Adam Kenney, Author at Adam Kenney Art

Posted on February 14, 2023March 2, 2023 by Adam Kenney

Dealing with the Inner Critic

man in blue and brown plaid dress shirt touching his hair

When it All Feels Pointless

Man, oh, man… I just had a day that made my head spin. I started questioning everything I was doing. A funk fell over me and I had the greatest urge to give up on my projects. Every goal and passion that I had been emphasizing so heavily felt unreasonable and poorly planned, lacking creativity and value. It felt like I was in one of those dreams where I was walking around thinking I was fully clothed, only to look down, becoming horrified by my nakedness.

Damper fully engaged. Everything grinding to a halt, the negative thoughts started to pour in. Why haven’t I achieved more? Why didn’t I focus more when I was younger? What have I really been doing with my time? Why don’t I understand more? Why are my skills so unrefined? There seem to be so many others who are thriving, understanding everything they’re doing, planning things so skillfully. Why can’t I figure it out? What is wrong with me? Why am I so dense? What’s the point of what I’m doing?

The Noise

I have been putting a new emphasis on Instagram lately, trying to post more, interact more, and engage with the platform in meaningful ways. There’s a lot of floundering that happens. An idea doesn’t quite go as well as you hope, a video feels rushed, a post gets less attention than you think it deserves – there’s so much room for expectations and disappointment. However, I still feel engaged by it and it is a creative challenge and outlet that gives me new opportunities to communicate. The frustrations of creation, while still very real, are not what actually led me into my existential crisis.

It’s the comparison game. The feed is a constant reminder of the difference between my posts and those of others. People with better cameras, better ideas, better artwork, larger audiences, more comments, more likes, more shares, more sales, higher prices, and more success. Most days I can look at other peoples’ successes and view them as inspiring – something to shoot for. This was not one of those days. I started comparing.

Comparing is the epitome of a double-edged sword. In many ways and for many reasons it comes naturally. We want to make sure we’re aware of things that we could do differently or better. I was always the kid in the stage performance that looked at the other kids and mimicked their movements in order to make sure I was doing things right. I didn’t want to be embarrassed by screwing something up. Being aware and discerning can often rely upon our observing of others and relating those observations to ourselves – comparing.

But the darker road of comparison is ever present and easy to walk down. Once I step foot on that path, it doesn’t lead to anywhere good and it’s hard to find my way back to the gentler road. It leads to anxiety, depression, and doubt. All wisdom starts to fade, all patience disappears, and all reason is doused. It really feels like you can see the end of the road right in front of you and it will not change in any way. Your life is doomed to be exactly what it is in this moment of frustration, forever.

The Answer to the Critic

I’ve heard it said that we are all our worst critic. I don’t think that means we’re always hard on ourselves, but that when we are hard on ourselves, we are REALLY hard on ourselves. We take it to an extreme. Ultimately, we’re calling into question our plans, goals, identities, and anything else that is integral to our self-image. It creates a feedback loop that gets louder and louder and more invasive and more powerful as we spend our time thinking about ourselves. And it’s not a great idea to be thinking about yourself constantly. As Proverbs 18:1 says, “Whoever isolates himself seeks his own desire; he breaks out against all sound judgment.” Notice how “sound judgment” goes out the window when we’re focused on ourselves and our own desires, wants, and independence.

So, how did I escape my funk? It wasn’t through willpower or doubling down on my efforts. It wasn’t through working harder and getting more accomplished. It wasn’t through dedicating myself to more things that would cater to my whims and emotions. In fact, I find that when I try to put a balm of pleasure over my open wounds, I actually am just making things worse. A video game, an unhealthy snack, an internet binge – those things have a way of making me feel even more pathetic. No, the answer didn’t come from self-indulgence.

The good side of the road came into view somehow. Instead of comparing, I began to think creatively – hopefully. I started celebrating the successes of others. A couple of encouraging posts on Instagram, one from Brainard Carey and another from Jim Musil, helped me see the value of my work as an artist, prompting me to comment my gratitude. The work of Erin Hanson, especially her business acumen, got my mind working about what I can do to actively improve my business. My wife came home from work. We talked about our days. I talked about some of the things that I want to do with my work, which she supported. That evening I spent time with friends playing board games. Over the weekend I attended church and played guitar with the worship team. Time moved forward. Patience, wisdom, and reason rose to the surface.

The critic was silenced by a refreshed desire to look and live outward. Relationships and follow through, culminations of selflessness and thankfulness, acted in quelling my emotions and bolstering my stability. I felt like I could go on. I could be excited again about what I was doing. I could put failures behind me, learning from them. I could move past the criticisms, not ignoring them at the expense of discernment, but also not giving them the power to call everything into question. Leaving them behind me, in the past.

A New Day

There are lots of reasons why the inner critic might raise its head in your life. Many times, we can learn from that critic. It’s why I titled this “Dealing with the Inner Critic”, rather than “Silencing the Inner Critic.” I think the inner critic has a role to play in our lives. We can just give it too much power, too much emphasis. Possibly some questions you might ask yourself when the inner critic surfaces are, “Where is this coming from? Where is it leading?” Comparison? Fear? Embarrassment? Hopelessness? Isolation?

Or could it be growth? Humility? Strength? Wisdom? Patience?

