My Blog About Art

New colors, new paints September 24, 2017 10:46

I found a place that supplies pigments to artists, and what's especially interesting about them is that they sell not only dry pigments but pigment dispersions as well as a variety of viscosities of acrylic binders. The dispersions mean that you can mix your own paint without having to worry about wearing a mask, contaminating your space, or using a muller. You can make these dispersions into acrylics, watercolors, and other stuff. They have a bunch of them.

Since I don't use cobalt blue due to toxicity (both in use and manufacture), I don't happen to like phthalo blue, and after all this time of using indanthrone blue, ultramarine looks insipid to me, I cruised through their blue pigments and found benzemidazolone blue (PB80).

I have never seen this pigment in paint form of any kind, but I researched and found that it is used in industry in high temp applications. I have other benzimidazolones, like orange, and like them. This one is described as being lightfast, having good tinting strength, and being resistant to alkaline environments, which acrylic binders are. So I ordered an ounce plus some binder. I got the lowest viscosity binder they have, acrylic #50 hard.

Coming from watercolors, one of the things I have disliked about acrylics, despite their advantages, is the thickness of even the thinnest paint. And you can't add an endless amount of water to thin them, like you can with watercolors, because the pigment won't stick to the support then. The low viscosity acrylic inks like Liquitex have the right viscosity for me, but their color range is so limited. I've been using Golden Fluids, but even they are a bit too thick for me. So I got this "low viscosity" binder in hopes it would be thinner, and it is!

I mixed up the PB80 and binder today, and holy carp, this is the bees!
benzimidazolone blue

You can see it is a redder blue than the one I have been using, indanthrone (PB60). In fact, mixed with titantium, it makes a bluish lavander that dries a bit redder. This is a great addition to my blues! 

I also bought a brownish purple color called azoic plum violet (PR171), which I have not seen in acrylic version either, and an ultra dark umber (one of my mainstays). After ordering, I noticed they have the pigment to my all-time favorite watercolor, which Old Holland had as Golden Barok Red (PO65). This stuff looks just like blood. :) Guerra has it as nickel orange deep.

Can't wait to get some. And now that I've actually tried the mixing and the binder, I know I will most likely be buying my paints from Guerra from now on. They are cheaper (1 oz of pigment dispersion makes 8 to 16 ounces of paint, depending on tinting strength) and more intense. You do need your own jars or bottles. I bought some jars for mixing and then some plastic bottles with a nozzle top for packing up. Give it a try!

Speaking My Own Language July 24, 2017 14:14

I started my most recent painting over three times (one of the great things about painting flat with acrylic is being able to start over on the same support). First, I tried some color combinations that I've always liked but never used. I realized that they just weren't me and that I should avoid using these combos in future and instead seek out the colors *I* like to paint with.

Old portal 1 work in progress by Harold Roth 2017Next, I fell back to painting stuff I used to paint: flowers. This datura blossom looked great but didn't belong in the painting. I painted over it.

Then I thought that the remainder of the painting needed too much work in order to make it be what I wanted it to be. So I painted over the whole thing.

Normally I start with an orange or pink ground. This time I started with a butter yellow in hopes that it would jog me to something different, something more me. The painting structure is the same as in the previous versions, and the idea of a portal in a canyon is the same. But I decided to move away from a realist rendering. 

I've been wanting to leave realism behind for a while but just have not been sure of my direction away from it. I've already posted about the possibilities of Impressionism, but...

At the same time, I was wrestling with the idea of having two streams of paintings: one composed of my more challenging, personal, or subconscious paintings, and the other of a more mainstream type of painting, like realist landscapes. After all, I've been painting realist landscapes as backgrounds for my more challenging work. And landscapes are popular, and why not make some money and expand my audience? 

And compete with jillions more artists, many of whom are using oil paints, which have more "value" than acrylics, and painting on linen instead of panels, and framing in real gold-leafed closed-corner frames instead of black floater frames, etc. Just not me.

Moon of the Dead work in progress Harold Roth 2017Before I started this portal painting, I completed one I call Necromancer's Moon (although I'll have to change the title because it turns out to be something from a game). This began as a very Symbolist/Impressionist type of painting, very different from most of what I've done (although some of my favorite paintings are in this style, if not the subject matter, like Blue Afternoon). These less detailed paintings have never sold, though, so I haven't pursued that style much, even though I enjoy it a lot. Still, I thought this style could help me better connect to the subconscious and to the images hidden (occulted) there, that this style might be a means to more powerful imagery. And it certainly wouldn't require as steady a hand painting as a more realist style.

Moon of the Dead by Harold Roth 2017At any rate, this particular painting began with me allowing images to arise from the juncture of the paint and the subconscious, but then I chickened out and finished it in a more semi-realist style with hooded figures all over and a central motif like my emblematic paintings (a moon circle with necromancer and spirit inside).  I was dismayed by the hooded figures. They seemed hackneyed. What next? A graveyard? (although I love to look at fancy mausoleums--as a child, I wanted to live in one--and graves with sorrowing angels and all the Victorian hoohah, and sometimes I look at them online for hours).

