspiration, or the mythical "painter's block," just plain too much work and pushing too hard for too long. Exhibit A:


This pic was taken in the middle of a 36 hour paint/work/photo-a-thon to tie up all the loose ends before several paintings shipped at the conclusion of my solo show. Yes, the crazy face was apparent. Exhibit B:


It took me the month of October to finish the second and final layer of just the water of "u.s. 20 (grace)". Even by my standards, this was a long, grinding process. But now I am back. The sun drops earlier, the low light is inspirational, and I am ready to make some mad paintings...

Off to work. Woo-hoo!

- jb boyd