We are only human. We will have terrible days. There is no way to avoid them. Just know that they are not the end of the road. There is still much to be done. You have a lot to contribute. You are valuable. You have worth. The things you make and do are treasured by somebody. Look outside yourself. You might find that when your inner critic is too overbearing, somebody else’s encouraging words can quickly put it in check. And maybe your words can do the same for somebody else.

Posted on February 10, 2023February 10, 2023 by Adam Kenney

Making Your Own Art Show

Opportunity Knocks

So, you’ve got an art show coming up and you want to make sure it’s a fun and professional experience for all visitors. Maybe you’re hoping your art will make enough of an impression for some sales. Or you just want your work to be experienced to the truest degree. I’m going to walk you through the basics of getting that show ready for the public.

Making Your Selections

assorted paintings — Photo by Medhat Ayad on Pexels.com

The first thing to figure out is what you are going to be showing. Wouldn’t be much of an art show without a selection of art to display. This process can rely on what kind of art you create and how much you’ve accomplished over recent years. Perhaps you have a series of works that are meant to go together – making this process a little easier. However, you might be doing more of a retrospective or a hodge podge of work that represents things you’ve made over the last decade or more. Or maybe you have enough recent work to fill a library, so you have to whittle down your options a little bit.

First thing, know what the goal is. If a curator is asking for specific examples of work that you have, then it won’t be as free-form as putting together an array of your work. Once you know your goal, the selections become easier. If your goal is to display lots of small intimate work, then it wouldn’t make too much sense to have large bombastic pieces everywhere. What’s the feel of your show? What do you want your viewers to leave reflecting on?

If you have a wide assortment of pieces that you just can’t decide between, it’s time to exercise those creative juices and decide upon a theme. Much like an artist might do when it comes to developing an idea from thumbnails to finish, you could break out the sketchbook and start jotting down ideas or sketching out thematic options. You will have to trust your gut when it comes to the harder choices. Remember, your work will be up for the public and you want it to be a reflection of all the things you love!

Putting Together the List

person holding blue ballpoint pen writing in notebook — Photo by picjumbo.com on Pexels.com

Once you have your selections, start putting it down in a list. This is going to help you wrap your head around what you’re showing. It will also give you the opportunity to title things that are not yet titled. Along with titles, you will want to put together whatever pertinent information there is for each piece, such as the dimensions, the year it was made, and the medium. If there are pieces that are on loan from any private collectors or institutions, you’ll want to indicate that by saying something like, “Courtesy of the Gallagher Family” or “Private Collection.”

This list is going to help you make sure everything has a name and set amount of information. It will build your confidence that you have what you need for the show. And it’s just a great way to compartmentalize and condense what might be an overwhelming amount of visual and mental information. Don’t put this off to the last minute because sometimes specifics can be hard to find or remember, such as dates and dimensions. This can also be a great time to start thinking about prices and placing them on the list, too.

Name it! And Write About it!

crop artist with painted spectrum in notebook — Photo by John Diez on Pexels.com

Name that show. What is going to summarize the work? This is up to you. My tendency is to keep the name simple. My most recent show was called “Discoveries.” This felt like a nice summation of the paintings I had on display and the logic behind my work. You can name it whatever you want, though, and in your own style. Perhaps you like more information or more vagaries. This is a creative element and you should own it.

Then you should write about it. Have an artist’s statement. I’ve read many a statement and there are so many that feel overwrought, overly impressive, hard to read or understand, etc. My advice would be “keep it straightforward.” Write down the most important elements. Then read through what you’ve written and rewrite it. I would aim to read and rewrite a good handful of times. You want to tighten everything up and present the ideas as clearly, yet artistically, as possible. Most artist statements I’ve seen end up being 3-4 paragraphs on one page. You want something that won’t take up everybody’s time. You may want this artist statement printed out on a number of takeaway papers or postcards, so that people can grab one and read it on the go, rather than standing in one place, reading from the wall.

Odds and Ends

black claw hammer on brown wooden plank — Photo by Pixabay on Pexels.com

Do your works need frames? Do they need hanging wire? Do you have time to sign any of them, if they are not signed? Getting some of the missing stuff together can really help make your show feel much more professional. I recommend frames, as I think they really add to the whole experience for the viewer. Even if you go with simple framing, your paintings will benefit from that extra amount of attention and impression.

Get the hardware needed to hang. I prefer actual hanging nails that have the peg framework. These are much sturdier than just a nail in the wall. These are also known as drywall hanging nails or picture hanging nails. Using hanging wire will also help with the hanging process. The packaging usually has a nice diagram for how to attach the wire to the frame in a way that creates a nice sturdy knot.

Hanging the Work

people looking at the paintings in hallway — Photo by BERK OZDEMIR on Pexels.com

There are many ways to hang your work. The first thing you should do, though, is place your work where you want it around the space, without hanging anything yet. Having everything arranged will help you visualize how you want the work displayed, as far as sequencing goes. Which paintings will look best next to each other?

Now it is time to decide what height you want your pieces to be. I would recommend that whatever choice you make, you continue with it throughout the show, as a formula. I prefer hanging all of the paintings along an imaginary straight line through the middle of each piece. This allows for comfortable viewing angles. I like to have the middle of the pieces sitting about 5 1/2 feet off the ground. This is an average height, so it’s comfortable for most.

