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The Wiper

by Keith Bond on 4/5/2010 9:25:47 AM

This article is by Keith Bond, Regular contributing writer for FineArtViews.  You should submit an article and share your views as a guest author by clicking here.

Nearly eleven years ago, I took a workshop from one of my favorite plein air artist, Matt Smith. It was my first workshop and I had just taken the leap of faith to pursue art full time. I sought out Matt because he painted the subject matter that I was interested in and did it in a way that was similar to my sensitivities and tastes. I could relate to his subject and style. At the workshop, I was like a sponge, soaking everything in. I learned many valuable things from him, as well as from the other artists I studied under in the following years.

One thing that I did not anticipate learning was one of the most important lessons.

Matt Smith was painting a demo of the Grand Teton Mountains in Wyoming. The afternoon light was perfect. The Tetons loomed larger than life as the Snake River carved a gentle bend in the foreground.

I watched as Matt divided up his canvas into major shapes and values. As if by magic, the painting began to take shape as he worked the forms, edges, colors, values, drawing, etc. We students were in awe. Drool was pooling beneath our feet. The painting was simply magnificent; even majestic. It was even delicious. 

At least I thought so.

The following day, someone asked about that demo. Matt said that he wiped it off. We were all aghast! How could he destroy something that seemed to be so perfect? To me, it was a wonderful work of art and the other students seemed to agree. 

Yet to Matt Smith, it represented less than what he was capable of. He knew he could paint better. The painting wasnt up to his standards he set for himself; standards which continued to inch higher year after year. So, that painting will now live only in memory, thanks to the handy paper towel and a bit of thinner.

He explained that when he first started out painting, a huge percentage of his paintings were wipers. He didnt want mediocre work out there. He continued to wipe off anything that he wasnt completely excited about. (This practice also saved him money as he was able to reuse the canvas panels.)

This was a great lesson to me. The reason he had reached such a high level of recognition was because he was willing to accept the fact that not everything was a winner. He wiped them off and started over. He learned from each failure. He could have easily sold that painting of the Tetons to someone. There were a few students who bought some of his demo paintings, and I am sure that painting would have sold as well. But rather than making a quick buck, he had maintained his integrity. He simply wouldnt sell anything that wasnt his best work. It is no wonder that he is a highly sought after artist whose prices continue to climb.

Another artist friend of mine shared a similar story about Jim Wilcox. My friend had taken a workshop from Jim and during one of his demos, he wiped the canvas clean right there in front of all the students. He taught his students an important lesson. Sometimes you need to recognize when things arent working. Sometimes you need to be willing to wipe it off and start over. Recognize your failures and learn from them. Dont be afraid to admit it when it isnt working.

It has been said that John Singer Sargent would wipe an area repeatedly and repaint until he was satisfied with the results. I have read many articles and commentary by a number of other master artists, both living and dead, who would do the same things. It is hard for those of us who admire the works of these great artists to accept let alone watch a piece become scrapped. Yet, this very practice is what makes them masters. They self critique. They hold to the standards they set for themselves. They dont settle for less.

On the other hand, there are many artists who send out everything that falls of the easel. I would venture to say that most of these less-exacting artists seldom reach that same level of demand and reputation.    

I find myself somewhere in the middle ground. I certainly have wiped plenty of canvases. But I have also exhibited many that never should have left my studio. I am getting better at it, though. 

Is this an innate or learned trait? I think there is a bit of both. Just like anything else to do with art, there is something that comes from within, but there is also a lot of development through hard work. It is becoming easier for me to recognize when I need to throw in the (paper) towel on a certain painting. I am continually raising my standards and am better able to recognize my limitations and failures.

How about you? Where do you fit in? Remember, it is okay to paint a wiper, but are you in denial? Or do you accept it for what it is, wipe it clean, learn from the experience, and then move on? The more you demand from yourself, the larger the strides you will take forward.

Best Wishes,

Keith Bond

 



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 92 Comments

Cindy
via fineartviews.com
although I agree that some paintings need to be wiped out and started over, I have found that others take time to understand what works and what doesn't. I love daily painting and sometimes I love the end result, and sometimes I don't, but I will always have the ability to look back on them and know what I would have/should have changed. That allows me to improve. Maybe in time, I will see those changes as they occur, but there are many times we are too critical of our work and I would end up not finishing a single piece if I wiped all of what I considered my "mistakes".

