I breathe, therefore I paint.

I have been drawing, painting and creating of and on since I was 12 years old.
It’s something that I just have to do. It’s like taking a breath.
There’s no other way to explain it. I breathe, I paint, therefore I am.
I paint to discover what’s locked inside me. Maybe, just maybe it’s the mysteries of life.
Using color, light & shadow I create the moment, looking for the hidden colors & textures that make up an object.
Using what I see, my paintings start to come alive. It starts with a concept and continues
with the very first stroke. That life is the key that unlocks the mystery of what I am trying to perceive. I look deep within myself to capture the essence of a painting.
It's about the communication with the painting & the emotion that flows from me to the paper. 

The more I get know & feel about the subject matter the more the painting will come to life.
Sometimes I learn enough on a certain subject that another painting will eventually evolve from it.

"I've looked at life from both sides now,
From win and lose and still somehow
It's life's illusions I recall
I really don't know life at all." (Joni Mitchell)

The Red Door

As I was driving to a friends house, I saw this red door on a barn.There was something about the color of the door against the granite wall of the barn. It grabbed me emotionally and I just had to capture it in paint. I stopped the car and took a photograph to use as a reference. I painted it in my studio the first chance I got.
 
The Red Door
8 x 4
Medium - Gouache
$200.00 matted & framed
Frame size 8x12

www.bill-kassel.com

Using glycerin as a glaze

Did a little experimenting and learned something new while painting a new wildlife painting “Palm Warbler. I tried mixing glycerin using it as a medium with gouache and found out that you can do glazes over dried gouache. It gave it some punch and brightened up the colors. It also slows down the drying process and gives you more blending time. Definitely something I'll try again.

How to paint metallic objects

This was a study of painting brass, using gouache paint. The secret is all about light, dark and reflections that make an object appear metallic. It’s painting the darks & lights of the shadows and highlights that give it that metallic look. It’s not about painting a base color.

The first thing you have to do is forget that it is metal and just try to analyze the various colors that you see in the light middle and dark areas. You need to look into the light areas and dark  areas and try and decide what colors are there, and paint these. And remember painting is an interpretation not necessarily a photographic reproduction, you are allowed an artistic justice with the interpretation.

How to Mat Your Own Artwork and Prints

As a struggling artist, you've probably encountered the high costs of having your first pieces framed and matted. And if you're thinking about doing a show, you may be anxious about the costs associated with matting all of your art. Don’t let that scare you. All you need is a simple, inexpensive frame, and to learn to mat your own prints. With the right mat color you can make any piece of art a show piece.

Here is a list of materials you will need:

• a mat cutter
• a piece of acid-free matboard
• your frame
• a pencil
• a box cutter
• a straight edge ruler (metal)
• Metal T-square (optional)

Here are the steps:

1. Using the box cutter cut the size mat you need based on the size of your frame. If your frame came with a paper insert, that is a nice guide to use when cutting. From this point on always work from the back of your matboard so you don’t mark up the front of it.
2. I usually mat my artwork with the same size border all around. You could make the bottom border a little larger to give the piece visual weight. Mat borders should be a minimum of 2” wide.
3. On the back of your mat, draw lines with your pencil to mark where the window will be, extend the lines to the edge of the sheet, so you can see where the corners cross.
4. Line up your mat cutter on the guidelines you marked. Position the mat cutter so that the angled blade is pointing toward the center of the artwork. Overcut each corner by about 1/16" to ensure that you get a crisp, clean corner. Push hard enough to make sure your blade is cutting through to the front of the mat.
5. After you’ve cut all four sides, your window should just slip right out. Put your mat into your frame, and your artwork behind the mat. Repeat above if cutting a double matte. Adjust opening size to allow a minimum of a ¼” reveal. Using an archival double face tape to mount the 2 mats together. Then tape your artwork with a small piece of archival tape on the top side to the back of the mat. Do not tape all around. This allows the paper expansion and contraction do to humidity changes.
6. Place a backing into the frame to hold the mat in place, hold with framers points.
7. Now for a dust seal. This is simply a sheet of Kraft paper that is glued to the back side of the frame for protection.
8. Using d-rings to hold the picture wire, install them about 1/3 the way down from the top.  

9. The final step is to cut your hanging wire and twist it in place through the loop of the d-ring.

Self Portrait Study

This was an exercise in light & shadow. I also want to show that while painting white hair there are many colors making up the highlights & shadows. I used a watercolor medium with water to mix the right consistency of the paint. The more watercolor medium the slower the paint sets up giving ample time to blend the colors.
I used gouache on 140# Canson watercolor paper.