The way to hang this properly is fairly simple. You need to decide upon an average height for the center (such as the aforementioned 5 1/2 feet or 66 inches). Then measure from the middle of the canvas to the point at which the nail will be pulling the hanging wire taught. Find the distance there are add it to the average height. For instance, if the distance between the center of my painting and where the nail will pull the wire taught is 10 inches, I would add it to the 66 inches. I would then put the hanging nail in the wall at 76 inches. The painting would then be placed and should hang in such a way that the middle of the painting will hit that 66 inch mark. If you are not using wire, but brackets, measure vertically from the midpoint of the painting to the brackets and make that your extra distance.

Always have a level with you to ensure the painting will hang correctly and look even on the wall. Make sure that each piece has enough space between itself and the ones next to it. Stand back from the wall for this. Imagine you are a member of the public. What distance feels correct and comfortable for viewing? Are the pieces too crowded? Would I be standing right against somebody viewing a different piece?

Information!

stacks of printed leaflets with an elegant font in a studio — Photo by Mathilde Langevin on Pexels.com

Having the information next to the piece is not as hard as it may sound. There are many ways to do this. A traditional way is to print out individual information on separate thick pieces of cardboard or foamboard. This can be difficult to do without the right printer, so I suggest printing on sticker paper and then either adhering it to thicker paper or applying it straight to the wall. Find a spot near the relevant piece and place it where it feels most correct. Remember, try to stay consistent throughout the entire space and with each individual piece.

Have a blurb about yourself, either on a stand or on the wall. Have some things that people can take with them, such as postcards or business cards. You can even have a price sheet, if you are interested in selling your work. If you have a reception, you can set aside a space for selling prints or other merchandise. You will most likely want somebody other than yourself to man the sales area, as you want to be present to talk about your work and chat with guests.

Ready?

photo of woman painting while smiling and standing by the table — Photo by Andrea Piacquadio on Pexels.com

This little guide should be enough to get you going in the right direction or give you some options to think about. Remember that you may have to stay flexible and creative with how you display your show. Ultimately, you’re putting up some of your work for others to look at and enjoy. What is going to make that a memorable, interesting, or fun experience for them?

Take some time to enjoy the moment and relax. Congratulations on your art show!

Posted on February 8, 2023February 8, 2023 by Adam Kenney

My Experience Putting Together a Solo Art Show

Adam Kenney standing next to his paintings

My next post will be a primer on how to set up your own show. Today, it’s storytime.

Last fall I was asked by my friend, the wonderful illustrator and artist Rachell Sumpter, if I wanted to have a solo exhibit at the Nickerson Street Studios in Seattle. My mind raced. In an instant I was calculating how many finished pieces of artwork I had ready to show, what needed to be framed, who I could borrow my sold paintings from, and how many paintings I could conceivably go start-to-finish with in a four month window. Then I nodded and said, “Yes!”

Not Enough Paintings?

I could quickly imagine some of the work I would choose. I knew my stump painting (titled “Remnant”) would work and was handy, normally sitting parked on the wall of my living room. That had gone over well the previous year in a staff show at the Seattle Pacific University Art Center. It was really the first painting I felt confident about as a representation of my style and the direction I wanted to take my work. So, that one was an easy choice. One down.

I was in the midst of working on a painting of a local Shell Station, covered in snow. It was a painting that I was excited to work on and finish, mostly because the gas station is a bit of a landmark around here. I figured I could finish that one up pretty quickly.

The previous year I had done a handful of plein air paintings, none of which were hugely successful in my eyes. Those weren’t really calling to me, though they were more recent work. I could take a couple from my parents’ house (a snowy pathway, a flooded field), my in-laws’ (Haystack Rock, a grassy airstrip), and a friend’s collection (a river in Fall). That would round out the work.

painting of a field flooded in fall — “Flooded Field” 2012

I also had every intention of painting two more large-scale landscapes. I wasn’t able to finish either one, though I did get very close to completion on a beach rock formation. It was a whirlwind of work that I put into the pieces.

“Only Show Your Best Work”

My former professor, Laura Lasworth, always said, “Only show your best work.” She had been told that from a curator early in her life and passed that knowledge on to her students. I think it’s great advice, though it always made me unsure of what was worth showing. Over time, as my internal vision has solidified more, I can make better judgments about my paintings, choosing some over others.

I think developing your eye takes time and research. It can’t really be rushed, because it relies completely on growing your skills and carefully taking in the work of others. I’ve spent a good deal of time perusing great art and thoughtfully incorporating elements in my own work. I’ve also received enough feedback on my paintings to have a decent idea of what people respond to. And I look at my own work with a very critical eye, especially after completion, in order to spot overarching issues or problems that I need to address in future work. Developing a style is a slow and natural process that requires cognitive study and focus, as well as a desire to experiment and improve.

Frame Those Paintings!

I’m very fortunate to have a woodworker in the family. My dad was a cabinetmaker and carpenter for decades and has been a very reliable and generous worker who I was able to call upon for help framing my paintings. I’m telling you right now: frames are indispensable. If you have a painting on your wall and it’s not framed (maybe it’s gallery-wrapped or there is some workaround), seriously consider framing that sucker. I honestly believe it will only increase your enjoyment of the work.