Jodie Atherton
via fineartviews.com
The wiper, or the hammer in my case, is one of my most valuable tools in my studio. As a ceramic artist, when things don't come out of the kiln the way I'd hoped, IE: a crack develops in the firing or that the glaze color or texture isn't quite right, they get tossed in to the mosaic bins. It maybe years before these off casts are used in a mosaic, or just a few days. Regardless, its very therapeutic to take a hammer to the piece! And then, the recycling starts anew... a new piece of artwork begins to form... I've also been known to go back through artwork in the house and hammer it as well if I don't see the value in my piece that I once did... Especially if it's got the qualities I desire for the mosaic I'm currently working on. So, keep on wiping or hammering. There's no need to see artwork out there that you wished you had wiped out in one form or another!

K. Henderson
via fineartviews.com
While I like to think I don't send out paintings that are less than 'Good', if I only sent out paintings that I was "completely excited about" I wouldn't be sending out anything. I'm one of those painters that is never completley happy with any painting I do. But that's what keeps me going. Once I paint that perfect painting I think I'll quit!

Michael Richardson
via fineartviews.com
Whilst I agree that few artists are ever going to be happy with everything they produce there are a number of strong cases for not destroying such work immediately, setting aside of course the temptation to display one's "artistic temperament" before a group of shocked and horrified witnesses!
Firstly it is nice to be able to refer to something that did not quite work so as to learn by the mistakes.
Secondly, there is usually some merit in the work somewhere and sometimes it takes a little time or even another's eye to see that a small adjustment or perhaps cropping can transform the piece into a "keeper".
We should all be grateful that artists like John Constable, JMW Turner Edward Seago and others who left a huge body of work did not indulge themselves in this attention grabbing practice. The world would be a poorer place for the loss of even their worst pieces!

Mary Sheehan Winn
via fineartviews.com
I've done a little bit of each. I have shown paintings which in retrospect were not up to par in my book. One reason is that that was the level I was able to paint at then. Also, I've shown paintings where one part of the painting is well done and the rest, not so much. I've moved past that as well(I think).

Now, while I have some successes that I'm excited about, I also have ones that may appeal to a viewer but that don't excite me. After destroying a bunch of earlier paintings, and then overhearing comments made by someone viewing them in a photo album, I took a fresh look and knew that some could have been resolved and that of course, beauty is in the eye of the beholder. I know that I won't like every painting that I do and that I'm a harsh critic of my work.

So, this is an interesting post. I still wipe if it's going nowhere. I'm less fearful of starting over and I keep in mind something said by the late great Charles Sovek in a workshop I took from him. "Don't make anything too precious."

It took me a long time to really take that advice.

Helen Musser
via fineartviews.com
Wiping or scraping should be a way of life for us all; especially plein air.

Carol Schmauder
via fineartviews.com
Thank you for this reminder that we should only exhibit our best work. I have thrown out paintings that I was totally dissatisfied with, however, I have also, as you stated, "exhibited many that should never have left my studio". I am hoping to get better at recognizing them and trashing them before I make the mistake of exhibiting them.

Michael Cardosa
via fineartviews.com
Hi Keith,

Interesting post. I'm fairly new to painting and maybe some people can make an argument that everything a beginner paints is a wiper. I do know I've started paintings that I never finished because I didn't like where they were going or maybe just how they were starting. Most of these were because I really didn't have an idea of where I wanted to go with the painting or had no emotional attachment to the piece so I was just stumbling along and when I go tired of it, I'd quit because I felt I was just wasting time. This never really has anything to do with the technical aspects of painting. If I need to learn how to do something new to get something into a painting that would never stop me from moving forward. I actually prefer to work on "new" ideas each time I paint something if it's at all possible.

However, getting back to wipers. I guess when you are an accomplished artist you "know" when something is done incorrectly and maybe you won't learn from your mistakes since you already recognize them. For someone like myself, looking at paintings I did a year ago or now almost two years ago I can see what I might have done differently, how I might have used a different brush stroke or color combination to achieve a better result. Having them around is almost like a "what not to do" that reminds me to do better.

When I reach the 5 year or 10 year or 20 year marks I might view these entirely different and maybe cringe but for now I think they are good to have around.