    Here is my best 'recipe' for flesh tone colors:
1. Titanium white
2. Cadmium Red Light
3. Cadmium Yellow Medium
4. Yellow Ochre
5. Burnt Sienna
6. Burnt Umber
7. Ultramarine Blue.
Also have Payne’s Gray on hand to darker tones
For light flesh tones use colors 1, 2, 3, and 5.
For medium flesh tones use 2, 3, 4 and 5.
For dark flesh tones use 2, 5, 6 and 7.
Don't waste your money buying ready-made, so-called flesh tints. Simply mix some white, yellow or golden ochre, and a strong red such as cadmium red. Keep the amount of red to a minimum to avoid going too pinkish. For darker tones, add some Payne's grey.

All you have to do is remember this-"Red, yellow, brown, and white-that is how you mix your skin tones right."

My Palette Colors

Here's the colors I use while painting.

Titanium White, Cadmium Yellow Light, Cadmium Orange, Yellow Ochre, Cadmium Red Light, Venetian Red, Violet, Cobalt Blue, Cerulean Blue, Phthalo Blue, Phthalo Green, Sap Green, Burnt Umber, Paynes Gray. This is the order in which I place the colors on my palette.  (Notice there is no black on my palette.) It is better to mix your own black (chromatic black), it will be much richer looking.  Black from the tube is just too black & will muddy the other colors. A chromatic black is created by mixing dark versions of other colors, typically a red and green or blue and red. (I also use Dr. P.H. Martin bleed proof white for the highlight areas.

Keep a spray bottle filled with water to keep your gouache paints moist.  I keep a small wet sponge inside my gouache palette when I'm not working with it.  Change your water container often. You might want to try using two water containers. Clean water keeps you colors vibrant and not muddy.

Creating symmetry and balance in your painting - January 19, 2015

First thing to remember is there are no clear cut rules. Creating symmetry and balance in paintings is basically an eye and gut instinct. Some things just look awkward. If it looks awkward it’s wrong. I feel an important rule is not to center the subject or squeezed it into a little corner.

There is a simple rule in contemporary painting composition known as the Rule of Thirds. This principle of composition has been used for centuries by painters, photographers and other artists. If you have a digital camera, a Rule of Thirds grid is built into many digital cameras and it can be turned on and viewed on the LCD.
Using this rule the main subject is placed off center, away from the middle of the frame. Giving a more dynamic and interesting feel.
Imagine two horizontal and two vertical lines trisecting an image with four intersecting points. You place your main subject where the lines intersect rather than centered in the frame.
Placing the horizon on an upper or lower line helps create a well-composed landscape. Placing a person where lines intersect vertically produces a more powerful interesting look.
A Rule of Thirds grid is built into some digital cameras. It can be turned on and viewed on the LCD.

To get the composition right it is important to do some thumbnail sketches first. Mapping out your composition ensures you can't go wrong.

My Thoughts on a Home Art Studio - January 16,2015

Art studios are very personal. They are as unique as the artists who work in them. All studios still need the same basic necessities. No matter what your personal tastes are.
The following is a list that contains the five “must-haves” geared toward a painter’s studio, but the majority of these suggestions will also work for any artist’s studio. For those  thinking about setting up a studio, here’s what you’ll need:

1. Work Surface

The work surface is the most essential part of your studio. Your work surface can be a traditional easel or it can drafting table or even a desk.
There are 2 main types of easels.
A-frame easels are good for smaller studios as they are able to fit snugly in the corner of a room, but they can limit the size and weight of canvas, board or watercolor paper you use.
H-frame easels are larger, heavier, and sturdier than most A-frames. They allow for bigger canvases and have forward-tilt and crank adjustments—which may be overkill for smaller studios, of course.

2. Storage space

Every artist needs space to store art supplies. Use a tackle box or even a set of plastic storage containers. Old bookcases or shelves make excellent storage, also.
You might also like to have a small table to hold your brushes and paints as you work.
Storage for finished paintings doesn’t need to be in your studio. Put them in another room of your house, or even on the walls.

3. Good lighting

Natural light is the best light to paint by, so pick a room with large windows on the north side of your studio that is the best choice. However if you don’t have large windows, or you want to paint at night, you still need the best lighting available.
Do NOT use incandescent lighting in your studio! Incandescent lights gives off a yellow glow that is not even close to natural color.
Color-corrected fluorescent lights – are much whiter and mimics natural light closely. Also, do not under any circumstance buy halogen bulbs. While great for photography they get every hot and can cause damage to your paint, your models, your props, and anything else in your studio.

4. Ventilation

Good ventilation is especially important for oil painters, it is also important if you are varnishing or spraying fixative, but even if you don’t deal with fumes every day, it’s great to have fresh air in your studio.
All you’ll need are a few windows with screens and a couple of cheap box fans to help circulate the air.

5. Running water

Clean up is always easiest when there’s running water in the studio or at least close by. It’s a great idea to keep paper towels, sponges, and other cleaning supplies close at hand.

