COMMISSIONING A
PAINTING FROM GREY OWL STUDIO |
What you
need to know about commissions from GreyOwlStudio.com...
What is your
style of painting?
I paint in a realist style using classical techniques. My style
involves careful attention to detail, color temperature, and light
sources. I’m also sometimes partial to chiaroscuro techniques,
which involve strong contrasts between light and dark and a strong
sense of light direction. My animal portraits tend to be the most
detailed and my landscapes tend to be more impressionistic. I
layer my paintings, starting with an underpainting. |
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What materials do you use?
I use artist quality oil pigments for my paints. I make sure that
all the pigments I use are lightfast. I also use traditional
supports such as birch panels and masonite with traditional gesso
as a ground. I work with hog bristle and red sable brushes. My
mediums of choice are gum turpentine, dammar varnish, and linseed
oil. My early layers use a mixture of equal parts turps, varnish,
and linseed oil. The top layers use a mixture of equal parts turps
and linseed oil. |
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Do you use toxic materials?
Not really. Most strongly toxic pigments are no longer used or
available. I do use
cadmium yellows, oranges, and reds and cobalt blues and violets.
Cadmium and cobalt are moderately toxic and should not be ingested
or inhaled. Lead and chromium pigments generally are not available
any longer or must be special ordered. I choose not to use them.
Turpentine is toxic but has long evaporated by the time the
painting is completed. In any case, by the time you receive the
painting, all pigments will be fully dried and sealed behind a
varnish. Just don’t try to eat it! |
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Do you work from life or from
photographs?
Both - as the situation demands. I prefer to work from life as
much as possible. This means I want the actual subject in front of
me as I paint. Generally, this assures that the most accurate
representation of the subject will be achieved. Frequently, this
is not possible because the subject is not available or cannot
pose, such as in the case of animals. It is also possible that I
will need to re-composite a subject, which may involve composing
the painting on my computer from photographs. For landscapes, I
almost always work from life, painting plein air. Still lifes are always
from life. Wildlife and pet portraits are almost always from
photographs or possibly composited onto a background that is
painted from life. Human portraits are from either life or
photographs as the situation demands. As a photographer, I have
knowledge and experience of photography that allows me to
interpret the photo more accurately than most people. Because of
this, I can produce a high-quality and “honest”-looking
painting from a photograph that will be virtually
indistinguishable from a painting painted from life. Many painters
paint exclusively from photographs and it shows. |
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How do I get started?
We will have to spend some time talking about what it is you want
me to paint. I’m willing to spend as much time as possible to
make sure you get exactly what you want, and that may involve a
lot of discussion. Generally, I work with landscapes, still lifes,
wildlife and pet portraits and occasionally people portraits. In
every case, except for wildlife and animal portraits, I prefer to
work from life. If this is not possible, then I will work from
photographs. If it is a portrait, and you are available to sit for
me, we will make arrangements for this as appropriate. Call me to
discuss all the details. |
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How much do you charge for a
painting?
This depends on size, complexity, and the scope of the
painting, i.e. background details, multiple figures, etc. However,
I mostly keep a price range based on size since I tend to paint
the same way for all my paintings. Please check my website – GreyOwlStudio.com
- for a general idea of the price range. Travel, if necessary,
requires an additional fee. Delivery charges are additional also.
All paintings come with a frame included. Let me know if you have
specific framing needs. I
require a 50% down payment on all commissions. |
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What is the process once you get
started?
Firstly, having gotten the details and down payment of the
commission sorted out, I will begin with a preliminary drawing and
underpainting. When the underpainting is completed, I will show it
to you to make sure we are on the right track. Then, I will begin
the overpainting process. If you are sitting for a portrait, then
we may need a long session for the drawing and underpainting, and
then multiple shorter sittings for the overpainting. It’s kind
of like being fitted for custom clothes. First, the measurements
are taken, then we do multiple fittings until it’s perfect. For
anything painted from photographs, the photographs are generally
all I will need from you. |
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What is an ‘underpainting’?