Michael


Sharon Weaver
via fineartviews.com
Last week was a two wipe down week for me but I still will keep a painting that has problems but where one area is really working. Those I will go back to and try to redo what is bothering me. Sometimes that will work sometimes the panel becomes a loss. I have even put a brush through a canvas in frustration. I do not recommend this; it ruins the brush too.

Helen Musser
via fineartviews.com
Sharon, It sounds like you have plenty of passion for painting. Thanks for the advice.

Linda Young
via fineartviews.com
I was curious to read your article based on the word "wiper" that caught my attention and understand that concept in another way.

As a watercolor artist, I "scrub" off particular areas that don't work; but, if the entire painting is not my best or is becoming a mess it goes into the dishwasher (no soap) to clean off the watercolor. The sheet can then be restretched this time showing an underpainting. This becomes a "start" for another painting which could possibly be one of my best works.


Helen Musser
via fineartviews.com
Linda, great idea fo r saving that exspensive watercolor paper. Thanks

Teddy Jackson
via fineartviews.com
Keith:
Thanks for sharing these great stories. As an acrylic artist, wiping off is not an option in most cases. They just go on a reject pile or I paint over them.
Last year, I posted a painting for each week. Some of them were not my favorites but I felt pushed to meet my own deadlines.
Many times, I am infatuated with the process of creating a piece of artwork and find that it is not so wonderful after it cools down. I am working on being more objective about my paintings. I know that I need to remove some paintings from my website and raise the bar. As I often say...I can get to okay and want to get to WOW!!!
Continuing my journey...
Teddy

Tom Weinkle
via fineartviews.com
I âwipeâ all the time. The more I create, the more I have to. I have learned to let go of a piece that is headed down the wrong road because it will bring nothing but weak results (mediocrity). Sometimes I will rework and rework as a way to experiment with the medium, or a technique, but in doing so, I accept it won't be anything but a learning experience.

From what I can tell, even the greatest painters don't come up with a masterpiece every time.

Thanks for sharing your experience.

Debra LePage
via fineartviews.com
One evening during an Open Studio event I had a discussion with a visitor about this subject. I paint mainly with watercolor on yupo and was doing a demonstration. As I was wiping the paper clean, my visitor commented that what I didn't like about it might be very pleasing to another person. My response was that if I didn't like it, it would not ever see a mat and frame for anyone else to even register their opinion. This article made some very good points.

Sandra Haynes
via fineartviews.com
Thank you Keith for a spot on article....

I think it definitely takes a certain maturity in an artist's life and maybe too, a sharpening of focus about where you want to go, that produces the mind that is capable of not only deciding when a painting is less than what you know you are capable of doing but also then allows you to decide if the painting is a good progression in your journey and therefore deserves to hit the public scene, or should be destroyed.

That's the trick I believe.....collectors, I find, love to see your improvement from year to year, but you have to decide what is honest improvement and what is really less than what you know you can do.

With a clear vision of where you want to go, I think this gets easier.

Thank you again for stating it so well....
Regards,
Sandra

sue Martin
via fineartviews.com
Keith, thank you for the advice. I recently shredded a bunch of "failed" watercolors and it was very cathartic. Plus, it created some space in my storage bin. I hadn't really thought about "wiping" some of my failed works on canvas, but you've inspired me.

Kim
via fineartviews.com
I agree that one certainly has to be willing to admit when something isn't working and no fix will help it. On the other hand, we'd be at a great loss of say, Degas had pitched everything that wasn't museum or gallery quality! Tastes and fashion do change, and many pieces by great artists of the past that we treasure today were not considered worthy of public scrutiny. Judicious disposal is probably the best rule of thumb.

Al Johannessen
via fineartviews.com
I loved your article about work that you wipe off the canvas.I just wonder if there is any other artist that use more paper towels than I do.Sometimes I ask myself why some of my friends and family can't see the mistakes I see.Some of them have even gotten very upset with me for distroying a painting,so now when I do something I think does not make the grade I try to keep it from anyone else

Carole Rodrigue
via fineartviews.com
Great advice and article as usual Keith. I wish I would've read something like this a few year ago! Unfortunately, I also have some pieces out there I wish had never seen the light of day, but too late for regrets. I now have a burn pile. Whatever I can't paint over, I burn. I paint with acrylic, so it's easy to paint over pieces unless too much paint has piled on. Some people gasp that I could destroy artwork, but I'd rather do that than cringe later.

