At Old Dominion University, during the summer of 1971, I first got serious about oil as a medium. Thank you, Tony Calcalano — you opened my eyes to Giorgio Morandi, and opened my heart to painting in oil.
Mr. Barbee, you taught me to appreciate old school craftsmanship and how to see what's really going on in the human form.
Paul Martek, you forced me out of my comfort zone — I really hated that then, but now I have to say: thank you.
And Duane Keiser, you taught me the value of focus, practice, and discipline.
Ted Turner was the one who introduced me to watercolor. Fast and unforgiving, but oh so elegant when it’s done right. The trick? Knowing when to stop. This medium allows no Mulligans.
Gouache is new to me — water-based, it’s sort of a blend between water color and acrylic… it’s perfect for sketches, quick studies, and plein air work.
Here's the scoop on casein paint from Wikipedia:
"Casein paint is a fast-drying, water-soluble medium used by artists. Casein paint has been used since ancient Egyptian times as a form of tempera paint, and was widely used by commercial illustrators as the material of choice until the late 1960s when, with the advent of acrylic paint, casein became less popular.[15][16] It is still widely used by scenic painters, although acrylic has made inroads in that field as well.[17]"
Acrylic is a water-based medium. Bright color, fast-drying, easy to clean up. Do I like it? I’m working on it.
Thanks, Matt Lively, for your generous encouragement and good example.
Drawing is my first love and my native language. Pencil and paper, pen and ink — it doesn’t get much simpler than that.
George Roland and Nick Apgar, thanks for your encouragement! (You too, Mr. Barbee — for teaching me how to think with a pen in hand.)
Dan Collingwood (my Granpaw) was a photographer. I can remember going into his basement darkroom and watching images appear like magic on blank white paper gently jostled in a shallow orange pan of developer.
I am particularly fond of snapshots. And I rejoice in how simple it is now to take pictures with an iPhone. Instant gratification! My phone often serves as my sketchbook.
My sketchbooks are my visual diaries. They are a record of things I’ve seen and places I’ve been. They also provide a way for me to practice “Visio divina” — a form of contemplative prayer and mindfulness.
This is where things get interesting. I get an idea or a notion for what I want the piece or painting to be. But once I start, I realize I’m now in a conversation with a painting that often has its own ideas about where it wants to go. It’s always good to listen closely to what it’s trying to say.