What really surprised me, though, was how many people liked this painting. Hmm.

I decided to talk to some other artists about whether they had two or more "lines" of paintings where they did different things, where some paintings were more of a challenge to paint and others were less so or maybe even done just for fun.

Lots of artists said they in fact DO paint more than one type of painting, and that often that means making paintings that don't especially challenge them but that sell. And we all need to earn our bread and butter. I actually heard an interview from a successful painter recently who said he had supported his family with his landscapes for years and only now was he getting his more challenging and personal paintings into museums and whatnot. So I thought, well, this would be ethically and artistically okay to do.

Meanwhile, though, I thought I should then really make my "challenging" paintings much more challenging--not necessarily technically, but in terms of what goes into the image. That I should pull up images from a deeper level than I normally do. 

Eastern Portal acrylic painting by Harold Roth 2017I already had the structure of the portal painting sketched out and had intended to make the cliffs realistic. But I said no. I will make them with the patterns that fascinate me. And the portal, instead of being relatively mainstream like depicted by light or dark, should be outlined with the "energy lace" that I have created for several other paintings. And that's what I did, and it was very very satisfying.

Then one morning, when I went to look at some art blogs and saw paintings that were in fact realist in style, I felt like maybe my non-realist painting was lousy. I had to go sit in front of it and look at it a good long while, and I could see that no, this is a good painting, and what's more, it's original. It's me. It's my language, not someone else's, not the language of a movement or a style, but of me. 

That's what makes it satisfying to paint, but I also hope that will help it sell, because one thing I have learned from running a shop for 17 years is that what keeps you in business is not what everyone else sells but what no one else sells. What is unique. Creating a niche that is totally your own and where you can have no competition because no one but you can do your thing. This is the biggest lesson I have learned from retail. 

Paintings in my own language might take a while to sell. An audience has to be created for them. But eventually that audience will assemble, and I can offer them something original, something that no one else has, and that satisfies me greatly to paint.

However, that does not mean I won't have a second line of paintings. And I thought, maybe something more in line with my necromancer painting would be appropriate. Kind of continue that vibe. That's why I decided to try painting my coffin idea--a pile of coffins in a Victorian street, complete with gaslights. Why that? I don't know. It's what I saw for a second while I was watching a show (that was not showing anything like that). I assembled reference photos of Victorian coffins (there are a great array of styles!). And I ordered a set of blocks that I can use to arrange the "coffins" to get the most pleasing pile. This painting won't be personally challenging for me to paint, and it won't draw up symbols from deep in my subconscious, but it sure will be FUN. And I hope people enjoy it.

I painted a study for the coffin painting right over an old abstract painting of the river Styx, which was full of purple. I use some of that purple as ground and even as coloring for the coffins and background, and the gaslights morphed to orbs. It was a quick and easy study to paint, and I enjoyed it.

But looking at it after it was done, and having just completed Eastern Portal, I could see that it was nowhere near as good (IMO) and never would be. The idea was not original, so no matter how well I rendered the idea, it would never be what I consider to be good art. So now I'm not sure I will ever paint the large version I intended. 

But maybe that's one of the purposes of a study--not just to test out the colors or composition or whatever for a larger planned painting but to see if it's worth painting at all. In this case, I think not. But it was fun to do. And I might well do more small paintings like it just for fun. I will see if it sells at all.

Meanwhile, I finished Eastern Portal and put soft gel (prior to varnish) on all my most recent works. Now to gesso another panel for a new painting.

I also made a decision to get a couple of 36 x 48" panels so that I can have three sizes of the same proportions in my paintings: 9 x 12, 18 x 24, and 36 x 48. The big guys are expensive, $70+ apiece, but I think I am getting to the point where I can handle that size for a complex painting. 

If you have struggled over speaking your own language in art, I'd like to hear about it.

The Necessity of Changing My Style June 17, 2017 20:08 1 Comment

There's another reason now for me to move away from incorporating so much line work in my painting. My hands are shaking. Read more...

Supports: Wood Panels June 05, 2017 11:45 2 Comments

Misadventures with panels... For the past year I've been using more wood panels than canvases to paint on, because I like how I can lean my whole arm on them, which helps steady my hand. Read more...



Rose Moon and Vibrating Color June 03, 2017 08:18

In Spirit of Rose Moon, I let myself play with color a lot more. I worked hard with many layers of glazing to get a good gradation in the sky area of pale yellow to pink to blue. My efforts paid off, I think. Read more...


Painting Gimmicks March 26, 2017 18:05

I was sure surprised when I looked at the Dutch still lifes up close and personal and saw that some of them featured way more gimmickry than I had ever imagined. Read more...