Karen Cooper
via fineartviews.com
Hi Keith,
Good article. From all the opinions expressed so far, it doesn't seem that there's a blanket rule to apply about how to edit your paintings. I like that several
people pointed out it might be wise to not eliminate a painting right away, in the heat of the moment. Some of us are so self critical that nothing would survive, while the rest of us need to edit with some tough love.
I like to schedule a pity party at the beginning of each year, normally with the (rational?!) help of a family member, and send several paintings out the back door with as little ceremony as possible. Sometimes that encourages me to go really crazy and clean the studio :) Ha! But that second part is never a given.
Later, Cooper

Judy Mudd
via fineartviews.com
Great advice. As a watercolorist instead of a wiper you have to be a ripper, and rip that watercolor paper up. When I was first learning watercolors, I kept everything I produced so I could watch my progression and learn from my mistakes. Now it is laughable what I had thought was a decent painting just a few years ago. I've learned to be more discriminating and go ahead and be a ripper immediately. I tell my students to rip them up but keep them--now we cut them up into shapes and make greeting cards out of our ripper pieces!

Carol McIntyre
via fineartviews.com
Sometimes I use a sander! :-}

I am somewhere in the middle, because the occassional "wiper" painting sometime stays in the studio or house for me to refer to as a learning tool.

I just wiped out a big section of a painting and glad I did!

Debra LePage
via fineartviews.com
Re. ripping up watercolor paintings- Usually you can crop a nice little painting out of a "failure" or, make bookmarks! Instead of ripping up watercolor paper, I would first gesso it and imprint neat textures-it can turn into a real treasure as the paint settles in the little nooks and crannies.

Judy Mudd
via fineartviews.com
Several years ago, I had a friend that asked me to paint her a scene from a vacation trip we had taken together. I had just started painting and I quickly whipped out a typical beach scene with palm tree. She went out and framed the thing and had it proudly hanging on her wall. Now that my paintings have progressed, I've begged her to take it down and let me paint a replacement. She has refused, but I think I have at least convinced her to hang it in the laundry room!

Carole Rodrigue
via fineartviews.com
Judy, how wonderful to use up the ripped pieces to make cards! It's still a creative outlet and they must certainly be interesting cards. I'd love to see examples of some of these cards. Thanks for sharing that.

Carol Schmauder
via fineartviews.com
I am a watercolor artist and found some of the suggestions for "recycling" failed paintings very interesting. Linda, I never thought of washing off the painting and re-stretching the paper for another painting. Judy, I also never thought to tear them up and use ripped pieces for cards. I usually keep them around for awhile then tear them up an throw them away. Thanks for all the ideas!

Judy Mudd
via fineartviews.com
Yes, Carole-these cards are a hit with my students. I just took a photo of a couple of the cards from the last time we did these. They are on my website if you would want to see them--www.judymudd.com. Thanks!

Gina Buzby
via fineartviews.com
How many times have we heard "Beauty is in the eye of the beholder"? And so is art in the eye of the beholder. Keith says that he/ the class thought Matt's paintings were "magnificent, majestic and even delicious". I think we should honor each and every painting. By doing so we learn to recognize things in our art that only others see. Perhaps you don't want to hang it in a gallery due to your personal high standards. But, if students (prospective buyers) are saying "magnificent, majestic and delicious" - celebrate that! Then frame it, sign it and sell it!

Esther J. Williams
via fineartviews.com
Keith, I am a shredder type. I will finish the not so good painting just for completion sake, let it sit around until I am thoroughly disgusted with it and then take a pair of scissors or knife to it. It is a purging that I find necessary to cleanse my psychological state to instill that I won`t make those mistakes in painting anymore. Recently I pulled the linen right off the board and threw it away. When I was painting last week, I wiped a section away several times on a figural painting until I felt I got it right. Years ago, I couldn`t admit I was going wrong, I wasn`t really aware that I was. I was developing and going along for the bumpy ride.
Don`t we all wish we could go back in time and remove all the failed pieces from the exhibitions we showed them in? I think I could erase years of those blunders.
I have had people come up to me and say how much I have improved over the years, they watched me grow and are impressed with my evolved artistic abilities and paintings right now. So, I am glad they have something from which to compare.
Here`s for raising artistic excellence to it`s highest ideals from now on. I will most likely destroy a few more in my time, in fact I see a few scrappers from the corner of my eyes in the studio that have been haunting me.
Don`t forget to remove them from your websites too!


