Richard
 

This is my first experiment painting in oil on Wallis sanded Pastel Paper. I have used the Wallis for many years for pastel work, and decided to try it out for oil, since my large oil-primed linen roll came to an abrupt end, without possiblity of replacement.

I learned very quickly that sable brushes get eaten up by the paper, but synthetic brushes do fine.

What I love about the surface is that you can lay down a rough, painterly stroke or get as smooth as you'd like, since there is no weave to contend with.

Richard, 18" x 14", oil on Wallis.

Here is the detail. I will take an extreme detail when I can get the painting in hand.

Chris I really like this, very dramatic.

Did you let any of the Wallis paper come through or cover it all like a canvas that had not be toned. Did you have to mount the paper on a gator foam or some kind of surface like a linen panel? I would love to hear how you came up with the idea to experiment with this. Okay, one last question - did you add any mediums to your oils?

:thumbsup:

Hi, Beth!

No, I covered the whole surface. The first layer really absorbed the paint (like a sponge), but once it was down, I had much more flexibility. When I get a few moments, I'll post a mini-demo.

I mounted the Wallis onto Masonite, just as I do my canvas (Demco glue http://www.demco.com , Masonite). That's only because I prefer a rigid surface. I don't think that would be necessary unless you were working quite large, or just preferred a mounted surface. I see that Tim at http://newtraditionsartpanels.com offers gatorboard-mounted Wallis paper.

There are two reasons I got started on this:

1. I ran out of my favorite linen and had no happy alternative waiting, and wouldn't you know, I had a desperate moment;

2. Kitty Wallis says that her paper is suitable for oils. When I was doing pastels, the Wallis paper was absolutely my first choice.

The second reason was a lot more important than the first. I don't know if you have ever contacted Kitty, but working as much as you do in pastel, you might have done so. She is a wonderful, friendly person, and a very fine painter as well. I think her paper is fantastic, and archival.

The only medium I used was Rob Howards' http://studioproducts.com Maroger, which as you know Bill W made us try, and without which I have not gone a single day.

I varnished this piece with Gamvar, but I have since mixed up a batch of Gamvar with a bit of beeswax, (which I learned here) and I think I will give it a final coat of the wax-softened goop.

Since this painting, finished about 4 months ago, I have completed about four more on the Wallis surface. It is a lot of fun.

Thank you for your interest. Best wishes,

A beautiful portrait, Chris. Great color harmony throughout.

I saw this piece hanging at Scottsdale Artists School, and was amazed at the detail you captured on such a small surface. !Excelente

Sincerely,

Beautiful as always! Love the depth of the eyes. He almost looks depressed, like he's lost someone.

I love this - great texture and his gaze just looks right through you.

What's the archival chance for the oils on sandpaper? It sounds as if there's no "gesso" layer, and so I wonder if the oils will eat the substrate. I hope I'm wrong 'cuz I love the idea of a substrate with bite but not the linen texture.

Linda

Tres Elegant!
 

Chris, very elegant, I think this is the best man's portrait I have seen you do. I love the shirt! The face is so painterly.

One reason I avoid men's portraits is I never want to paint a suit again. How did you get this fellow to pose in such a groovy shirt?.

Sincerely,

Beautifully done! He looks as if he was sculpted - a very strong piece indeed.

Very nice painting Chris! :thumbsup: I think this is your best work yet!

Renee

This piece has such strong impact -- like Enzie says: very sculptural! Gorgeous, Chris!

Everything that I would expect from a Chris Saper portrait. I love your book by the way.


Matthew

Very cool painting Chris. Which glue at Demco did you use? They have a good number of them.

Thank you, all.

Carl, I use the Demco NeutralBond. It is a permanent bond. I originally had a big jug of Miracle Muck, but switched some years ago to the Demco glue because the Demco is pH neutral. The people at Miracle Muck weren't exactly sure whether their product could be made pH neutral, but recommended I talk to a chemical lab...long story short, the chemical folks suggested something that sounded suspiciously like the stuff that was used in the Oklahoma bombing, and inquired about the type of safety facility in which I was planning to use this volatile substance. That did it for me.

However, I think that I may go back to the Muck. I like the idea of heat reversability. The Masonite gound isn't pH neutral anyway, do I'm not sure if I am operating on overkill or not.

Sharon,

He went for the shirt because I didn't give him a choice. And everyone out here wears these shirts all the time, so it's not an unusal Arizona thing,

Chris,
I read somewhere recently a fellow talked to the Muck people and they said the heat reversability was temporary in that after a certain period of time (less than a year if I remember it accurately) it was no longer reversable with heat. I did not pay further attention as at that point I decided against Muck. However, since It was read quickly in passing I may be mistaken. It would probably be a good idea to inquire about this before ordering a bunch of it (in case I do indeed have the correct information).

Thanks for the glue lead. :)

Chris, this is a wonderful painting with terrific wall presence. I love it!

Carl, I have both the Demco glue and Muck. It's been a while since I used either but I remember thinking that the Muck took a longer time than the Demco to "set", which is a good thing if you suddenly find a small hard clump of something betwixt linen and panel - you can peel off, remove irritant and reposition.

That's something worth considering, thank you Linda.

Chris, you have a rock solid strong painting as always!

Thanks for pioneering a whole new approach to painting supports. I am curious why the synthetic brushes hold up better. I just recently completely weaned myself from synthetic brushes because in general they don't hold up as well for me on linen.

Garth

Chris,

I've been meaning since the first day you posted to say that this is simply awesome. Sorry for the delay, but , wow, I'm just so impressed everytime I see this piece of work. Just absolutely gorgeous... Congratulations!

LInda

Wow!
 

Chris, I know this was posted a while ago but I have a lot of catching up to do, seeing what amazing talent is represented on the forum. I have to tell you this is a fabulous portrait.

Alex

Chris now that this has been bumped up... how would you feel about using the Wallis paper for workshops? Especially ones you travel long distances too?

Hey, I just saw this one!
 

Alex!

Syncronicity is everywhere! One high point of my first-ever visit out west, let alone Arizona, was the privilege of visiting Chris's studio over the weekend (WOW!) and I spied this lovely portrait up on her wall. What a treat Chris! (She is so sweet!). Of course, her portraits look even more stunning in life!

Garth

Garth, Thanks, but you are sweet, and much more stunning in life. I mean it, I really loved our visit. Photos to follow, except that I am presently on Long Island. ;)

Beth,

I love the Wallis paper with oil. Although I haven't considered it, I think it would be a really fun and eye-opening workshop experience. The surface is really unique, as are the results.

Alexandra, Thank you so very much.

I have been traveling the past few days and am just now catching up on all of my unread magazines..and loved your portrait!

Thanks, Chris, did you mean the one in IA magazine?

I'm curious to know whether painting on this sanded board is in any way similar to painting on masonite gesso board?