My dad was working on very short notice. I was still trying to decide on the pieces I would have for the show. After talking about what pieces would be framed and the styles of frame I hoped for, he created a whole slew of beautiful frames. While there was one that I gave him specific instructions on, the others he designed himself. He made sure to ask what my thoughts were on colors, so he would end up with a frame that helped bring out the best in the paintings. I couldn’t have put together such a satisfying show without him!

Hanging Out

With the paintings ready to be hung, I headed down to the gallery space with my wife, Amber, and we began putting it all up. The first thing to figure out was how the pieces should be arranged. I wanted to make a big first impression and then let the space and art guide the viewers around in a logical way. To do this aspect, it helped to just place the paintings along the floor against the walls where I was planning to have them. The best decision I made was to allow each painting a bit of breathing room.

Once I had the paintings arranged how I wanted them, I decided on a height that I wanted the middle of each canvas to hang at. I decided on something relatively eye level – around 67 inches. The trick then, was to measure from the middle of the canvas to the point at which the hanging wire would be if it were hanging on a nail, then adding that length to 67 inches. Once I had that number, I would put a hanging nail in the wall at that height, hang the painting on it, then break out a level to make sure it sat straight. Sometimes I would want a second nail to suspend the wire on, if the painting was larger.

As I was hanging, it was becoming clearer to me which paintings would work best together and how I might need to shift the amount of paintings in any given area. I was mostly concerned with visual diversity, so the viewer would find something new to enjoy or experience as they moved from painting to painting.

“Measure twice, cut once,” my Dad, always before cutting a few more times.

Disaster Strikes!

So, with the show hung and ready for its Saturday reception, I could rest easy, knowing that all I would have to do is return with some informative stickers (title, year, medium, etc). However, Mr. Covid tapped me on the shoulder to turn around, before decking me with a right cross to the chin. And then he kicked me a few times.

The reception had to be postponed until a later date. We’re still looking forward to seeing it with friends and family. I’m going to also have prints and greeting cards available for those who enjoy the work and want a bit of it for themselves. It should end up being a fun and possibly slightly stressful time, as most receptions are!

All’s Well that Ends Well

I had a great time getting prepared for this show. Even with some of my fantastical notions about doing even more new paintings falling flat, I am happy with the paintings on display. I have already received very warm and grateful messages from those that work in the building and are happy to see some new art on their walls. It can be very easy to lose touch with how art can elevate a mood or a space when you’re standing in front of the easel, criticizing every stroke and choice. Getting those encouraging messages is a nice and well-needed dose of reality.

Posted on June 23, 2022February 7, 2023 by Adam Kenney

Choose the Right Paintbrush for Oil Painting

close up photo of brown and silver paint brushes

Aren’t All Paintbrushes the Same?

While it might seem like a paintbrush is a paintbrush and will work for any old painting, that’s unfortunately not the case. Just like most projects, you need the right tools for the job. That’s because paint mediums are very different from each other in how you apply them. Watercolor paint really loves brushes that can soak up a lot of water. Acrylic paint usually needs a brush that can apply paint smoothly, since it dries so fast. Oil painting is its own challenge (learn the basics!). So, what do oil painters need for the best results? How do you choose the right paintbrush for oil painting?

Choose the Right Stiffness of Bristle

When you shop for oil brushes, you’ll find that they actually come in some different varieties of stiffness. They range from very stiff hog-hair brushes to springy mongoose, or even to soft sable brushes, among others. And then there are synthetic brushes that simulate all of these varieties. How do these differentiate from each other, practically?

The differences in stiffness allow for vastly different application of paint. A hog-hair brush picks up a good deal of paint and is great for creating textures. Springy brushes are nice for a bit more subtlety and detail. For the finest details and softest touch, go with something like a sable brush, especially if you are employing a glaze technique. Even a handful of painting sessions with each gives a good feel for the differences and you can begin to determine quickly which stiffness is right for your style.

As a note of help, be aware that oil paint is much thicker in consistency than acrylic and watercolor paint. This means that hog-hair or similar brushes are your best bet when doing the majority of your work, especially if you work with medium-to-big canvases. The heftier the brush, the better. Dialing down that heaviness by introducing more oil can open the door for softer brushes. If you choose the right paintbrush for your consistency, your workflow will feel so much more peaceful and things will come together more easily.

closeup photo of person holding paintbrush — Photo by Werlley Meira on Pexels.com

Length of the Handle

You might notice that different brushes have different lengths of handle and that it doesn’t necessarily correspond to the size of the brush. Brushes made for oil and acrylic painting have longer handles and watercolor brushes have shorter handles. This has everything to do with the distance from which an oil painter stands from their easel. A longer brush makes it easier to get a grasp on the scene you are painting and quickens comparisons between the painting and the subject.

This is mostly based on tradition and is not a hard-and-fast rule of painting. There are plenty of reasons an oil painter might use a smaller handled brush, primarily having to do with their style and level of detail. I would suggest that if you are painting from life, you try to hold a longer brush, just to get the feel for it. You may find yourself enjoying it!

In fact, you should always challenge yourself with new approaches. That way you can make more educated decisions about what you like. Try choking up on the handle for a while and then try holding it towards the end. You will get a better grasp (literally and figuratively) on the tool you are using. Some of your best work might be the result of intentional grip on the brush.

Paintbrush Shapes and How They Affect Your Painting

Let’s do a quick rundown of the different shapes of brushes you will find. Knowing each brush’s purpose empowers you to make educated decisions while painting so you can choose the right paintbrush for what you are trying to do.

