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  • Landscape Workshop in Milford Connecticut, Sept-Oct 2017

     

    On Monday I wrapped up a three-day landscape painting workshop in Milford, Connecticut.  I had a fantastic time, class was great, we had a wonderful group and (some) beautiful weather.  The location was absolutely ideal for a painting class, ranging from sandy beach with boardwalks, shacks, bridges and a tidal island, to salt marshes and pastoral fields.  Literally any sort of coastal subject matter you could want.

    The group of students was mostly from the New Street Guild of Artists, though we had students join in coming from New Jersey and Massachusetts as well.

     

    As in any outdoor course we were at the whim of the weather.  It ranged from low 40s and windy, to high 70s and clear, your total New England fall showcase.  I had sort of planned for that, and it gave me an opportunity to show off the advantages of a Gloucester easel when working outdoors on a windy day.  On the last day all the wind died down so I painted with my tripod and Mosepi painting box that attaches to it.

    The first day was really gloomy, so I set up my demo for the day and we tried to focus on how to simplify the landscape.  After doing a couple of thumbnails in a sketchbook, I chose a view that was front lit- full sun, tree against the sky, which in my estimation is one of the harder things to tackle.  I talked at length about how to simplify that into just a few tonal values, and brought a fairly large canvas for a demo, a 25 1/2x 31 1/2″ (65x80cm).  The large scale really forces the issue of simplification, and makes the point clear of painting masses rather than accents.

    sorry for the variety of size/quality in the images in this post, as I was teaching the whole time I wasn’t able to take my own photos- the students were kind enough to provide them.

     

     

    I also spoke at length about the use of medium versus spirits, and the advantages of using turps outdoors rather than just oil.

     

     

    Of course we talked about the palette I am currently using, and some approaches to color mixing that can expedite things in the field (everyone wants color recipes in painting classes)

     

    palette here is Titanium White, Nickel Titanium, Cad Yellow Lt, Cad Yellow Md, Yellow Ocher, Cad Orange, Cad Red lt, English Red, Alizarin (the imitation one that day), Cobalt Blue, Ultramarine Blue, Prussian Blue, Pthalo Emerald, Mars Brown and Cobalt Violet.  -This is about as extensive as my palette ever gets.  

     

    I painted and talked for a few hours, and after lunch went around from easel to easel helping students with their individual work.  Below are some pictures from the first day’s demonstration.

     

     

    After the first day being so gray, the students asked that I continue to develop the same demo over the other days, and chase the light as it finally came.  I thought it might have been helpful to show them how I would lay in and simplify some other views, but we can save that for another class.  Below are pictures from the second day.

     

     

     

    During lunch we met to talk a bit, one day I showed everyone art books of some of my favorite artists and talked about design and structural concepts in the landscape.  I showed everyone my fancy new “Shishkin Easel” (I think that’s what these are called).  On our trip to Russia in 2013 Viktor Butko showed us his grandfather’s crazy russian table/chair/easel contraption.  It’s a really innovative old soviet design, and just a lot of fun.  Ben Fenske was nice enough to get me one on his last trip over there- thanks ben.

     

    To get a sense of how it works, click here for a video of me, ben and marc in viktor’s studio checking out his easel back in 2013 in moscow.  Same design, newly built easel.

     

     

    Here’s a couple snapshots from the students of my demo as it was on the last day of class. It’s now on the easel in the studio, and if it becomes something it will get added to this post.  I just started working on it.

     

    the below one is a little earlier in the day:

  • Footsteps in Jeffersonville, Vermont

     

    I spent last week painting in and around Jeffersonville, VT with a large group of painters.  Our crew was organized by Stapleton Kearns, who wanted to revive an old New England tradition of meeting other artists in the hills next to Mount Mansfield for painting and camaraderie.  I say revive, not because artists haven’t been painting there (the area is dense with art and artists), but because traveling groups of painters haven’t been staying at the particular inn we rented.

    We stayed at the Smugglers’ Notch Inn, built in 1790, which by the beginning of the 20th century had become a meeting place for some of the best and brightest outdoor painters in the Northeast.  Artists would meet there so often that the hotel kept a studio for artists- see the below advertisement for the hotel, drawn by Emile Gruppe, and below that a picture of the inn today:

     

     

    From the 1920s through the 1960s or so you might find John Carlson (1874-1945), Aldro Hibbard (1886-1972), Charles Curtis Allen (1886-1950), Emile Gruppe (1896-1978), Chauncey Ryder (1868-1949), Leo Blake (1887-1976), Loring Coleman (1918-2015), Roy Mason (1886-1972), John F. Enser (1898-1968), Thomas R. Curtin (1899-1977) or Harry Ballinger (1892-1993) staying at the hotel.  I have added the birth/death dates to drive the point home that although these artists were from another generation, it really wasn’t all that long ago at all.  Loring Coleman passed just a couple years ago.