Marge Heilman
via fineartviews.com
âWipersâ
This sharing is a great stress reliever. The notion that I âhave to produce something sellableâ every time I pick up the paint brush or I am not a âtrue artistâ lives within me.
What a freedom to have âwipersâ that permit the washing away of an attempt to make room for the freedom and execution of the next painting. A âwiperâ can be a âghostingâ activity to refine the vision inside my head that strives to be born to reality on canvas. There is strength in this action, a reaffirmation of a vocation and a discipline to purpose. We cannot command a masterpiece to be bornâ¦.we can only release the possibility through honest effort and passion.


Barbara Mitchell
via fineartviews.com
Hi Keith, I've never, ever wiped one of my canvas's clean. It seems a sacrilegious thing to do. It seems like you can take it home,learn from the mistakes, use it for maybe ideas from it in the future. But seeing here, many an artist do so, and I will in the future try...gulp...wipe it off! Not than mine are keepers by any means, I guess it's something I never thought about doing. As a former runner, I would run for miles without walking, even once. After the years started catching up with me, I committed the unthinkable, I walked in between running. It felt good, and it didn't hurt at all. I can carry this over to my plein air painting. Maybe I can feel good about wiping it off without any pain.

Joanne Benson
via fineartviews.com
Keith,
Great post! I agree! I have paintings out there that never should have left the studio. When I first started painting I didn't realize how bad some of them were.

I have also framed things because I needed a certain number of pieces for a show. I belong to a plein air society and in order to get nominated for signature membership you had to have a certain number of shows under your belt, etc....well a few things saw frames that shouldn't have (but I did get signature membership).....

I also tend to save my failures. For years I only did watercolor and I recently went through my portfolio and pulled out a bunch of clear failures that I thought could be resurrected. I have been having fun doing that. Now I know how to fix many of the things I couldn't have fixed 8-9 years ago. And then there are a few that will get cropped or washed off (thanks for the to Linda for the dishwasher tip!!!!- it never occurred to me to use the dishwasher. I have run things under the water in the tub before)

I do agree though that you can learn from your mistakes and looking back at your failures as well. I guess even if you don't whipe off or cut up, as long as you aren't showing them then you are ok....Although people have admired work in my portfolios that I didn't really care for....art is so subjective .....especially when it comes to non artists who may like a piece even though I think it's technically a mucky muddy mess....

Alas, we all need to find our balance! Thanks again to everyone for your thoughts and ideas on how to reuse, recycle and vent(LOL)about our failed paintings!

Michael Richardson
via fineartviews.com
If you have been happy up until now by keeping the good the bad and the indifferent, then why start wiping now? If you have the space hang on to them. Some of the people telling you to wipe have got stuff on their websites that should have been wiped but they just don't know any better.

Carol Schmauder
via fineartviews.com
Judy, I looked at the cards on your web site--great idea.

Helen Horn Musser
via fineartviews.com
Michael, A point well taken; leaving your old stuff on line can give your viewers a glimpse, hopefully, of improvement

sue Martin
via fineartviews.com
Marge, my motto is "waste paper." Unless I'm willing to do that, I won't let loose, experiment, and get better. That goes for canvas and panels, too.

Debra Russell
via fineartviews.com
It's taken me 5 years...but I'm finally a wipe off girl! I'm with you Keith. I don't want anything to come back to haunt me!

Carole Rodrigue
via fineartviews.com
Judy, love the cards!!! Have you contacted Hallmark? You should!

Carole Rodrigue
via fineartviews.com
I needed to add this: I also have an interest in writing. Years ago, I wrote a novel. It was nearly 400 pages. A few years later, after much scrutiny, I threw it in the fire. It felt so good to know nobody would ever have to read that! I think as artists, we need to have that final control over our art. Even nature knows that at times, the weakest creations have to go. It could be a tough reality, but in nature it's true, and with art, it's okay with me.

Judy Mudd
via fineartviews.com
Thanks Carol and Carole! And, no I haven't contacted Hallmark. :o) I think they may be better off without me and my bloopers. The cards are fun to produce, though. At least, when a painting doesn't turn out, I know it won't be a complete failure. Love that recycling!

Keith Bond
via fineartviews.com
Thanks to all who have added to this discussion.