Flat – This is a great brush for holding a good amount of paint and filling in large areas. You might use a flat when laying in your first layers, especially if you need the benefit of right angles.

Round – Similar to a flat in its purpose, the round allows you to adjust the width of your lines based on the pressure you exert on it. A great all-around brush.

Bright – Similar to a flat in shape, but with shorter bristles. These brushes don’t spread paint as easily, but they are great for moving and placing paint.

Filbert – A combination of a flat and a round, this brush lays in paint with a lot of flexibility. Not great for right angles, but perfect for organic shapes.

Fan – Often used for blending softly, fan brushes also add intricate texture with little effort.

There are other types of brushes out there to try, but these are your basics. Try them out and you might find your favorite combinations. I personally like to limit my brush selection to flats, rounds, filberts, and brights, with some variation in size. This just helps me maintain the style I like.

choose the right paintbrush — Photo by Steve Johnson on Pexels.com

Does Size Matter?

When I first started painting, I went with small brushes. Being used to drawing, I figured having a brush that could mimic a pencil or pen would be the best way to handle the paint. That method is like using colored pencils to color in a coloring book. It’s the method of paint-by-numbers – find the right color for the spot and color it in.

With time I began to study more art and learned that the painters I really responded to were the ones that used their brushes to emulate form, not fill it in. The brush stroke and its varied width and arc are used to sculpt the shapes of the subject. This was a method I was excited about (and still am!).

When it comes to brush sizes, be aware of your aim. What is your goal? Many artists love a very delicate and finely detailed painting. Others use large brushes to describe their shapes. One of my favorite artists, John Singer Sargent, recommended using a brush larger than you think you’ll need. If you look at his work, you can see from his style that he emphasized his strokes, letting them sit in plain sight. So, look at what artists appeal to you and try out some of their techniques. You’ll really learn a lot!

In Conclusion

Who knew there was so much to learn about paintbrushes? Now you know! I’ve said it before, but I’ll say it again: one of the things I really love about oil painting is how flexible it is. I think this guide proves that! Now you know how to choose the right paintbrush for oil painting.

Posted on June 22, 2022August 15, 2023 by Adam Kenney — 1 Comment

Oil Painting for Beginners (A Primer [pun?])

“Isn’t Oil Paint Hard to Work With?”

Maybe you’ve been at an art store and wondered about all of the different kinds of paints on display. Which one is the easiest to use? Which one makes the best paintings? What’s the difference between oil paint and acrylic paint? How would I even start oil painting?

It’s a lot to take in for somebody new to painting! And it can feel so intimidating. What do you choose and would you even be able to figure it out? You’ve heard of oil paint and its long tradition in the studios of famous artists, so would you have any chance at doing anything good with it? Maybe you’ve tried it and found it to be difficult to work with. Bob Ross makes it seem so easy!

It’s true that oil paint has a long and storied tradition in the world of painting, but much of that is because many artists over the past millennia have found it to be a flexible medium to work with. It doesn’t dry as fast as tempera (eggs) or acrylic paint, it has a mix of opacity and transparency, and, with the right approach, it can last for a very long time. I personally enjoy the feel of oil paint on my brush, the freedom in blending that it produces, and the incredible amount of versatility it offers.

First, Some Basic Knowledge

The first thing to understand about oil paint is that it is like any other paint, in that it is made up of pigments that are bound together by a binding agent. These pigments are what we see as the color of the paint. Many of the pigments come from minerals or metals that are ground up into a powder. For example, the earliest Ultramarine Blue pigments came from Lapis Lazuli, a semi-precious stone that is rare and required Italian traders to sail to Afghanistan to acquire (hence the name ultramarine). These days there are synthetic ways to produce a wide variety of beautiful colors.

The binding agent in oil paint is, you guessed it, oil. Often this is a form of linseed oil, specially crafted for painting purposes. It may also be safflower or walnut oil, among others. Some oils have a tendency to turn yellow over time, especially noticeable when mixed with white pigments. There are many studies about this that turn up complex results, so I won’t go into any of that here. Just be aware that it can happen and has been a problem for hundreds of years!

A word about the surface you paint on – it needs to be primed. This is not usually an issue, as you will probably start painting with a pre-stretched canvas from the store. These come with at least one layer of “gesso”, an all-purpose primer that creates a perfect ground for your oils. If you were to paint directly on canvas, without gesso, the oil would be difficult to work with and the canvas would eventually rot. So don’t do it!

“Oil takes a long time to dry!”

In fact, oil doesn’t exactly “dry”, but it oxidizes and sets into a semi-solid state. It often takes days to set-to-the-touch and months to fully set, becoming ready for varnishing. This is important because it gives us artists a big insight into the medium that we are using. It also explains some of the reasons why we paint differently with oil than we do with other mediums.

Oil paint’s reluctance to set quickly opens it up to easier blending and mixing of paint colors. For those familiar with acrylic, this might be a tough shift at first. Give it some time, though, and you may appreciate the added flexibility. You will also now have an opportunity to blend colors on your canvas itself, something tricky or impossible to do with other mediums.