    Jeffersonville is a tiny town but has a great density of artists and galleries.  Alden Bryan lived and worked there, I wasnt familiar with his work, but he had an ingenious set up: a horse-drawn studio with windows and a wood stove in it for painting outdoors, a sort-of Vermont winter version of Monet’s boat studio.  The carriage has been fully restored and can be seen outside the Visions of Vermont Gallery.  Click here to see photos and read about his portable painting cart.  Besides the Visions of Vermont Gallery, there is also the Bryan Memorial Gallery.

    Back in the old days, the owners of the inn said that John Carlson would sing for the group in the evenings, and accompany himself on piano.  I suppose he had a wonderful voice. We sat in that room at night, but thankfully we weren’t subjected to any of the artists’ singing.

    As I said, the inn kept a studio for artists, and when the weather wasn’t agreeable they would work indoors or hire the model there.  That said, the inn was hardly the only draw for artists- Mid-Century Modernists Florence and Hans Knoll also set up shop in nearby Cambridge when they retired, and their home went up for sale in 2012.

     

     

    The artists up for the trip were myself, Stape Kearns, TM Nicholas, Ken DeWaard, Peter Yesis, Thomas Adkins, Ted Charron, Garin Baker, Todd Bonita, Christopher Volpe and Sergio Roffo.  Click any artist’s name for a link to their work.  We were joined most days by hometown heroes Hunter Eddy (one of my dear friends from my Italy days who now lives outside Burlington) and Eric Tobin.  Eric really deserves an extra-special shout out, as he doesn’t just do impressive paintings, he also pointed where we should go, and when, and how many cars could fit.  Having someone who knows the lay of the land is invaluable when painting outside.

     

    As an aside, I think this trip convinced me to start using a Gloucester easel, Stapleton and TM were kind enough to lend me one to try.  They have a super-wide, low footprint, and their resistance to wind when working on large pieces makes them an invaluable bit of kit.  The above picture was during a super windy day with 40 mph gusts, and that is a 32×40″ canvas that barely moved an inch. I am good with my cigar box up to a 24×30″ or so, but as canvases get bigger I think I will be switching to a Gloucester.  Here is a link to the Take-It easel, the Gloucester easel with the modifications that those guys use.

    The weather was crazy up there last week.  We had three seasons in three days- temperatures went from negative digits to sunny, back to snowy.  The below pics are from one day after the above photo.

     

    TM Nicholas and Hunter Eddy

    Stapleton Kearns and Eric Tobin chatting in the mill

    Sergio Roffo up on the hill in the distance

     

    Another post next week when I’ve had time to clean up my paintings from VT- it’s still snowing on and off so I’m trying to finish a last few things around Boston before all my snow is gone.

  • Russian Engineering, by Viktor Butko

    At the root of painting is not only art, but engineering.  You have to ask yourself questions like- how do I fit all these wet paintings in my suitcase?  How many wet paintings can you have in a car before you start to damage them (and get paint all over your car)?  Who builds the best little portable paint box (for the record, I do, and I am starting to think about how to produce these little boxes to sell).  Put enough artists together and eventually they will start talking about their materials, and hanging out last month with Russian friend Viktor Butko reminded me of a couple of his really good ideas-as he called them, “Russian Engineering”.  I thought I should share them here.

    Viktor’s a resourceful guy, but although most artists are handy, part of it may come from his history- he’s from an artistic family.  He’s a third-generation painter, and works in Moscow in his Grandfather’s studio (which is one of the old Soviet Realist studios, one of my favorite Russian artists Arkady Plastov also worked in the building). His Grandfather’s name was Viktor Chulovich, and it’s really worth taking a look at his paintings online, I come across them from time to time, he was an excellent painter.   When our group visited Viktor’s studio in 2013, we were taken not just with the building, its history and his work, but this totally radical easel-chair that Butko had found in the attic-it’s really compact, check this link for a video of it that Dalessio took.