There are many of you who recommend keeping failed works to learn from and even try to rescue them in the future. This is also good advise. I do this too.

My artistic output results in:

1. finished paintings that I am happy with.
2. paintings that I am unhappy with but want to revisit or refer to - so I keep them.
3. wipers.



Margie Guyot
via fineartviews.com
Yes, I agree with the practice of wiping out paintings that just don't work. But sometimes it's a good idea to wait until the next day to do so. Sometimes just getting away from a painting for a few hours can change your feeling about it. I've had a few paintings that ended up being favorites -- that had very nearly been wiped out as soon as they had been painted.

Joanne Benson
via fineartviews.com
Margie,
I have also gone back and revisited paintings I thought were goners only to have them become favorites! Sometimes you just need a break from a painting, especially one that has been frustrating you! At any rate, I'm usually pretty cautious before I get rid of anything!

Delilah
via fineartviews.com
I like to let the buyer make the choice. I think artist are not objective of their own work. I go back over paintings I have done a year ago and view them woth a fresh eye, sometimes thinking yikes! I let that out of the studio and rework or destroy it then.It is amazing how much you can learn in a year of painting.

Tonya
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I work with acrylics, so I don't wipe - I cover. Some pieces sit around the studio until they are covered with gesso and some become experiments for new techniques and some, after sitting a while take on a new layer of paint and become very rich, better than imagined works.

Helen Horn Musser
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Tonya, isn't paint magic; it does become richer with more paint.

Helen Horn Musser
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Delilah, You are so right; learning or incite will increase over a years time. Even if you stop painting for a while; your understanding grows.

Helen Horn Musser
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Keith, I'm encouraged to hear you do keep some of the paintings you can improve on; a fresh eye can be very creative.

Michael Cardosa
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I'm always undecided whether I should take paintings that I pull down from my website when I'm embarrassed by them and just put them aside or if I should try to "resolve" the issues with them. Maybe I'm being a masochist wanting to keep them around in their original state so I can see how far I've come or maybe I'm still in a little bit of denial that they are really not as bad as I think. As they pile up I guess I'll have to make some kind of decision just so I have room to paint!

Michael

Donald Smith
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Keith,

Wiping paintings down is something that I've done from day one. I first started learning to paint with books and videos by Jerry Yarnell. If the painting didn't look good, it was painted over until it did. It would take me 20 to 30 hours to finish a 11x14 because I would have to repaint areas so many times to make them look right. I've progressed, sometimes I wont like a painting, and I'll wipe it down and reuse the canvas or just paint over it as is. The texture of the previous layer of paint can add interest to a painting. More often I will scrape down a small area, wipe it clean and just repaint it. I agree with you totally! Learn from our failures, figure out why it failed, write it down in a journal, and wipe it down, or fix it if you can.

Learning from failures is one of the best ways to learn. I don't think it is truly a failure if you've at least learned from the experience.

Thanks for the words of encouragement to set our standards higher and higher, and to learn from our failures, thus turning them into a learning exercise.

Donald

Lynne Fearman
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Good news fellow artists, especially the oil painters! I've found that after a painting is finished it does take a few days to see whether it will make the grade. When it doesn't, I sand it down and use it for the underpainting of my next atempt. I've discovered that these sanded underpaintings, make the next painting better than it would have been without the under painting.
Our paint-out artists have found these sanded flops help the work on a plein-air piece go much faster, without the need to chase the sun.

Joanne Benson
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Lynne, Great tip! Thanks from the bottom of my plein air heart! I can't wait for my next flop to try it! LOL

Lynne Fearman
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Joanne,
I've amazed the others with the speed of my paintings. When I tell them it's because I've turned a dry failure upside down and started fresh, they can't wait to try it themselves.
The trick is to not be influenced in any way,
by the previous painting.

Helen Horn Musser
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Interesting idea(sanding); will have to try.

Michael Richardson
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Don't forget to wear a mask and work outside if sanding old boards as there is some nasty stuff in oil paints!

Helen Horn Musser
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Thank you for that tip; I do have an electric sander for sanding down wood to paint with encaustic. Protection from fly away paint would be needed. Thank you

Tuva Stephens
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When I first started creating some colored ink paintings with natural objects, salt and saran wrap, I discarded a work under my desk that I thought had failed. Several days went by and when I looked at it again I almost did not recognize it! All the different textures with the salt and plastic created an imaginative and creative abstract. My husband loved the abstract and said I should frame it and take to an exhibition of other pieces of my artwork. I slapped a price on it, and it sold to a State politician that loved it also. The sad thing was when I told him the price. He said, "I don't care how much it is I want it." Instead of paying a couple of hundred I truly believe he would have paid double or triple the price.

