Since there’s been discussion regarding blending, I took this photo to show how I attempt to create a gradient with casein. What you see is the first layer of sky painted on a toned Claybord panel (toned with 6 coats of Venetian Red casein and allowed to dry for at least 2 weeks), my palette (which at this stage is left over from the previous painting – I’ll recharge it later as this painting develops) and two puddles that I’ve used to create the start of the sky gradient.

It will take four layers to finally achieve the look that satisfies me. That means that the final sky has been painted four times – using eight puddles – four of dark blue and four of pale yellow. For this ‘puddle work’ I often take the panel horizontal and work over the piece – rotating it to randomize the brushwork and to create smoother transitions. With casein, the blending is never perfect and I’ve learned to be content with the nature of the medium – and with the direct way I like to work.

Again, C & C welcome!

– Mary

Thank you, Harold!

There is some lifting of the Venetian red – even after letting it cure for 2 weeks. But it’s one of the colors on my palette and the lifting is more or less intentional – and certainly anticipated.

Deciding on the best support for casein seems to be a very personal thing. I’ve tried shellacked Baltic birch plywood, Crescent cold pressed watercolor board, watercolor paper, Artefex aluminum composite panel, True Gesso hand made panels and Claybord. There’s balance that needs to be struck between how you like to paint and how you would like the work to be presented. Cost and time come into the equation too. For various reasons, I’ve been settling on toned Claybord. But I may still paint on watercolor board for my plein air work – and then frame that under glass. We’ll see when the weather warms up and I can try one of these Claybord panels outside.

Thanks again for your comment!

– Mary

Thanks, Harold and Aba!

The brushes I usually use are Richeson’s Grey Matters and some from a packet I found at Michaels. The Michaels ones were supposed to be for my pochade box but I find they come in handy and are part of the usual mix now. My go-to brushes are my Grey Matters #10s. I’ve got two and have labeled them ‘cool’ and ‘warm’ – and they stay that way until I get absorbed in the work – that is to say, not very long

The thin paint you see isn’t my usual approach – I only do the puddle thing when I’m working on a larger color field or gradient. I’ve attached another ‘in process’ photo (unfortunately, it keeps loading sideways – go figure!) – where I’ve charged the palette and have moved on to the landscape part of the painting.

– Mary

I’ve been using the Grey Matters series for acrylics for about 5 months now. When I was painting outside, it was nice that they didn’t create major reflections. It’s a little thing but something I appreciate. After 5 months of almost daily use they do show some signs of wear. They’re a bit frayed at the ends – and I’ll probably replace them in a month or two. But for now they’re doing their job. The number 10 flats are actually the least frayed – which seems odd to me because I use them so much. I really like using a big brush (and on an 8″x10″ panel, #10 is big) to do most of the heavy lifting at first. Very first, though, is the #1 round Grey Matters acrylic. That’s what I use for the drawing in Yellow Ochre.

Hope this helps – thanks for asking!

– Mary