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Author: Carol L. Douglas

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Monday Morning Art School: what do you use for drawing?

For figure drawing, I prefer softer materials, primarily willow charcoal.

“I wonder if you can give me some tips on getting back into drawing,” a reader asked recently. She’s a retired professional artist, so she didn’t need help with the mechanics, just the materials.  “I only have those hard leads that I put in mechanical pencils.  I like drawing with a mechanical pencil and lead but I need leads that are much softer for the kinds of thing I might be drawing, along with the thinner lines I use now. I don’t like clumsy crayon-type of drawing or anything like that.  I am not at all interested in drawing with ink.”

“I also need a good quality sketching paper.  Later I might move into a higher-grade paper if I keep up with this kind of work.”

I always carry a sketchbook with me when painting, and I always start with a drawing.

Although this reader doesn’t need help with the mechanics of drawing, many of my students and readers do. I recommend Sketching from Square One to Trafalgar Square by Richard E. Scott. Drawing is a technical exercise, not a magic trick. Anyone can learn it.

These days, I do 99% of my drawing in a Strathmore Bristol Visual Journal with a #2 mechanical pencil, using my finger for a stump. I like the hard-press finish and can go off on watercolor or gouache tangents when I feel like it.

My winter mittens. I’ve been saved a world of boredom by always carring a sketchbook and #2 mechanical pencil with me.

But that’s not the kind of finish my reader is seeking. I’m never doing more than a quick sketch for a painting, or drawing in church. Neither need the depth of shading that better materials would supply.

I prefer mechanical pencils because they don’t need a sharpener and eraser. If that appeals, you can buy replacement leads in a variety of densities. These, however, are wider than the pencils one buys at Staples, so they require a matching lead holder, only some of which come with internal erasers.

That exceeds my tolerance for fuss. When I’m doing more finished pencil work, I use woodless pencils. They can be sharpened with a sandpaper pointer. If you like a bigger, bolder look, liquid charcoal and graphite blocks cover a lot of area quickly.

The animals in our annual church Christmas service suddenly came alive.

Another reader suggested I try Uni Mitsubishi Hi-Uni pencils for a traditional lead pencil that has satisfyingly smooth graphite. And there’s Blackwing, which a writer friend swears is the best pencil in the world. But since I don’t use traditional pencils, your suggestions would be helpful.

Good graphite deserves good paper. You could take a deep dive into a wove paper, but for everyday drawing, I rely on that old standby, Canson Mi-Tientes. It has a different surface on either side and comes in a plethora of colors.

Moving away from mechanical pencils means a good eraser. I use a Pentel stick eraser, but the softer the lead, the less precision you’ll need. I used kneaded erasers for years, but I’m finding them too gummy these days. The Koh-I-Noor Hardtmuth Soft Eraser is made of old-fashioned rubber.

Drawing in church leads to some priceless observations, including this teenage boy falling asleep.

And last but certainly not least, there’s the question of pencil sharpeners. I have several, including a wall-mounted one in my studio. None are as durable and reliable as the old metal ones from our school days. In the end, I find the simple, cheap, handheld metal ones where you can replace the blades to be the most reliable.

What products do you love for drawing, and why? Just remember to put your recommendations in the comments below, not on Facebook. That makes them universally accessible to readers from any platform.

This page contains affiliate links for some but not all products. If you choose to make a purchase after clicking a link, I may receive a commission at no additional cost to you. Thank you for your support!

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The last fun time

Iris Blossoms, by Peter Yesis, courtesy of the artist.

On March 6, 2020, Peter Yesis had an opening at the Picker Room of the Camden Public Library. That night, Ken DeWaard introduced us to the elbow bump, which was supposed to replace handshakes and hugs and keep us safe from this new disease from China. It was a dark winter’s night and we were a party of close friends. We laughed and joked and practiced bumping elbows. I wasn’t overly worried; we’d seen this with SARS and Ebola-a whole lot of fuss over nothing.

I flew off to Argentina with my pal Jane Chapin and all hell broke loose (proving that I can’t leave you kids alone for fifteen minutes). Among the first casualties was Peter’s solo show-closed down a day after it opened. After that, we weren’t bumping elbows; we weren’t even allowed in the same room. The library shut down all art shows for the foreseeable future.

A Clear Day, by Peter Yesis, courtesy of the artist.