Because the binding agent is oil, most experienced painters will employ solvents and additional oils depending on their needs. Solvents, like turpentine or odorless mineral spirits, break down the oil and leave the pigments less bound together, thinning the paint. This is often used sparingly or with great intention (and in very well-ventilated spaces! The fumes can be extremely harmful.). Additional oil mediums can do a number of things, including speeding drying time, helping the paint flow better, or adding heft to the paint for impasto textures. There are many ways to customize your oil painting experience.

The Key to Oil Painting? Fat Over Lean.

If you’ve ever seen an old oil painting, you may have noticed little cracks all throughout the surface. This can happen when the oil sets up in a way that is too brittle. The flexible canvas underneath may shrink and stretch over time and is susceptible to vibration. In many ways, cracking is difficult to prevent, but there are methods that will make your experience with oils much easier and less prone to cracking.

The best method is called painting fat-over-lean. Each successive layer of paint should have more oil introduced, making for a top-level surface that is more flexible and less pigment-heavy than lower layers. There are other reasons to add oil to your paint, like aiding pigments that are more oil-absorbent, but that is a bit advanced for this introduction. Just try to incorporate a fat-over-lean approach as you get more comfortable with the paint.

A really nice by-product of painting fat-over-lean is control over your composition and colors. Starting your painting with a thin and sketchy monochromatic (one color) first layer is referred to as doing an underpainting. This can help guide the rest of your painting, acting as a framework. As you add more detail, you can use more paint and different colors, being careful to avoid or incorporate blending as you go.

But Now I’m Having a Problem…

It is helpful to keep in mind that different paints serve different purposes. While you may be able to take some of your acrylic or watercolor skills over to oils, you will have to learn some new things. Note that even very advanced oil painters run into issues and challenges. It is only through more experience that we improve and get the results we want!

One tendency for beginners is to use way too much paint too fast. This is usually because they are used to acrylic paint. Using less paint at first and slowly building is a much better approach. It will keep you from making messes and muddying up your colors. In conjunction, you should work dark to light or start with your mid-tones before moving up or down in value. Don’t be afraid to have lot of paint on hand, just don’t go crazy with it too quickly!

Another thing I see a lot of beginners do is having way too many colors on a palette. This is a recipe for disaster as these colors will not harmonize easily. Keep it simple! Use a limited palette. Limit yourself to only using white, one red, one yellow, and one blue. See how many colors you create with just those. You will surprise yourself! If you need a place to start, go with Titanium White, Alizarin Crimson, Lemon Yellow, and Ultramarine Blue. These will combine to make so many beautiful and saturated colors. Then start experimenting with different combinations, trading out Alizarin Crimson for Burnt Sienna, Lemon Yellow for Yellow Ochre, and Ultramarine Blue for Phthalo Blue or Payne’s Gray (or even Ivory Black). Color is relative and what matters most is harmony!

Now You are Set!

There really is nothing stopping you from learning how to paint with oils now. Go pick up some small tubes of paint (go with a large tube of white) and a few brushes of different sizes and shapes. Experiment with what looks fun! To be more frugal, skip the pre-stretched canvases for now and get a pad of canvas paper. I like to use them for studies. Tape a sheet to a drawing board and you’re set!

If you’re feeling old-fashioned (like me), get a wooden palette. They are really nice for weighing your values and they hold up really well to repeat uses (as long as you clean them). Go the less expensive route with a pad of palette paper, a waxy kind of paper that works really nicely, too. I personally have used them many times and prefer them far more than plastic palettes.

And, with that, you should be very ready to begin oil painting (after you read the little bit of safety advice I have below). I hope you enjoy getting to know how to paint with oils. It really is a fantastic way to improve your abilities, your understanding of art, and your patience. Just know that nobody is born with a complete mastery of painting. You grow equal to the amount of time you put into it. Have fun!

One last word of advice: know how to clean up your paint in a healthy way.

Be aware that you cannot pour solvent down a drain or into the ground (very illegal and bad for the earth). Best to use it sparingly and let the small amount you use evaporate over time (in a well-ventilated area!), leaving whatever solids behind that you can then dispose of safely. Again, only use solvent in a well-ventilated area (I cannot say that enough!).
Oil is very flammable. A normal painting experience shouldn’t end up with any excessively oily rags or paper towels, but if you do, do not wad them up or pile them together. It should be easy to either let the paint dry enough to dispose of later or prevent yourself from ending up with a whole bunch of excess paint.
Clean your brushes with soap and warm water immediately after you are done using them. If you do not want to get too much oil paint on your hands, use gloves while painting or cleaning. Paper towels are enough for cleaning them while painting.
If you have any other safety concerns, make sure to do your research before you begin, so you can have peace of mind and enjoy the experience.

Posted on March 10, 2022February 8, 2023 by Adam Kenney

The Inspiration Held by Spring

As I look out my window I can see small birds flitting through the branches of the tree outside and hear them singing their short little songs. My wife just received a bouquet of blooming pink tulips that graces our dinner table (where I’m working right now) and it brings a beautiful splash of color to everything. Spring is just over a week away and I’m already beginning to feel the inspiration it brings.

The sun is out and the ideas are percolating. Old plans are being swept up and pieced into new plans. Several new projects are underway, steadily developing and bringing me fresh excitement. There is a feeling of refreshment in the air that trumps any temporary January motivations regarding new year’s resolutions and words of the year. This is when things really start to take shape.

