I have nothing against framers, they are often a necessity in our business. I feel that framing is best left to those who have a direct connection to where the work will eventually be installed. Sometimes that person is me. Regardless of where the work may end up, I want to make it as presentable and easy to display as possible at a cost I can afford. I create many of my paintings on flat panel and paper. For both presentation and protection I mount and mat my work for sale.

The main tools and materials that I use for matting are fairly easy to come by, but may take a bit of searching to find them. Craft or "Xacto" knives with plenty of replacement blades and a good cutting mat can easily be found at craft stores along with different types of board.  The acid free masking tapes, framers tape, or pre-glued canvas or bookbinding tape can be a bit more difficult to track down. I like to support my local businesses, but sometimes online retailers are the quickest, easiest way to find products.

There are four types of paintings that I mat. I'll start with the smallest and simplest, my "Plein Air Postcards." These are small enough that they don't need any backing material for support. I use acid-free masking on top and bottom. This tape is easily removable and doesn't leave much residue or discoloration. I figure these will be re-framed or used inside another mat. I don't sell them for much, so I don't want to decrease what little profit margin I have investing in extra materials that may just be tossed in the bin.

The challenge with my Polaroid paintings was in retaining the format while making them easy to frame and display. Since these were a photo format I use photo corners on a backing mat, then tape the mat to a larger mat. Since the inner mat has some weight to it I use framers tape on the top to ensure they won't slip or drop down after framing. Since the focus is the smaller painting I use a basic 600gsm Triplex board with straight cut edges for the exterior mat. The interior mat is an inexpensive 1.5mm "Duet" board.

Anything on A5 sized paper or larger requires some kind of backing support. If I were framing these it wouldn't be an issue, but at "in person" venues I offer these for sale in a plastic sleeve. These usually have a standard mat board with good thickness and a beveled edge (requires an angle cutter) since it sits right up against the painting. I tape the top to the outside mat with framers tape. The backing board is hinged with a bookbinding or canvas tape or good adhesive acid free masking tape.

Finally there are my small panels. The issue with these is the thickness of the panel. I start by determining what size my outer mat will be. Then I use foam board that is relatively similar to the panel thickness and cut it to the same size as the outer mat. Then I position the panel on the foam, cut around the panel, and insert  it into the opening. It's usually pretty snug, but I'd hate to see it pop out at an inopportune time so I tape it for good measure. Finally, I use a thin double sided tape to attach the foam to the outer mat.

I first needed to find a paper that wouldn't buckle or warp. I chose some high end papers, including some pre-primed, but found that many of them still buckled after paint was applied even when taped down and re-primed with quality gesso. The paper that responded the best was a standard 300gsm watercolor paper. It was a less expensive and accepted primer well, but it still showed signs of warping. To solve this problem I turned to oil primer. The only type readily available and for a reasonable price was a wood primer from the local hardware store.

The wood oil primer soaked into the paper well without causing any buckling. I found I had to prime both sides to keep the paper from curling slightly. I initially used a small roller to apply the primer but found that a brush allowed me to work the primer into the paper more thoroughly. To clean the brush thoroughly you need to use turpentine (use mineral turp, not your good distilled artist's grade). It's a messy process, overall, so I  have a priming day where I lay out sheets of the watercolor paper and small panels and get a bunch done at once.

I found that the wood oil primer worked well on many paper types. At on point I started recycling thicker paper from cereal boxes and other products that used unwaxed paper around 300gsm. Some of these papers are so sturdy I could apply the primer to one side with no buckling or curling. I no longer use these, but they are good in a pinch. After priming with oil I apply gesso and cut the paper down to whatever size I need.

​If I hired someone to represent me at a gallery show I would be offended if that person directed patrons to the prints instead of selling the paintings that were on the wall - yet I did this to myself thinking I was creating more opportunities for my patrons to own art. Truth was that the prints I was offering did not even come close to replicating the intensity or immediacy of my paintings, the vibrant colors, the tactile qualities.

​It was understood to me, early on in my development as a painter, that the use of solvent for oil painting was non-negotiable. My high school art teacher used the phrase “No turn, no slurp” stating, in effect, that you wouldn’t be painting with oils that day if you didn’t have turpentine available (we used synthetic odorless Turpenoid in class). During a pandemic fueled extended lockdown period in 2020 my painting production tripled. I used more paint and, therefore, more solvent. I was using top quality Rosemary brushes and was shocked at the rate the brushes deteriorated. With more painting, cleaning, and paintings drying, the smell of solvent was ever present in my studio and I decided the solvent had to go. With all these paintings drying at once, solvent can become a real air quality issue.

