The fat-over-lean rule

When I received my training in the late sixties at the Minerva Academy I got to paint with oils for the first time. I loved it from the very beginning. It's a fantastic material, with endless possibilities. No other paint, be it acrylics, water colors or alkyds, comes close to oils, as far as I'm concerned.

Reflection #3,
oil on panel,
15 x 45 cm

One of the things we learned was the fat-over-lean rule, which meant using terpentine (lean) in the bottom layer and oily media like linseed oil (fat) in the upper layers. This was to prevent dull spots in our paintings. Something to do with one layer absorbing oil from another layer, I don't know. Ofcourse I always had dull spots and had to apply retouching varnish to add medium to the spots.

Oil paint takes ages to dry. I found it hard to wait long enough before applying the next layer and I ruined more than one painting with my impatience. In the end I worked on several paintings at a time, just to give each one sufficient drying time. There was another solution, which meant adding a siccative to your medium, a substance that shortened drying time considerably. But in the long run, our teachers told us, this would have a catastrophic effect on the colors of our paintings. I don't know if that was true, I never put it to the test. I used to listen to my teachers...

With the new media (like Liquin) all these problems are over. The fat-over-lean rule doesn't apply anymore. Liquin is a petroleum distillate and not a fat, it's fat nor lean. On top of that it dries real quick. I don't have to work on more than one painting at a time anymore. Long live chemistry...

If you want to learn more about my painting technique, please go to www.paintingskies.com/video.

The artist as a small business owner

I love being a painter. It's a very gratifying profession. How cool is it to make a living doing what you love best? Very cool, boys and girls, I can tell you that. But right now I have to deal with one of the more unpleasant aspects of being a painter: bookkeeping. I'm preparing for the annual meeting with my accountant. Got to get the numbers in a row for my tax return.

No, it's not all about creativity and inspiration and expressing yourself. In fact, as an artist you're a small business owner. Besides bookkeeping you have to expand your network, find new customers, stay in touch with the gallery world, keep your website up to date, produce and post new videos, write a blog, take care of crating and shipping, send invoices, fill out customs declarations and oh yes, produce paintings.

On top of that (like every small business owner) you have to deal with an unsteady income and that requires a specific mindset. You got to be realistic, but at the same time not worry to much. You got to use all available resources and yet accept there are circumstances (like an economic crisis) that you can't do a thing about.

I had a steady job for quite some time as a high school art teacher. It was nice to get a paycheck every month. I liked teaching, but still I prefer being my own man, making my own stupid mistakes, rather than trying to make the best of somebody else's stupid mistakes.

So I count my blessings. Just finished a small 15 x 45 cm painting of a figure on the beach. Planning on a number of oil sketches on paper. Being a painter is cool. I'll keep you posted.

A Walk on the Beach, oil on panel, 15 x 45 cm

How to paint waves

Though the sea plays an important role in my work, I don't consider  myself a seascape specialist. Still I've tried my hand at the genre a couple of times, so I thought I'd share some pointers with you.

My technique is based on working in layers and that's no different when I make a seascape. The first step is painting the basic colors and transitions. I pay a lot of attention to this stage. A carefully done underpainting is very beneficial in later stages. 

On top of this first layer I outline the waves with a brush that combines sable and squirrel hair. I wrote about it in my 17 January 2014 blog. I have no idea what the name of this particular brush is in English, so if anyone could help me out here I'd be very grateful.

 I add a lot of medium, to make the paint easy to handle and to prevent the outlines from standing out to much. That would only bother me in later stages.

Big jump to the final stage of the painting. I skipped a few steps, but if you insist on seeing the the other stages too, the clip on the bottom of the page will show them.

Waves, oil on panel, 50 x 100 cm

Happy Holidays

Passe-partout

Some of you may know that every now and then I make an oil sketch on paper. Sometimes in preparation of the 'real thing', sometimes to convince a client to place the commission. I sell these sketches online for a modest price (http://www.janhendrikdolsma.nl/paintings/). When a work is sold I package it between two styrofoam sheets and send it to the buyer in a cardboard envelope. But before I do, I put it in an acid free passepartout.

I used to make them myself, but nowadays I got a frame maker and she (yes, it's a she) does it a hundred times better than I ever will. She makes me a so called 'travel passepartout' that protects the front- and backside of the painting. In combination with the cardboard envelope and the styrofoam sheets the work is properly protected. In the last couple of years I sent quite a few of these sketches and up to now they always arrived undamaged (knock on wood...).

This particular sketch falls in the 'convincing the client' category. I was pleased when they ordered the 'real thing'. The sketch is now for sale on my website. Hope you like it.  

Windy Beach, 30 x 40 cm, oil on paper

Details #2

I had a good week. Sold two paintings. A small one over the internet and a big one in a gallery. Nice, with the holiday season coming up. Finished a commission and I'll hear about another one next week. And last but not least, I posted a new Youtube clip on how-to paint details. You might say I've been busy.

The clip is actually not my own idea. Somebody suggsested it in an email, after reading my blog post on painting details. Sadly I forgot his name (shame on me...) and I cant find the mail in my inbox. So, wherever you are: thanks! Hope you enjoy it.

Failing better

I recently got an email that ended with the line "Happiness is a journey, not a destination". It's a poetic call to enjoy the ride instead of focussing on the destination. When you apply this assertion to painting you could say "It's the process that counts, not the result". Not very poetic, eh?


Apart from that, do I agree? Sure, I like the whole trial-and error thing, the process of expirimenting and learning, of hope and frustration. If you hate that, you're probably better off in a different occupation. But to be honest, without an occasional result I would have given up long ago. Nothing beats the excitement of the feeling that you're on the right way and the satisfaction when you made something worth while. The process is no fun at all without the result. The promise of a result lights up the process. Poetic, eh?


Maybe you heard of Stan Wawrinka, the Swiss tennis player who always came in second. Only recently he started winning titles. On his arm he has a tattoo with a line from a Samuel Becket poem: "Ever tried. Ever failed. No matter. Try again. Fail again. Fail better." My kind of guy.



The painting on the right side was made in a period of four years, starting in 2008. The size is 90 x 90 cm, oil on canvas. I was never really satisfied with the result and I kept changing it. For you to judge if I failed better...