Am I alone? I can’t be the only person who finds this season to be so renewing. While the year can hold so many surprises, there is something about Spring that gives me the feeling that I hold potential in my hands. There is a certainty to it.

Does Spring hold that sway over you? Do you feel invigorated? Are you working on anything that makes you feel alive right now?

Posted on February 15, 2022February 15, 2022 by Adam Kenney

Making a New List for a Good Life

Filling Our Days Up

A New List

For me, a new list would include the things that help me provide for my family. That includes work and chores. Second, I would be greatly aided by paying attention to my mental, physical, and spiritual health. For example, I can make time to read meaningful things, exercise my body, and practice stillness. These things can be overlooked because the results are not immediate – they happen over time. But what are if not our minds, bodies, and souls?

Eliminating the fat for our new list can have a tremendous effect on our well-being. For instance, cutting Facebook can lead to less mindless anger, frustration, and jealousy. You don’t have to live your life comparing yourself to everybody else. You have that kind of control!

Everything else can fall in place. The work can get done with more emphasis on quality, not desperation. Social life can begin to flourish again, no longer taking a backseat to selfish ambition. After all, it’s not good to isolate oneself. Taking a little time to make a new list will not only challenge your perspective, but also give your accomplishments more weight.

So, yeah, I’m turning 38. I’m inclined to say that it came quick, but I think it’s just surprising to consider my age. It’s not that time goes really fast, it’s that time goes at all. It’s a reminder of that. And hopefully it can encourage me to take stock of my life and express my gratitude for the many blessings I have.

Posted on February 14, 2022March 1, 2022 by Adam Kenney

“Created to Create” an Interview with Jonathan Shaw (Yehonatan-art.com)

One of the friends I’ve met on my art journey is an artist whose work is both instantly recognizable and endearing. Working with textures, colors, shapes, line, and smart design, Jonathan Shaw demonstrates a careful and loving approach to his artwork. Paintings are imbued with his unique vision, delving fearlessly into matters of faith, biblical history, and the person of Christ. These subjects are not new to art, having a rich history through the commissions of the church. However, in our modern world it takes a good amount of courage to embrace so fully the subject of religion, especially with the earnestness that Jonathan displays.

Besides the realm of glory, Jonathan’s art goes into wonderfully realized areas of whimsical design, with charming compositions and playful shapes and colors. His is an art that embraces imagination and creativity, being both conceptual and representative. It is always very clear that he has fun with his work, developing a visual language that easily and cheerfully communicates that fun to his audience. All of this is to say that I dig it. That’s probably clear by now.

Soft-spoken and friendly, Jonathan gives off a spark of lively spirit, being quick to smile and engage. His demeanor is often indicating his readiness to listen and enjoy others’ personalities. I was excited to learn a bit more about his process and history with his art.

Adam Kenney: Please introduce yourself.

Jonathan Shaw: My name is Jonathan Shaw and I am a freelance artist. My family had roots in the Colorado Rockies near Aspen but I was predominately raised in the Milwaukee area where I now reside with my wife, Kelsey, and our two young boys. I received my BA in Studio Art with a minor in Art History from Seattle Pacific University in 2010. I enjoy time spent with my wonderful family, mountain biking, grooving to good music, swimming in the beautiful Lake Michigan, being in the great outdoors, exploring the city, gathering with friends, and chatting about scripture.

AK: What are your primary ways of making art?

JS: I am a multidisciplinary artist who works with paint, collage, illustration and a wee bit of design work. The majority of my subject matter involves Biblical narratives and Judeo-Christian themes portrayed playfully with paint and other media.

When I was growing up, my father often traveled to a variety of foreign countries as a documentary filmmaker. I distinctly remember the time he returned from India with intricate woven rugs and blankets, carved wood jewelry boxes, and tiny painted stone animals. I was drawn to the beauty of the patterns, the aromas, and the exotic aesthetic. Experiences like this one from childhood have significantly influenced my stylized approach. Much of my work could be defined as whimsical folk art. I love incorporating patterns and symbols that poetically imbue the artwork with a meaningful message.

AK: How long have you been working with art?

JS: It’s certainly been a good long journey. I’ve been drawing ever since I can remember. My mum jokes that I drew before I spoke. I actually took speech classes with a tutor in Kindergarten and 1st grade because of my delayed verbal communication. I have always been a very meditative and visual processor which has definitely served me well as an artist. Throughout my elementary years, I faithfully drew with colored pencils in a couple of sketchbooks and as the years went on I got a taste for other media such as printmaking, collage, ceramics, jewelry, sculpture, and painting.

Shortly after graduating college in Seattle in 2010, I moved back home to my family’s farm in Wisconsin and focused my time on my art practice. Honestly there wasn’t much to do other than farm work, exploring our 160 acres of fields and forests and creating artwork. Although this season only lasted a year before jumping back into the “work force,” the time has been foundational to both my faith and my creativity.

As a freelance artist, I’ve had the privilege to make my own personal body of work along with a variety of commissions from clients which has included published book illustrations, large scale murals, logo designs, websites, portraits, and collaborative projects. In summation, I’ve been selling artwork and have taken on commissions since 2010 while holding other jobs, but it wasn’t until the beginning of 2021 that I’ve done it full time.

AK: Why did you decide to make art a focus of your life?