     

    Idea One, “The Viktor Rack”:

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    This seems simple, but it’s ingenious.  I now keep a length of rope in my car that can crisscross between all four of the car roof handles, making a small rack to suspend a painting between your head and the roof.  When we got in Viktor’s car in 2013 and saw a perfectly suspended painting hovering above out heads we collectively all went “holy shit, what a good idea”.  If you paint large-ish, even if you don’t paint outside, from time to time there is a painting that just won’t fit in your car, or more importantly, won’t fit safely without risking denting it.  This problem has gotten a lot worse for me since having a kid in 2014, having a carseat in the car really limits the amount of larger work you can fit in the car, plus I need to keep work safely away from the young Mancini-Hresko’s kicking little feet.  This is a much safer method for transporting work than loading paintings vertically, (for the record, that is a 36×43″ canvas in the photo above)- and no, I have not once gotten paint on the roof of my car.  This works great for transporting delicate wet paintings, and larger framed finished works alike.  I wish I knew this one years ago.

     

    Below, a couple more snapshots-you can put a piece of cardboard to make a proper little shelf, just be careful that things don’t slip off as the cardboard is more slippery than the length of rope.

     

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    The other trick of Viktor’s came in especially handy at the end of our painting trip. Between our large group, most everyone prefers to work large on-site, and the work really starts to pile up quickly.  I was driving south alone, so it made sense for me to take as much of the work with me as I could fit in the car.  Most paintings if not completely wet were still tacky, and could have easily been damaged.  Fenske told me not to worry about it, that Viktor was an expert packer, whatever that meant.  When I asked the other Russians to pack up their work, they said, no, they’d let Viktor do it.

    Working in a smaller scale or on panel, I have a system that works fine (my friend Marc did a super-duper-clear blog post on it here).  That is how I brought home all my paintings from Greece this summer.   Using this method, I’ll be working on a wet painting up until the morning I head to the airport, just taping the final wet one into my stack of painting whenever I’m done working on it.  The problem with this method is that as panels get larger you need more bits of cork, and with the bumping around sometimes a piece of cork will come loose and scrape across a bit of the painting.  It’s foolproof in small scale, say 16×20 or 14×18″ maximum.  Worse still is if you paint on stretched canvas, with changes in humidity the paintings can come a bit loose, canvases sagging into another and touching.  I knew that trick wouldn’t work with all these large pictures and the bumping around in the car.

     

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    That is a lot of wet paintings to have to make it home safe with.  Notice the Viktor Rack in use as well

     

    Idea Two “Expert Packing”:

    So, Viktor’s idea also involves wine corks.  I’m not entirely sure why, but there always seems to be plenty of wine corks sitting around at the end of a painting trip.  Painting in Maine, I was astounded that there wasn’t a single wine cork left anywhere, and when I was packing my paintings I actually had to open a bottle just to pack up my 22×28″s and 20×24″s.  Turned out the Russians had been hoarding the corks the whole trip.

     

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    The tools necessary-Wine corks, Cardboard, Staple Gun and Knife

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    Staple half a cork to the center of the cardboard, vertically

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    Staple to the stretcher bar of painting

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    Staple to other stretcher bar, putting paintings (the same size in one direction at least), face to face, or back to back 

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    Repeat on all sides, making sure to leave a cork spacer in the face to face ones

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    Close up, you can see the little corks on the other side of the canvas.

    I hope this post can be of some use to people, and all due credit to Viktor Butko for showing our group these little tricks.  All paintings made it home safe.

     

    Our show Russian-American Painting Alliance opens later today at Grenning Gallery in Sag Harbor, NY.  Come out to say hello at the opening, I’ll be there with my family.

     

     

    Bonus Round “Russian Engineering by Fenske”:

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    Another issue on one of these painting trips is you’re limited while painting not by people or gear, but the wet paintings.  Ben Fenske came up with this simple little rack for transporting multiple people’s in progress paintings, when there’s just more work than you could fit in a Viktor Rack.  Note that all shelves are leaning to prevent wet paintings from slamming back and forth when turning right or left.

  • Plein air paintings from Greece 2016

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    Plein Air of Athens in the Morning, 14×18″

     

    Here are (finally) good images of my pictures from Greece this past summer.  There’s been a backlog of teaching, painting, emailing and everything else that got in the way of touching up, varnishing and photographing.  Better late than never, here we are in November.