This time paper was tinted with a gray blue background to get started

Also available at http://bill-kassel.com/original_art.htm
Tufted Titmouse - 13 x 7 - Gouache & watercolor
$375.00 - Matted & Framed

Williamsburg Still Life

 This painting was done on watercolor paper. I started out toning the paper with a wash of warm earth tone colors. Then followed that up with layers of gouache. I find this technique helps me push the color to new heights. Many artists that start with a white background has the tendency to keep their color values on the lighter side.

Now available at http://bill-kassel.com/original_art.htm
Williamsburg Still Life - 9 x 13 - Gouache & watercolor
$400.00 - Matted & Framed

Picking the Right Mat Color - November 20, 2012

Picking the Right Mat Color - November 20, 2012

 If you choose to use one mat, we suggest using a neutral color. Any neutral tone will enhance your art, but some will stand out and scream, "Pick me! Pick me!" so play with a few before simply going with White.

 If you plan on using a double mat, one way to go is to use a neutral color on top, and for the "reveal," (the inner mat closest to your artwork) punch up the color by matching the mat to a dominant color in the artwork. This high-contrast treatment will add new dimension to your presentation.

One of the most important aspects of custom framing is the selection of the mat.  Picking the right color is so important to the finished look.

The right colored mat can make your picture pop, bringing out the flattering tones and hues. The wrong colored mat can make your photo look washed out, discolored or bland. With a little forethought, you can select a mat that will completely complement your picture.  

Choose a selection of mat colors from the color group that achieves the look you want.  Select colors that complement or contrast well with the predominant color in the art and keep the frame in mind as well.

Lay the mats on your picture, one color at a time. Examine the picture for the tones and hues that the mat brings out. Notice how placing the photo on different colors in turn makes it look completely different. For example, a blue mat might bring out the blue eyes of a person in a close-up portrait, while a red mat might make some blotchy discolorations of that person’s skin look more prominent. Select a mat that makes the colors in the picture look natural and flattering.  Choose the color mat that looks best with your picture.

DIY: How to Mat Your Own Prints - November 29, 2012

As a struggling artist, you've probably encountered the high costs of having your first pieces framed and matted. And if you're thinking about doing a show, you may be anxious about the costs associated with matting all of your art. Don’t let that scare you. All you need is a simple, inexpensive frame, and to learn to mat your own prints. With the right mat color you can make any piece of art a show piece.

Here is a list of materials you will need:

• a mat cutter
• a piece of acid-free matboard
• your frame
• a pencil
• a box cutter
• a straight edge ruler (metal)
• Metal T-square (optional)

Here are the steps:

1. Using the box cutter cut the size mat you need based on the size of your frame. If your frame came with a paper insert, that is a nice guide to use when cutting. From this point on always work from the back of your matboard so you don’t mark up the front of it.
2. I always mat my artwork with the same size border all around. You could make the bottom border a little larger to give the piece visual weight. Mat borders should be a minimum of 2” wide.
3. On the back of your mat, draw lines with your pencil to mark where the window will be, extend the lines to the edge of the sheet, so you can see where the corners cross.
4. Line up your mat cutter on the guidelines you marked. Position the mat cutter so that the angled blade is pointing toward the center of the artwork. Overcut each corner by about 1/16" to ensure that you get a crisp, clean corner. Push hard enough to make sure your blade is cutting through to the front of the mat.
5. After you’ve cut all four sides, your window should just slip right out. Put your mat into your frame, and your artwork behind the mat. Repeat above if cutting a double matte. Adjust opening size to allow a minimum of a ¼” reveal. Using an archival double face tape to mount the 2 mats together. Then tape your artwork with a small piece of archival tape on the top side to the back of the mat. Do not tape all around. This allows the paper expansion and contraction do to humidity changes.
6. Place a backing into the frame to hold the mat in place, hold with framers points.
7. Now for a dust seal. This is simply a sheet of Kraft paper that is glued to the back side of the frame for protection.
8. Using d-rings to hold the picture wire, install them about 1/3 the way down from the top.  

9. The final step is to cut your hanging wire and twist it in place through the loop of the d-ring.

Brushes November 16, 2012 & Gouache: To varnish or not to varnish - November 19, 2012

Brushes
November 16, 2012

As far as brushes are concerned any brush that is suitable for watercolor can be used with Gouache. Depending on the technique used and the finish required. Sable brushes including synthetic sable are ideal. They are excellent in holding a large amount of paint. They have ability to point and to spring back into shape. This allows the artist to work fast and with more accuracy.
Bristle brushes such as hogs can also be used if a more expressive brush stroke is desired.