Tuva Stephens
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I also like to save all my "not quite finished" experimental paintings. When I need miniatures (2x3) or small matted pieces for our co-op gallery,I can always use a viewfinder and crop to find some pretty interesting compositions that work. I noticed at the gallery all the miniatures had sold and a several of the matted pieces. It is pretty fun to find a good composition from the larger piece just will not work!

Barb Stachow
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My daughter came over and looked over one of my more recent paintings. It was still wet and what she suggested required a quick wipe. Can you believe when the paint smeared in the area of the board, I left it that way it actually helped the area in question.

Spencer Meagher
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Incredibly good article. Far too often I find I am guilty of sending out less than my best. An example would be the egg painting I just posted on my website www.spencermeagherfineart.com. It was late. I hadn't posted anything for my latest project for four days. I feel drive slipping. I didn't have time to set it aside to evaluate with a fresh eye. I wasn't satisfied with it, but I put it out there anyway. I'll be curious to see what my newsletter subscribers say. I hope they are kind.

Joanne Benson
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I just started reading "The Painter's Keys" and they discuss the very same thing in the first chapter. The author is a little more adamant about "burning" the bad stuff though. It was a good reinforcement about evaluating your work and only putting what you feel is your best work out there for the world to see.....

Tuva Stephens
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Interesting JoAnne that you talk about the author that recommended burning the work that was not successful. I heard of an artist that had a solo show in a nearby museum. He destroys every painting by burning them and uses the ashes to mix back into his new oil paints.

Michael Richardson
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It beggars belief that anyone should be impressed by those sort of antics. The paintings obviously can't speak for themselves or the "artist" would not need to resort to such means to get publicity. Mind you I suppose it did Jackson Pollock no harm to pee in Peggy Guggenheims fireplace when she was paying too much attention to the rest of her guests!

Joanne Benson
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Tuva, I guess that's his MO....perhaps it gives him some kind of connection from one piece to the next....who knows...It makes for interesting conversation anyway! And people like that....

Jennifer Moore
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You know, I didn't used to be a wiper, but now that I've read this post, something inside my head has "clicked."

Back in the 80s and 90s, I was very prolific. I created a LOT of paintings and drawings and other works of art.

Currently, I have 2 of my paintings from the 90s up in my online shop. I really, really liked one of them, and the other one I thought was just quirky enough to garner some interest. Now, the more I think about it, the more I realize those were not my best work, so I will be removing them.

It leads me to another question, though: Why was I so quick to offer these two paintings for sale, yet I have yet to offer even prints of my other, better work? That lends me MUCH food for thought!

I went through a period of about 10 years where I was making art, but now I am again. Paintings take me forever to finish, but I am definitely approaching my work (whether I intend to sell it or not) with a different set of expectations.

This is a great article and has given me an idea for my next blog post!

matt smith
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Wilson Hurley once said "A beginning artists only saving grace is they don't know how bad they really are". It may be a tough thing to acknowledge, but if you think about it you'll have to agree. If I only knew then what I know now I would have scraped off more of those earlier paintings. Unfortunatly, I didn't, so I'll accept them as where I was at the time and push on.

As artists WE have to be the final word as to whether our work hits the mark or not. If we allowed others to make that decision for us we would let everything out because there would always be someone to take it, someone who thought it was "good enough". Be critical of all your work, and everyone elses too, and you will see your painting improve more quickly.

You will be known for your overall body of work. So don't worry if, by mistake, you wipe a few too many off. The world won't miss them, unless of course, you think your work is on par with Sorollas. So celebrate the process and continue to do your best when at the easel.

Thanks to Keith for the kind thoughts and I'm happy to hear that my "attention grabbing practice" of not allowing inferior work to live on made an impression on him.

By the way, if you're going to sand down old paintings consider wet sanding them (give them a coat of terpentine or mineral spirits) so the dry pigment won't 'dust up' allowing you to breath it in. It's the pigment (powdered color) in our paint that is so toxic because much of it contains heavy metals like cadmium, cobalt, magnezium and lead.

