Phil Starke Art Talk

When I make my panels I usually use 1/8 in. standard masonite or pressed wood. You can also use 1/8 in. birch plywood or gator board which is found in art stores. When buying masonite or pressed wood make sure to buy the standard as opposed to the treated panels which are injected with a petroleum substance and are darker in color. I use Elmers all purpose glue from the hardware store, a 2 in. inexpensive house paint brush and a kitchen rolling pin.

After cutting the boards to size I cut the canvas 1/2 in. bigger so it can be trimmed. I dampen the bush to make the glue spread easier but don’t add water to the glue, it weakens the bonding strength. Spread the glue evenly on the board then press the canvas on the board. Use the rolling pin to roll out the air bubbles.

I usually prepare a number of panels the same size then stack them and place a larger board over all of them and place a 10 pound dumbbell to weigh them down.  I generally let them dry overnight then with a sharp utility knife I turn them over then trim off the extra canvas. If the corners come up I apply a small amount of glue with a small brush and press down.

For panels larger than 16 x 20 use 1/4 inch panels and gesso the back to prevent warping.

Cathedral of Mantes by Corot

“Corot”  by Madeleine Hours gives a nice overview of Corot’s life, how he started his career (he was 26 years old when he asked his father’s permission), and who influenced him.  The book also goes into some detail about his technique and work habits which is always interesting.

Like anything else, you can lapse into routine when painting, especially when painting in the studio instead of from life.  Our color selection can become routine and predictable.  It helps me to do a series of exercises to loosen my color sense.  Anytime we can paint for the sake of learning instead of trying to create a finished painting we are going to improve our painting skills.

When you change your palette to shake up you color sense it reminds you that painting is not about matching color or tone or using the same color recipe for skies or fields of grass.  It’s about being able to express what you see through color, using a scheme of colors to express mood or drama in a painting.

My palette is limited so when I change it I’m really switching primaries.  So instead of my usual cadmium yellow, cadmium red, alizarin and ultramarine blue, I can use yellow ochre, indian red and black, that changes the mood of painting considerably.  Another would be indian yellow, permanent red rose and pthalo blue, a much more vibrant almost sweet palette.  A change in palette forces you to see you subject in terms of temperature atmosphere and mood instead of predictable color schemes.