Gesso & Brushes January 24, 2017 09:31 1 Comment

I've been messing with gesso a lot. I love the smooth surface I get from using the clay scraper, but it is incredibly messy, so I tried applying it with rollers and then sanding. Read more...


Almost finished with "Hope of Transformation" December 26, 2016 14:18

Hope of Transformation, work in progress, acrylic on wood panel, 18 x 24" by Harold Roth I've been having a very difficult time doing fine detail on some of my paintings. Last night I realized that I could remedy some of that issue by resting my entire forearm on the painting. Read more...

Vessels Series: The Black Crow December 07, 2016 10:43

The Black Crow work in progress, sketch inMy next work in the series is "The Black Crow" (sometimes also called the Black Toad) which is based partly on the alchemical idea of the first stage in alchemy, which involves, yes, rotting or putrefaction. Read more...


Vessels Series: Moon Vessel Finished December 06, 2016 18:46

Moon Vessel surreal landscape by Harold Roth acrylic on canvasI like the vibe of this painting as somewhat like a tarot card. I'm really glad that I started this series. It is much more to my taste than anything else I've done recently. It gets my imagination going and I feel like I am producing much more interesting images. Read more...


Vessels: Moon Vessel November 20, 2016 19:35

Moon Vessel work in progress 112016The symbols of alchemy and magic were the main things that drew me to those paths in the first place, and I want to make them a major part of my art, incorporating them with my interest in natural forms. Read more...

Aquarius Moon is an Asshole + Finished But Not September 18, 2016 15:59

I finished that painting, which became the somewhat odd "Nymph and Her Children." This was my first real step into surrealism, if I can call it that. Since then, I have set off boldly in the surrealist direction. Read more...


So much for that decision September 16, 2016 14:52

Work in progress, Harold Roth, 2016As I sat there letting rock shapes arise from the deliberately uneven colors, I had a sudden flash of not rocks but the shapes of human bodies. I stopped painting and focused on seeing that more clearly. Not bloody bodies or dead people. But just human shapes. Mysterious. Read more...

Indecision: Post-Modern Vanitas vs. Spare Luminism September 11, 2016 15:16

Kensett, Eaton NeckI have been thinking about starting a new series (well, two, actually) of paintings based on industrial buildings and having a connection to the vanitas genre. Read more...


Finally Here! September 06, 2016 10:01

My Blick Light-Duty EaselI moved from Elmira, NY to Pawtucket, RI on August 18/19, but it's taken me all this time just to get sort of settled in. Read more...

Politics and [My] Art July 30, 2016 19:55

Belly of the Beast, acrylic landscape painting by Harold RothSome people believe that the combination of politics and art in general is a deadly mix, but I'm more of the school that art can never be free of politics--that even "art for art's sake" is a political statement (thank you, Russian Formalism).  Read more...


The Intimidations of Canvas June 05, 2016 10:49

Rabbit not wanting to give up its skin for gessoWhen I switched from watercolors to acrylics, I considered painting on canvas--the readymade stuff that comes all stretched and gessoed (with acrylic, not rabbits). But since I did not do brushwork or impasto, which would rule out using paper, and since I was still intimidated by canvas, I ended up continuing to use heavy cold press watercolor paper. Read more...

The Spiritual Landscape April 25, 2016 11:09

Work in progress, Harold Roth, 2016For me, a painting has to be more than a nice bunch of colors and shapes. It has to reveal that hidden world as much as possible, and to do that, I have to reach deep into myself. If I just stay on the surface of myself and focus on technique, then those paintings feel like just work and they don't satisfy my soul. My soul starves with that, and for me, that is not art. That is just paint on a piece of fabric. I want more. Read more...

Whistler and Lautrec April 08, 2016 20:40

The Falling Rocket by James MacNeil WhistlerWhistler would work on a painting for hours and be all happy about it for 15 minutes, "It's GREAT!", bragging all over about it, and then an hour later he'd go and scrape it off the canvas, terrified that someone would see it and think what a crap artist he was. Read more...


Water March 06, 2016 18:35

Morning Star by Harold Roth

I finished a painting I've been working on for a week, Morning Star, but I was not pleased with the way it turned out for a number of reasons. One of them was the water. Read more...


Competitions February 21, 2016 15:01 3 Comments

The various requirements of competitions have forced me to think about how I describe what I do not only to the rest of the world but how it feels to me, to put that feeling into words so that I can examine it and think about it further. Read more...


It's a Size Thing January 15, 2016 11:41

Nightwatch by RembrandtI've been thinking about size a great deal in my own work. For a while, I fantasized about painting on very large canvases (and I mean canvas as opposed to the heavy watercolor paper I've been using for years). Read more...

Letting Images Arise: Automatism December 28, 2015 18:25 1 Comment

Water WitchI allowed the image to arise as I painted. I hoped that if I were open to a connection with the spirit world while I painted and at the same time tried to focus on a particular concept (like spirits of Mars or Water magic), that whatever came out on the paper would simply take the form most appropriate for that energy or work and for me. Read more...