Painting takes me in emotional cycles. Have you ever had moments of doubt where you plaque yourself with annoying questions such as, “Why am I painting?” or “Why bother?”. Those moments can strike at any time. I can be painting the best work of my life, have a steady flow of sales, and still come to those moments where I wonder if I really should be looking for that full time job. Every single one of my artist friends has come to those moments at various times in their lives too. Fortunately for them and me, it usually doesn’t last too long. All we need to do is check in with a fellow artist, whine a bit and tell them our thoughts, and we get the usual burst of laughter and a pat on the back. They take us lightly because we have all been there. Cycles are important. Each time I question why I am painting, I cycle back to a clearer more potent answer, and continue painting with revived fervor. Perseverance, I think, is the most important ingredient in success as a professional artist. Not to let those down times keep us from getting back in the saddle, and continuing to paint.

For those of you who were born before the 60’s, you must remember psychedelic trance-induced author Carlos Castaneda. I recently dusted off an oldie but goodie “A Separate Reality”, where I fell into a trance myself over a part where his guru/teacher Don Juan tells him that everyone has their own predilection. And this predilection is what each of us uses to “know”. Don Juan’s idea of knowing is more of an inner truth, a yearning to keep evolving, rather than an intellectual search. For instance, a fellow sorcerer in the book dances when he wants to learn a new truth… “and he dances with all he has when he wants to ‘know’.” Don Juan’s predilection is to “see” or use his eyes to glimpse alternative worlds. I love the idea of using your predilection to evolve by throwing yourself into it. That is when it hit me that painting is my predilection, my way or tool to evolve, to “know”.

While painting, and also involved in the business or career aspect of making a living as an artist, its easy to fall into the trap of thinking we are painting to create products. Or we try too hard to make something truly unique that will stand out in the crowd. I believe that a painting traces and records all our thoughts, aspirations, desires. If we think about the painting as a product for a specific market, and think about this obsessively while painting, the work may lose its spirit, and take on a restricted feel. If we try too hard to be different, the work may end up doing the opposite, by losing our individuality and soul.

I like using this idea from Castaneda, using the act of painting to evolve, to be a better person, to create in the larger sense. Perhaps some of this will rub off in the work and be an inspiration, not just another product.

A recent email inquiry regarding gold leaf and acrylic paint just came to me, so I thought I would share the question and my response for anyone else using this cool combo. By the way, my book “Acrylic Revolution” has a full step-by-step of this technique, but my response here adds a few hints. (Click here to order the book if interested, or use this link http://www.nancyreyner.com/book.htm)

Question:
Your website popped up after I googled “acrylic paint over gold leaf”. I am using a similar technique to yours but with very different imagery. My technique: rigid panels primed with sandable gesso, sand gesso to eliminate wood grain, gold leaf size, gold or copper leafing, then as many as 30 layers of acrylic glazes. Finish with multiple layers of acrylic gloss varnish. Here’s my dilemma: I accidentally dinged a finished piece down to the gesso level and I was able to peel the entire painting off the support! So now I’m disturbed about the integrity of my finished pieces.

Have you encountered this problem? How have you resolved it? Thanks for any info you care to share and I like your work very much!

Answer:
It sounds like you have an adhesion problem. But also, after you dinged the piece and were able to get a grip on the layers you pulled at it – so this can also create a problem. Sometimes layers can be stable in a painting, but if you get just the right grip and angle you can still pull them up. This doesn’t necessarily mean the layers are not stable.

But, here are some things you can do to help adhesion at 2 crucial points: the first layer of acrylic that touches the substrate, and the first layer of acrylic that touches the metal leaf.

(1) I don’t know whether your painting came off after the gesso or before, but here are some tips. When using a wood panel clean it with denatured alcohol to remove any grease. If the wood panel is very smooth lightly sand the surface to get a grit. Apply a thin layer of Golden’s Gesso (or another brand that is high quality meant for acrylic adhesion). The cheaper gessoes are OK for oil, but not acrylic. Now apply anything else you want – multiple layers of gesso are fine, but I wouldn’t water the gesso down too much (not more than 20% water).

(2) After you apply the leaf you need to apply a coat of something that will help the acrylic to adhere. In other words, acrylic will not adhere very well to metal without extra help. By using any clear glossy mineral spirit based acrylic in a layer between the metal leaf and acrylic you help adhesion. I like to use Golden’s Archival Varnish in a spray, or their MSA Varnish (same thing in a can that you can brush apply).

Also, if you apply the same archival varnish over the finished painting at the end it will help with dings.

Acrylic paintings need to fully dry for 2 weeks before wrapping them up. This 2 week period is crucial for curing the layers and during this time the painting should not get below 50 degrees, and should have air circulating around it.

I hope this helps.
If you have any more questions you can find great advice by calling Golden at 1-800959-6543 and asking for the tech department.