I like most of the M. Graham paint range, they produce lovely quality, well-ground pigment in a walnut oil medium. My friend Mike Adams is a fan of their superb paints too. Among the reasons to enjoy their products are the facts that these are not toxic and need no thinners for cleanup other than soap and water. For years I assumed that nasty chemicals in the studio were simply the lot of the painter, and although I still love the smell of turpentine, I value my liver and hope to live a healthy life.
I must admit, some of the more toxic pigments are hard to beat. Think of painting without those lovely cadmiums! I’m told that now there’s a pretty good substitute even for lead white, but I haven’t tried it personally.
If you are interested in how paint is made, and gets into those tubes, have a look here at the helpful summary on M. Graham’s website. Every tube filled and sealed BY HAND!
Recently I’ve been using no. 4 filbert brushes to do the first layer of the bodies, then working up layers with the palette knife to build the skin tones. I tidy up details with a fine sable point or a sign painter’s lining brush. I usually do lots of rag clean-up work between layers to resolve any problems.
I spend a lot of time sketching. I have a thing about interlace right now that has little to do with painting, except that the symbols I’m creating will ultimately end up on my big Geomantic Man piece.
Someone smashed poor Dionysus’ head from his body. I never found the rest of him, so his head is on my shelf. He’s a little the worse for wear.
In the big studio (on the left) I have a fantastic easel that is capable of holding at least eight foot canvases. I love it because its easy to move about on its casters, has a great winch system so even the biggest paintings are easily lifted, and locks them in nice and tight so there’s no wobbling at all.
At home (on the right) I have much less space, and it gets pretty chaotic.
For reference, I love these anatomical models. They are great for understanding what’s going on under the skin. Hands are incredible things.
I use skulls a lot in my drawing classes to help the students appreciate what’s happening in the structures of the face. One day I’ll find an affordable muscle face to go with the skulls. Actually, I’d really like to get an entire muscle body.
Cyn McCurry sent me these words of advice from Rilke to live by.
Your work needs to be independent of others’ work.
You must not compare yourself to others.
No one can help you. You have to help yourself.
Criticism leads to misunderstandings and defeatism.
Work from necessity and your compulsion to do it.
Work on what you know and what you are sure you love.
Don’t observe yourself too closely, just let it happen.
Don’t let yourself be controlled by too much irony.
Live in and love the activity of your work.
Be free of thoughts of sin, guilt and misgiving.
Be touched by the beautiful anxiety of life.
Be patient with the unresolved in your heart.
Try to be in love with the questions themselves.
Love your solitude and try to sing with its pain.
Be gentle to all of those who stay behind.
Your inner self is worth your entire concentration.
Allow your art to make extraordinary demands on you.
Bear your sadness with greater trust than your joy.
Do not persecute yourself with how things are going.
It’s good to be solitary, because solitude is difficult.
It’s good to love, because love is difficult.
You are not a prisoner of anything or anyone.