     

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    Messinian Patina, Morning 14×18″

     

    I really enjoy painting in Greece (you can see some of my Greek pictures from winter 2014/15 in this post).  It’s a great country for painting- besides the sites and weather, food is cheap, and lodgings are not expensive.  If you are into painting cityscape, Athens is a lot of fun with all the ruins peppered through the city, and the subway is brand new and super easy to get around with.  This time though I spent most of my time painting in the Peloponnese.

     

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    Terpsithea, 12×16″

     

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    Agrylis 12×16″

     

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    Vromoneri 10×14″

     

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    Methoni Castle 12×16″

     

    One nice aspect of painting in Greece is that there really has been no impressionist vein ‘outdoor painting’ tradition to speak of post-war.  There are great contemporary Greek Artists (Giorgos Rorris comes to mind), but I’m quite sure in many of the places I painted I am the first person with an easel they’ve seen painting outside; I’m a novelty.  I speak Greek well enough at this point to interact with the locals, and the interaction is often a version of the following:

    them: “Hey,  what are you doing?”

    me: “Good, just painting a little.”

    them: pensive silence “… ….Why?”

    me: “I like it, it’s my job.”

    them: “huh. That’s my house/land/tree/olive field in the painting.”

    me: “Oh really.  Nice house/land/tree/olive field.”

    them: “Can I have it?” pointing at the painting

    me: awkward silence “well, no, it’s my work.”

    them: “why?” 

    and so on.  It’s a breath of fresh air from the folks in New England that want to tell me about their Aunt’s paintings.  On a trip years ago a farmer asked me to trade a picture for some of his watermelons.

     

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    Kyparissia 14×18″

     

     

  • Plein Air Maine Pictures, October 2016

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    Stonington Harbor from Church St, 20×24″

    I thought I should make a separate post for the recent outdoor pictures I painted with the Russian crew in Maine.  Basically all of these got reworked entirely in the studio.

     

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    Fishing Shacks, Dusk 22×28″

     

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    Golden Hour, Allen Cove 14×18″

     

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    Lobster Pound, 22×28″

     

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    Windy Day at Eagle Lake 12×16″

     

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    Powell Camp 12×16″

     

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    Ocean Street Fishing Shacks, 27×38″

     

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    Stonington Lobster Co-Op, Glare Effect 26×36″

     

  • Recent Paintings 2.0

    Yesterday I posted a group of recent still life paintings- today I thought I should put up all of the other work I have been up to over the past few months.  Though I do like painting still life I have been exploring some techniques in painting that are best suited to the landscape.  Some of these are sketches, and some took really quite a bit of time.  All of them are pushing my painting towards the more ‘broken brush’, impressionist-vein tradition I have been working at the past few years.

     

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    Blue Rocks Docks, Slack Tide 35×43″ oil on linen

     

    The above painting is from the fall but I had forgotten to get an image before it left the studio.  It’s a studio picture, done from one of my on-site paintings in Nova Scotia last August.  Painting it was done from below, for comparison’s sake:

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    Backlit Docks, Blue Rocks, 12×16″

     

    The below four are all from Vermont, though different trips.  The weather was particularly difficult both times, it was good to get out, but snow mixed with ice, rain, sleet and wind isn’t fun.  I spent a weekend painting alone, staying with friends that were snowboarding at Okemo, and another short trip up with Stapleton Kearns and TM Nicholas.

     

    Tunbridge Mill

    Tunbridge Mill 14×10″ 

     

    Wallingford Barn

    Grey Morning in Wallingford 12×16″ 

     

    Ludlow

    Ludlow 10×14″

     

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    Melting Snow, Tunbridge 12×16″

     

     

    Angie by Window

    Angie by Window 20×12″

     

     

    The below two were longer projects, all done outside, only touched up occasionally in the studio, in between sessions.

     

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    Codman Farm 28×37″

    The above painting has been a long haul- I realized after finally finishing it that I started it way back in December 2013.  Photo metadata is a great way to pinpoint when you started a painting 😉

     

    Codman

     

     

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    Clearing skies at Drumlin Farm 22×28″

    I have done blog posts on the process of both the above and below paintings; click here for ‘Drumlin Farm’ which started out as a demo at my winter workshop in January, and click here for the previous post on the below painting, ‘Peters Hill’ which became more of a studio picture than a pure outdoor piece

     

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    Peters Hill 20×24″

    below an iPhone closeup of some of the directional, opaque brushwork.