Frequently used solvents in oil painting.. New brushes compared with a 3 month old set worn away by solvent and swishing against the tank.

The solvent tank setup of the past.

​I began to research methods of oil painting that did not require solvents and was surprised at the vast amount of information available on the subject. The best source of information for me became the artists I followed on LinkedIn and Instagram who were able to provide me with solutions that they were actively implementing.

​The first thing to change was getting rid of my brush cleaning solvent tank. I began to use terpenoid natural, a non-toxic non-flammable ‘oils-based’ solvent, to clean brushes. I then used it with paints to some satisfaction, but moved on to experimenting with water mixable oils that I found really required a separate gel to work most effectively.

Water soluble oils can be a good choice. But, the gel (the blue tube in the photo) didn't create the flow I desired and water alone can create a sticky mess,

Painting of "Emma" with translucency created through the use of additional safflower oil as the main medium.

​Since kicking the solvent I have experienced a shift in my personal practice. I decided to try pure painting oils with no added driers or thickeners. At that time I was using more paint and applying it thickly to achieve a “juicy” texture. I found it difficult to maintain the thick texture but decided to just “go with it.” I really enjoyed the transparency that can occur, allowing a ground color blend or a more intense paint color to show through. My paintings began to achieve a loose, painterly feel and previously elusive brushstroke textures began to emerge.

​In the end, after trying different oils like Walnut, Linseed, and Poppy, I found pure high-linoleic Safflower oil suited me and my Alla Prima painting style best and I now use it for both cleaning and painting. It requires me to squeeze the paint from my brushes and clean them a bit with the oil after each session, and to completely clear and wipe down my palette every couple days or so. For me the extra time and effort are more than worth the money saved and health gained.

A few of the choices to replace the harsher solvents.

​As my painting production has grown, so has my need for a system that would provide temporary storage and help me organize and streamline my process. A simple and inexpensive solution that has worked for me is to add wooden pegs to pre-existing shelving.  The pegs are spaced to allow room for panels and boxed canvas and can be removed. I could drill and install new pegs where needed.

I generally work upwards with prepped substrates at the bottom to works in progress and finished (and still drying) pieces at the top. Since I already owned the shelving, drill, and correct sized drill bit, the project only cost me around $4 USD for a small box of 100 pegs. ​​

It is important to have a dedicated space to work that provides a place to safely store your art and supplies, has good lighting, and is free of distractions. The space should be attractive to you, but not so much so that the view continuously pulls you away from your art or its calm, peacefulness lulls you to sleep. It should be a space that provides the energy you need to create. Ensure that bathroom facilities are nearby and provide yourself with a hot pot, tea, coffee, snacks, or anything else that will satisfy your urge to "pause" work and exit your studio space. Sometimes a small trip to the kitchen, café, or store can result in lost production time. Just munch a few snacks and power through that problem area (always an issue)- you'll be glad you did.

Special considerations will need to be taken for large work or a messy style of painting where you might be, say, throwing or splattering paint. In general, you don’t need a particularly large space and it should be one that is not too far removed from your normal daily activities. If you require the use of a large studio easel, keep in mind that the ceiling height will determine the base height of your painting. You will be able to use the entire size capacity of the easel, but the base level of your painting may be below the level of a chair and you'll have to work on it while seated on the floor or bent over. Keep in mind, though, that studio easels can be used in a vertical and horizontal position. If you are a particularly messy painter you can place cardboard on the floor or walls and tape it together to form a protective layer. Interlocking foam squares can also provide an easily removable layer and some added cushion, but can make rolling furniture more difficult.

A mobile setup may be appropriate, but should not take a lengthy amount of time to set up. Having all of your studio equipment on caster wheels will allow you to position your studio for the best light, accommodate size or special project issues, or move your furniture to a different room entirely without having to unload all of your paints or tools. At least two of the wheels should lock in place to prevent movement while you are working, Small plein air or box easels help keep all your tools and paints in one place to make setup quick and easy.