Esther J. Williams
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Matt, so good of you to chime in. I have a question about sanding, what brand or model do you recommend? I have some dried, thick brushstroke paintings on linen that I want to sand. I don`t want to cut up or burn up a good size piece of linen. What type of sand paper, coarse, medium or fine grit? I do not own a drill, so any advice is extremely helpful to me. I tried the diamond sanding cloth and it`s hard to hand sand thick oil paintings. You are right, I would stand back as far as I could to avoid the lead filled dust that flew everywhere. A mask would help in the future. Thanks for you help!

Helen Horn Musser
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Thanks Matt, sanding is no longer an option. You're a master; we will set at your feet. Thank you for sharing with us today

Debra LePage
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Agree with Matt-that we have the final word. Thank you for your input and to all who posted here!

Keith Bond
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For those who wish to paint over old paintings: oil paint becomes more transparent over time. Over the course of a couple decades, you may have a ghost image beneath the new painting. I don't have personal experience. I have only read about it. Something to consider.

Helen Horn Musser
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Keith, I never would have known this if you had not mentioned it. Would this be true for paintings created with glazing?

Helen Horn Musser
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Keith, My last painting, Wild, Wild West was created with an underpainting of acrylic and then glazing with oils.Will the underpainting eventually show through?

Keith Bond
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Helen,
I am not an expert in this area. It is only something that I had read. If I come accross more complete info I will pass it on.

I remember seeing an old image of Sargent's Madame X which shows a ghost image of the original fallen strap which had been changed to be less scandelous. I beleave restoration has hidden the ghost image again.

One last thought, sometimes the images underneath can work to your advantage. Sometimes not.

Helen Horn Musser
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Thank you Keith, this is very helpful and hopefully you will hear more about this. A fallen strap is scandelous! Wonder what Sargent would think about Wild, Wild West? Or other beautiful nudes painted today. I quess that was another time and place for artists.

Helen Horn Musser
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The lady in Wild, Wild West is not a nude but, scantily dressed.

Helen Horn Musser
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Thank you, thank you Keith, very valuable information

Jeff Brimley
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This reminds me of a comment Norman Rockwell once said, "If you're ever in the presence of a mistake. Get down on your knees and thank the Lord for it." He went on and spoke about some of his greatest breakthroughs came as the result of a mistake.

Helen Horn Musser
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Yes, Jeff, seeing a mistake is the beginning of correction

Tuva Stephens
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About an hour ago I had just finished photographing a completed work, I knocked over my clear soda onto the watercolor painting. I became "the blotter" not the "wiper". I think I actually improved the background where the spill occurred!

sue Martin
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Tuva, I love your positive attitude...make the best of the mistake!

Tom Weinkle
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right sue...but definitely no more âdrinkingâ and photographing at the same time for Tuva.... dangerous.

Helen Horn Musser
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Tom, You just hit my funny bone. LOL I'm glad it turned out to be happy accident, Tuva

Tuva Stephens
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New rule: No food or drink near the framing area!

Tuva Stephens
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Tom that was funny! You have to know me though! My husband just shook his head when I told him about the accident with the spill on my painting. Remember I am the one that broke the main bones in my ankle by falling down our flight of stairs while I was holding water containers in both hands. Who knew being an artist could be so dangerous! HOLD ON TO THE RAILING WHEN COME DOWN STEPS!...another rule.

Helen Horn Musser
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Tuva, Great stories today! Thank you fo r sharing

Judy Mudd
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Tuva, you give new meaning to "happy accidents". Sounds like it might be a good trend, though. May have to take up drinking and painting to improve my artwork! Definitely would loosen me up.

Judy Mudd
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Has anyone used one of those head contraptions with two beer cans and a hose to your mouth? It would free your hands up. Maybe keep from spills. :o)

Tuva Stephens
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I am picturing the head contraption with the beer cans and the hose to the mouth. Funny!

I use to tell my students in art...never give up on your art...problem solve and make that watercolor into a multimedia if you have to!

Tom Weinkle
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Tuva, I feel your pain. Although we are in a one-story home, I have often tried to carry too much to or from the studio, and dropping one thing only to break something else. More often than not, it has been something precious to my wife. I am trying to be more careful. for me it's about being patient, and not rushing, no matter how anxious I am to get back to the art.

Have a good (safe) one.










 

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