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    I have another couple of paintings I am finishing indoors from the winter season, but it will probably be some time before they’re ready.  If I get them done soon I will update this post.  Next blog post will be on recent drawings.

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    Unfinished painting in Tinmouth, VT

  • Nova Scotia’s South Shore

     

    *edit 9/25/15 somehow forgot to include this top image when I came back from Nova Scotia

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    Dory Shop 14×18″

     

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    Backlit Docks in Blue Rocks 12×16″

     

    Before being in Boston and organizing the smattering of courses, open studios and dinner parties of the past week, I spent a fun half-relaxed work trip in Nova Scotia with my old friends Marc and Ben.  We were painting for Ann Long Fine Art, whose gallery is in Charleston, South Carolina, but has had a summer home in Chester on the south shore of NS for some time now.  We painted all week, ate well and wrestled with the fog, and had a cocktail party at the end to show the locals our work.

     

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    Picton Castle, Fog 16×12″

     

    I’d been wanting to get to Nova Scotia for a long time.  Though it feels far, geographically, it is very close- there is an intense history between the historic fishing towns of Gloucester, MA and Lunenburg, NS- a sometimes bitter, sometimes friendly rivalry over the fishing area of George’s Bank- smack between the arm of Cape Cod and the peninsula of Nova Scotia, off the coast of Maine. On a personal note, I grew up with my dad going through bouts of listening to what seemed like exclusively Stan Rogers, drunkenly singing along to ‘Northwest Passage” at inordinate volume.  I imagine he picked up his affinity of NS’ folk music back in the 60’s when he lived in Vermont and invited musicians from nearby Cape Breton to record in Vermont.

     

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    Morning Mist, Blue Rocks 12×16″

     

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    Docks in Fog 20×24″

     

    I suppose what had been attracting me to go to NS to paint, besides the summer fishery subject matter I’ve come to love painting in Maine, was the palpable atmosphere that everyone talks about- and we had plenty of that.   Though we had many sunny days, the fog was often thick enough to cut with a knife.  The above painting started out as a clear, blue sky sunny day front-lit painting, and by the end of the trip I was understating the fog effect in my picture.  C’est la vie.

     

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    Chester Boat Yards 12×16″

     

    I’d very much like to get up there to paint again, though next time maybe focusing on Cape Breton or Prince Edward Island.

     

     

     

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    Ripple Wharf, Chester 12×16″

    See Marc’s paintings from our Nova Scotia trip by clicking here.

  • Painting on the Move

    *disclaimer* This post will only be interesting to you if you’ve tried to travel with your painting gear and/or like to paint outside.  Or are interested in that sort of thing.

    Packing your painting kit for a trip away painting is never ‘easy’.  Generally speaking, easels are unwieldily, paint tubes heavy, things leak, and finished paintings can arrive scratched or damaged.  That said I’ve gotten used to it over the years, and come up with systems that work for me.  This year though, things have changed a bit- we have a 7-month old, and he requires a lot more gear than I do.  Traveling with a stroller and diaper bag puts things in perspective when you’re packing. So I needed to put a bit more thought into my kit this time.

    We’ll be away for a month and I was able to bring with me my whole portable studio- paints, brushes, medium, palette knives, 24″ brushes, spill proof turp jar, rolled canvas, canvas panels, canvas pliers, canvas tacks, tripod easel, cigar box, palette/canvas lights.  Without overage fees.

    About the easel first- If I don’t have the space to bring a box easel I use what is often called the Italian Field Easel.  It’s a steel tripod easel that is inexpensive, lightweight but very sturdy, and most importantly gets up to my eye level.  As long as you buy the steel version, these are very long-lasting easels, and have a sturdy middle portion from which you can hang your backpack or a bag of rocks from if it gets windy.  They make aluminum versions, I broke a new one 7 days into a 10 day painting trip in Spain years ago.  I always buy the steel one now.  The only steel one I’ve ever broken while painting was from thermal shock high in the alps.

    Here’s a link to Blick – they’ve started making a version of the tripod I use.  I got one on sale the other day for 29 dollars.  You really can’t beat that.  It’s slightly lighter weight than the version by Richeson, but I’ve used the Richeson ones for years-  That’s probably the one I would recommend, but it weighs a pound or two more.  Either are slightly too large for my suitcase, so I cut the mast down an inch or two with a hacksaw to get it to fit.