An underpainting is an initial base layer of an oil painting which
establishes the composition and values (lights and darks) of the
painting. Theoretically, once an underpainting is completed, all
the necessary information for completing the painting, other than
color, will already be there. The rest is all color and
refinement. Typically, an underpainting is done in earth tones
(umber, sienna, and/or ochre) or grisaille (grey tones). The
‘overpainting’ is the subsequent layers which involve adding
the color, working progressively from darks to lights. Even though
the underpainting will not look very much like the final work, the
quality of an underpainting can affect the overall tonality,
light, and reflectivity (glow) of a finished painting to a very
significant degree. |
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How long will it take to complete
the painting?
Again this all depends on size, scope of subject, and level of detail,
but expect at least a month of work time. If there are others
commissions ahead of you, this time may lengthen. Also, see the
next question below... |
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When will I
receive my painting after completion?
That depends. When an oil painting is painted with the traditional
methods I use, it then requires an additional 6 months minimum to
fully dry and cure. After that, it will need to be varnished for
protection. In the early days after completion, the layers of the
painting are exceptionally soft and easily scratched. The painting
must be carefully protected until varnishing is completed. The
choices are as follows:
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I
hold the painting until varnishing can be completed. This
requires a six month wait before delivery. This
is the recommended option.
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I spray the
painting with a temporary retouch varnish, deliver the
painting to you, and you are very, very
careful with it for six months. Then, I take the painting
back, varnish it for you and return it to you. This can be
awkward if you and I do not live in the same area.
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I spray the
painting with a temporary retouch varnish, deliver the
painting to you, and you are very, very
careful with it for six months. Then, you take the painting to
a local artist that is familiar with traditional oil painting
techniques and he or she varnishes it for you.
I won't mention
option four which involves no varnish and a very damaged painting
in a very short time. The varnish is essential for protection from
UV light, for durability, and it makes the painting virtually
scratch-proof. Varnishing before the 6 month curing time will
result in a cracked painting as the layers dry unevenly over the
years to come. The retouch varnish is no substitute for a proper
varnishing but will provide some protection over the short term.
So, I know you'll be chomping at the bit to see your masterpiece
but patience is truly a virtue in this situation. |
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I want you
to paint a photograph I have of a landscape in Colorado, a
photograph of my dog Mippy, or a photograph of my great Auntie
Melba. Can you do that?
Certainly. Bear in mind, however, that the quality of a photograph
can greatly affect my ability to render a terrific, high-quality
painting for you. If I can see the details, I can paint them.
Otherwise, all bets are off, and the highlights in your Auntie
Melba's frosted hair may not be present in the finished work. One
solution is that if you’re local, I can take the photograph
myself, such as in the case of a pet. This is preferable.
Otherwise, try to follow these guidelines when submitting
photographs to me for a commission:
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The
main subject should be in focus as sharply as possible. If I
can see the details, I can paint them.
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Try
to avoid harsh lighting, i.e. strong contrasts between light
and dark. Neutral, bland lighting is actually better because
it allows me to interpret the light in any way I want. Also,
strong light tends to blast out highlight details and make
shadows so dark that the detail cannot be seen.
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Try
to use natural light in open shade. If possible, avoid
incandescent lighting (most indoor lighting) as it tends to
make photos look too yellow and skews the colors.
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Provide
several photographs of the subject, preferably from multiple
angles. I will use one photograph to work from primarily, the
angle and pose we think is best, but having other angles helps
me gain an understanding of the geometry of the subject. I can
thus paint a more accurate painting.
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Bear
in mind also that it is far better that the photographs be
your own. Painting a painting from a copyrighted photographic
source can be tricky. It all depends on how the painting is
used of course. It may stay in your home and never go
anywhere. Nevertheless, to be on the safe side, send only your
own photographs or get permission from someone you know to use
their photographs.
--Michael
Phillips, Visual Artist |
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