JS: I hold a strong conviction that I was created to create. Nothing else grounds me in the present and helps me process life quite like creating art does; it’s very therapeutic for me. So after several years, I finally was able to become a full-time freelance artist. I know that if I looked back on my life and hadn’t used my creative gift to its fullest potential, I would really regret it. So here I am, pursuing my passion one step at a time.

AK: In what ways have you been changed by art?

JS: Art has taught me many valuable lessons and cultivated several beneficial practices in my life. Creating art has taught me patience, critical thinking, how to listen and observe well, and that life is a continual work in progress. Art has also allowed me to learn more about my subject matter whether that be nature, culture, or aspects of scripture.

AK: What is your primary focus when creating art?

JS: My primary focus when creating art involves a process of discovery. I tend to focus a lot on learning more about my subject matter; investigating and meditating on it. Similar to the adrenaline rush that comes from a good descent on the ski slope, creating art has an exhilarating effect for me; both in the discovery aspect and the mystery behind it. This dynamic keeps me coming back for more.

AK: What artists do you look up to or find inspiration in?

JS: I often resonate with the work of several 19th & 20th century painters such as Marc Chagall, Henri Matisse, Pablo Picasso, Vincent van Gogh, and Paul Cezanne, as well as self-taught folk artists. My favorite among this group is Marc Chagall. I’m fascinated by his whimsical and colorful depictions of Biblical narratives, childhood memories, Jewish practices, and dream-like scenes. I find his work to be so poetic, imaginative and graceful.

AK: How do you stay motivated?

JS: Over the years I’ve come to learn that creating art requires balance and that art is not the end-all-be-all. I’ve discovered that when I am flourishing socially, mentally, physically, and spiritually; creativity flows more effortlessly. Just as important as a well-rounded life, restoking the creative fire through being immersed in others’ artwork is very significant for my motivation as an artist.

Likewise, morning bike rides in the warm months have been very beneficial for me. It allows me to loosen my grip on the day and release any fears that I may be harboring. Reading books on creativity is also very helpful. I’m currently working my way through “Real Artists Don’t Starve” by Jeff Goins. Throughout the year I read Julia Cameron’s daily artist devotional called “The Artist’s Way.” I highly recommend both of those reads.

A big motivation for me lately is being involved at a local gallery where I exhibit my work. It’s been so encouraging to meet other artists and to spur each other on. I am preparing for a solo-exhibition later this year which also keeps me excited and motivated. It’s encouraging to know that my artwork has and will touch people’s lives and that keeps me going.

AK: Do you have any regular rituals that help you keep your focus?

JS: A few things come to mind. Music has always played a significant role in my creative process. I find that tunes help me gain momentum and usher me into a good rhythm. Living a simple, down to earth lifestyle and being “close to the land.” This may look like taking walks with my family, tending to our garden or kayaking down the river. Every once in a while I find it helpful to look at other artists’ work; both contemporary and from the past. This endeavor provides several benefits from feeling a part of a larger community to discovering “resonating voices” that harmonize with my own work. One of my favorite ways to do this is by going to Barnes & Noble and paging through art magazines or better yet, going to a local used-book store and finding old books of artists I like.

AK: In the last year what has made the largest impact on your practice?

JS: I’d say the decision to resign as a mail carrier from the Post Office and taking steps to cultivate my art career full time. Leaving behind my postal job was a big leap of faith for me but it really allowed me to take myself and my artistic calling seriously.

Community has also played an important role for me in this season. Specifically joining an online art mentor group has done wonders; learning new skills, ways of thinking, and professional advice. Along with this online community, being involved at a local gallery and studio has made a large impact (and I mean local; the space is only three blocks north of us). It has been so encouraging to exhibit my work there and to speak with others at its open receptions. I am also currently taking steps to be an artist-in-residence at this studio gallery.

AK: Do you think there is something missing in the “art world”?

JS: Great question. I honestly haven’t thought much on this subject so my thoughts may be a tad undeveloped but I’d say maybe opportunities for up-and-coming artists to find outlets for their young careers to take flight. This could look like galleries exclusively tailored towards emerging artists, more opportunities to learn from veteran professional artists, and various apprenticeships.

AK: What would you like to see more artists do?

JS: Pursuing a creative career can definitely be difficult especially when doing it alone. I’d love to see more artists coming together to encourage and inspire one another. I’m casting a vision in my local area to gather artists to view and discuss works in progress and exhibit artwork together.

AK: Any last keys to your art practice?

JS: I would say, having a renewed mind in Christ is one of the biggest keys for me. This allows me to create out of a place of affirmation, anchoring me in the Father’s love even when discouragement and disappointments come. One way that I remind myself of this is signing my work with the Hebrew translation of my name, Yehonatan, meaning “Yahweh has given.” I consider the ability to create a wonderful gift as well as a collaborative process with my Maker. My hope is that my artwork blesses and inspires others.

AK: Where can people find you?

JS: Folks can find me on my website www.yehonatan-art.com,

on my Facebook page www.facebook.com/yehonatan.art,

or on my Instagram www.instagram.com/yehonatan.art.

1. “The Heart of the Artist”

Watercolor, gouache, crayon, colored pencil on paper, 11×14” – 2021

2. “The Alabaster Jar (Tears, Hair, Kisses, Oil)”

Graphite, ink, colored pencil on paper, 9×12” -2021

3. “Open Table”

Acrylic paint on canvas, 30×40” – 2020