    I like the design of the pochade box/tripod systems I’ve seen, though to be honest, I don’t really like being limited by the tripod.  I paint standing most of the time- At my height, to get the painting up near eye level either the tripod mast or mounting starts to wobble.  It’s bearable but annoying, especially in the wind.  What I really dislike is that when you raise a pochade box on a tripod you raise the mixing area as well.  In short, what I want is to have my palette area near my hand, and painting near my eye.  I hate painting hunched over.  Makes sense, no?

    For years, my smallest/lightest kit has been my cigar box setup- just a reinforced empty box of cigars that you can get for free from a tobacconist.  Someone figured out how to attach them to the tripod easel in the studio, and there it was, a cigar-box-easel setup that costs nearly nothing, and worked better than the very expensive pochade box I had just bought.  Marc has a nice in depth post about his on the blog, with pictures of how they attach to your easel or how it looks on your lap.  My friends and I all built them in the old studio in Florence, and they’re a great piece of kit as they are long lasting and only cost your time and the price of hinges and screws.  I built my first one in 2009 and it finally got half crushed during my trip to Russia last year.  Here it is:

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    As you can see above, my old box setup worked fine, but I never liked having such a small mixing area- even for small sketches.  Also (like the modern pochade kits), this limited how large I could work outside- besides the mixing area, the painting size maxed out at 16×20″/40x50cm.  That’s a good size, but I do paint larger than that outdoors at times.

    Below is my new cigar box- its smaller than the old one, but has a much larger mixing area as both the box bottom and lid are used as a palette.

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    This is the whole new kit put together– the lights are the Mighty Bright Duet 2 lights, with 2 LEDs in each stem

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    Here’s the new box, hand for scale.  The tape covers the outside edge of my palette cups, which I cut a hole for and put through the box.

    As you can see bottom left in the photo above, this box has a different mounting system- my friend Joe Altwer had them made, it affixes to the easel with a winged screw like the easel’s mounting brackets.

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    Closeup of Joe’s box mounting bracket glued and screwed into place

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    This new small box design leaves double the palette space for mixing and frees up a lot of space on the mast- it can hold 24×30″s as easily as as 8×10″s.  I really like Joe’s solution- super simple, and probably inspired by the trucks on his skateboard.  Here’s a link to a clip of Joe skateboarding (that is not Joe with his tongue out), and here is another link to Joe’s website.  I think he may end up selling similar boxes on his site at some point, I know he was selling his boxes in Florence last couple of years.  Write him an email and ask.

    This is much more about finding a functional, lightweight kit that works for me than being frugal or anything else- and there are some beautiful lightweight kits on the market, they just don’t exactly measure up to what I want.  It is still worth mentioning though- this new box setup cost me in parts less than four dollars at home depot the other day, and maybe a couple hours of my time.

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    Some of the panels I brought with me this trip.

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    The other thing that weighs down your bags is your supports, of course.  To find a lighter solution, this fall I bought a used dry mounting press for making canvas panels.  Having your canvas mounted makes travel a lot easier – for years, I had been making them with LineCo acid free glue in the states or ph-neutral wood glue in Italy, but often you’d end up with bubbles or the canvas adhering the the table.  It’s not a perfect system.  Dry mounting canvas solves those problems- making them myself offers me a lot of options: I can mount to acid free Foamcoare or Gatorfoam if I need to pack light, and Aluminum DiBond if I need something that could survive a nuclear blast.   Some of the panels in the above picture are foam core or lightweight birch, and altogether that stack weighs much less than my gesso panels.  This system also quickly uses up all the spare odd shaped pieces of canvas around the studio and the panels I had laying around unprimed.

    The only thing that I was concerned about was the amount of paint I was bringing and if anything was going to put me overweight it was those- also, I’ve had them take tubes before.  As usual, I got one of their notes stuffed in my bag and they ripped apart my bag of paint, though thankfully I haven’t found any paint on anything.  Yet.

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    Links to this sort of stuff-

    This is a link to Vincent Giarrano’s cigar box pochade boxes.  Different than what I wanted, but very nice design/build.

    Here is another link to someone making a modern pochade/tripod setup out of a cigar box.

    This is a YouTube video on dry-mounting canvas.

    BEVA 371 is the glue that restorers recommend for mounting canvas to rigid supports.  Make sure to get the 2.5mm glue, not the 1.0.

    David Gluck and Kate Stone’s post about making mounted panels.  David was nice enough to answer a couple of questions about what size press to get last year.

     

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