Gouache: To varnish or not to varnish - November 19, 2012 As a personal choice, I spray my finished art with Krylon workable fixative. I apply several coats of spray varnish. I feel it brings out the original brilliance as it look when the paint is wet and gives it an even finish. I also use the workable fixative while painting if I need to isolate an area so I can paint over it without re-activating the previous coat of paint.

Starting a painting with a toned background - January 12,2015

Toning the surface of paper, canvas, board, masonite is a very important part of the process of painting.  Not all artists like to paint on a white surface. It is done mixing paint with water for water soluble paint or turpentine for oil based , applying it with a cloth or brush. This way you can add a background color that not only gives a starting common color that helps unify the work, especially by leaving small patches of the background throughout the picture thus preventing other colors from becoming too dominant.  The most common toned background colors are earth tones. This practice also eliminates those distracting little white dots showing through the paint. These dots are particularly annoying in darker areas of your painting. Additionally, artists that paint on white background, have the tendency to paint in light values. The simple reason for that is color interaction. 

Welcome, I put together this page so I can share information about my paintings. Including info on the type of paint I use. Some techniques that I have tried etc.
I also talk about framing, matting, how to set up a studio and other tidbits that intrigue me. I hope you enjoy my site as much as I've enjoyed making it.


What is Gouache?

Gouache (pronounced gwash) is an opaque, water-based paint that is sold in tubes or jars.  It is a  type of paint consisting of pigment suspended in water. Gouache differs from watercolor in that the particles are larger, the ratio of pigment to water is much higher, and an additional inert white pigment such as chalk or zinc white is also present.  As with watercolor, Gum Arabic is also present as a binding agent. I have used Reeves, DaVinci and Windsor & Newton and find that all work well for me. Gouache dries quickly to a smooth, matte finish, however dark colors will dry lighter than they appear when wet, and light colors will dry darker.  Although you can paint one color on top of another and cover it completely, do this with care because gouache can develop cracks if applied too thick. If you have paint remaining on your palette you keep it for you next painting session. You can revive it by adding water to it.  I paint on a 140 lb. Arches cold press watercolor paper that I stretch. The paint will scuff easily, be damaged by water marks or your finger prints.  I have recently started spraying my finished paintings with a matte fixative.

5 Reasons Why Gouache Is Better Than Other Paints:

• Because it is more thick and opaque it is perfect for laying large areas of flat color.

• It is good for creating paintings where rich, deep tones are required.

• Light colors can be painted over dark without any hint of the underlying color showing through.

• It can be thinned down with water to give a translucency with is comparable to pure watercolor and is used
   the same way.

• The variety of surfaces available to paint on increases dramatically when using gouache compared
   to watercolor.

Why I paint

I paint for many reasons, but mainly because it makes me feel good.

As a kid I would draw & paint for hours. Went to Art School for Graphic Design and ended up working in the printing field. Along the way I stopped painting. After about 30 years I started painting again.

I don't paint on a regular basis, but try to as much as possible. When too much time passes, I get the urge to create, it’s like an addiction and I need to paint to feel satisfied.

 

 June 5. 2012  This was a quick study of one the Rangers at Camp Horseshoe.
 Medium - Gouache
 5x7
 140# Strathmore Watercolor paper








    


July 21, 2012  II met this wonderful older woman who was full of fun & character. I asked if I could take her picture because I wanted to do a painting of her. Here is the result of my painting. It took me about 7 hours to complete. I look for subjects that have a lot of character whether they are portraits or landscapes.
Size - 12 3/4 x 8 3/4 - Medium is Gouache on 140# Arches Watercolor Paper  

How to stretch watercolor paper

November 15, 2012

Stretching watercolor paper keeps it from buckling while you are painting on it. It is not necessary for 300-pound paper, but lesser weights of paper will immediately start buckling as soon as you add a wash to them. 300 pound paper is very expensive, so many watercolor artists buy 140- pound paper and stretch it to a hard surface.


You need a hard backing surface to stretch the paper to. I use gatorboard. Gatorboard is basically a super-thick piece of foam board. It's lightweight, easy to staple (and remove staples from), and doesn't mind getting soaked, so it's perfect for this purpose. 

Brushes
November 16, 2012

As far as brushes are concerned any brush that is suitable for watercolor can be used with Gouache. Depending on the technique used and the finish required. Sable brushes including synthetic sable are ideal. They are excellent in holding a large amount of paint. They have ability to point and to spring back into shape. This allows the artist to work fast and with more accuracy.
Bristle brushes such as hogs can also be used if a more expressive brush stroke is desired.

Gouache: To varnish or not to varnish - November 19, 2012 As a personal choice, I spray my finished art with Krylon workable fixative. I apply several coats of spray varnish. I feel it brings out the original brilliance as it look when the paint is wet and gives it an even finish. I also use the workable fixative while painting if I need to isolate an area so I can paint over it without re-activating the previous coat of paint.