When working in oils, the paint can take a few days to dry. You’ll want to ensure that your work is kept in a space that keeps it safe from unwanted handling or accidental contact that could set you back or completely ruin your efforts. Shelving and storage bins can be modified to store your work effectively

Good lighting is very important. Floor lamps or clip lights can provide good fill light, but natural light is best (and less expensive!) If you know that your work will be viewed in a specific type of light be sure to use this type of light while creating or viewing your work. For example, if your work is geared toward corporate business environments or retail it will most likely be viewed under fluorescent light which casts a blue hue.

Studio Setup First you will need a space to paint. You can create a mobile setup, so this may equate to multiple spaces, but you will need somewhere dedicated to your work where there is little distraction. In the same room as the television is an example of somewhere that is not conducive to painting. Look for someplace that is out of the general flow of traffic where you can set up a table or easel with a chair and good lighting. A well ventilated area is not needed unless using solvents (which are not necessary).

Paints ​You’ll need at least three primary colors in Blue, Red, and Yellow along with White. All colors can be created from just these three colors. White is necessary for creating lighter tints of the colors. Once again, start on the inexpensive end and work up. Student grade paints may substitute inferior color pigments (cheaper) that are more prone to fading when exposed ultraviolet light, but they are great for learning and experimentation. Upgrade to artist quality for those heirloom paintings that you want to stick around for generations.

Brushes ​You’ll need a brush or brushes to apply your paints.  Your brushes can be flat tipped, rounded (filberts), or round (like a barrel). They can have long or sort handles and bristles that are soft or stiff, long or short, or synthetic or natural. If you are just starting out, purchase brushed that are inexpensive but good quality enough that the bristles don’t fall out. Purchase a variety of types and experiment to see which you prefer. Upgrade to the 'better' brushes once you've established a preference. Be wary of the specialty brushes, like "fan" brushes that are really only used to make specialty marks. Buy them only if you have a need for them.

Palette and Paint Mixing/Scraping Tool ​You’ll need something to mix your paints on. This could be a palette specially made for this or something that is smooth and easily scraped, wiped, and cleaned, like a large, flat plastic container or sturdy piece of glass (tape the edges!). You'll also need something with which to mix the paint if you intend to mix colors together before applying them to your substrate. A palette knife can do double duty as a mixer and scraper. Plastic or metal razor blades scraping tools can make the palette cleaning process easier. Dab a paper or fiber towel in either painting oil or light solvent to give your palette a final wipe down.

Easels ​You’ll’ need someplace or thing to set or hold your painting while working on it, such as an easel, stand, or wall mounted space. If your painting is small you can hold it in your hands while working on it but at some point it will become difficult to handle your work without destroying what you’ve already created and getting paint all over yourself. A small portable easel may serve you well. For larger work a full studio easel may be necessary. You can mount large works to a wall if you have a space that can accommodate the size and a wall that you don't mind splattered with paint.

Clean up ​You’ll need items for clean up such as paper towels, soap, and hot water, (preferably). If you are working with modest sums of paint, a simple dish soap may be all you need. Soaps manufactured specifically for oil painting can condition as well as clean your brushes and hands. Solvent is not necessary, but may be a far more viable option when working with large amounts of paint.

Substrates You’ll need some type of substrate to paint on, such as paper, canvas, or panel. You can buy pre-stretched canvas on thin (regular) or thick ("Box or"Gallery") frames. Panels are sold flat or cradled (framed edge)  with either a smooth or canvas surface. Fiber paper board with a canvas surface ("canvas board") is a low cost alternative. Oil-primed paper or watercolor paper (taped down and primed) is the most cost effective option when just starting out. When you purchase substrates made to paint on they are usually "primed" with a white or black surface that the paint will easily adhere to. Primer can be purchased separately.

Upon returning from PAFA to the Seattle area I was focused on setting up a studio so I could get back to work. This is one of the paintings to come out of that studio and is the first painting I created representing someone whom I disliked at the time. Ex-lovers are always a point of contention. Long story short I agreed to create it by special request - I’ll leave it at that. ​ ​I found it difficult to even begin and had no vision for what I wanted the finished work to look like. A previous work I created at PAFA, “Obscured,” used multiple layers of canvas and thickly applied paint to create the image. I was intrigued by an idea that came about during the creation of that piece when it was suggested to me that I could use “pieces of paint” instead of “smearing it across the canvas.”

“Long Gone Days” 4’ X 4' Acrylic and Oil on canvas. 2003