An abrupt closure is painful for an artist, since we work for a year or more for the materials for a one-month show. The library staff understands this; they offered Peter a reprise date in November, 2021, when life had begun its slow, sluggish return to normalcy.

Cellar Dweller, by Peter Yesis, courtesy of the artist.

Unfortunately, life intervened in another cruel way. Peter was slammed by cancer. He was in the depths of treatment and in no condition to be hawking paintings.

But today he is in remission, and we’re all celebrating with another opening. Let Peter’s annus horribilis end, and let this be the start of his annus mirabilis.

Light on the Water, by Peter Yesis, courtesy of the artist.

Every Canvas Has a Story opens this Saturday, Nov. 5th, from 3:30 PM to 5:30 PM. Enter on the Atlantic Avenue side of the Camden Library; there’s ample parking on the street and in the library lot. The show will be up for the month of November, but I always encourage people to show up for the party.

Still Waters, by Peter Yesis, courtesy of the artist.

Peter’s wife, Kim Yesis, will also be giving a book talk on Tuesday, Nov. 29th at 6:30 PM. She’s the author of Side by Side: Tales from Behind the Canvas. It talks about Peter’s decision to give up engineering for painting. They were in early middle age, which for people with children is a terribly expensive phase of life. Come ask Kim why she didn’t just kill him for the insurance money.

Tried and true, by Peter Yesis, courtesy of the artist.

Peter’s a crackerjack painter; for example, there is nobody around who paints flowers so well. I’m so glad to see him back up and punching his full weight. The paintings in this show are beautiful, and I encourage you to come out and see them in person.

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Does surrealism work in painting?

Winter Lambing, 48X36, oil on linen, $6231 framed.

I slept through most of Halloween, meaning I missed one of America’s key spending holidays. My fellow citizens were expected to lay out more than $10 billion on—what, exactly? Candy? Fake spider webs?

“When you think of it, all the world's great stories have an element of the supernatural,” my student Mark Gale told me recently.

Ravening Wolves, oil on canvas, 24X30, $3478

It’s a thesis I’ve tested against my own taste in literature. It’s there in the Homeric epics, where the gods intervene in human affairs in very human ways. All the books of the Bible are about relationship between God and man. Dante’s Divine Comedy is a fantasy about cosmic justice. Charles Dickens and Anthony Trollope wrote within the Victorian understanding that God is ever-present. Kurt Vonnegut (if you didn’t read him at 20, you had no heart) was an atheist, but wrote in the supernatural. Haruki Murakami is a modern-day shaman. Even dystopian novels like Nineteen Eighty-Four and Brave New World are about malign power beyond the merely human.

Apparently, contemporary readers feel the same about magical realism. Fantasy literature is one of the great successes of modern bookselling.

The Harvest is Plenty, 30X40, oil on linen, $6231 framed.

The supernatural, in the form of religious painting, is the foundation of western art. We invented painting largely to explain the Bible. Now that almost everyone reads, religious art no longer serves that purpose. But we can see its power in works like the Ghent Altarpiece.

However, magical realism never made the leap to modern painting. Surrealism was a minor mid-century phenomenon that was rendered superfluous by moving pictures. Giorgio de Chirico and Salvador Dali were probably its greatest practitioners, but neither had any profound impact on art history. Surrealism lives on in the work of Frida Kahlo, but Fridamania is probably more a cult than an art movement.

This is a disconnect I feel strongly. I’ve been a Christian convert for about thirty years. You’d think I could express that through art. However, I’ve had little success. The exception was a series of paintings I did for a solo show called God+Man at Roberts Wesleyan’s Davison Gallery in 2014. It was hardly a cutting-edge idea or treatment, even if the paintings themselves are good.

All flesh is as grass, 30X40, oil on linen, $6231 framed.

Part of that is the crushing weight of sixteen centuries of great religious art. There is nothing that I can say about the stories of the Bible that hasn’t already been said by hands and minds trained to the task.

I’ve argued that this is enough; that in Creation we see God. But that’s starting to feel like an insufficient argument. Is landscape enough? If not, how does an artist start insinuating his or her higher thoughts into the work?

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Monday Morning Art School: Four masters show us how to use scale

A Bar at the Folies-Bergère, Édouard Manet, 1882, courtesy the Courtauld

We don’t know why prehistoric man created the 360 ft.-long prehistoric Uffington White Horse in Britain, but every generation is both amazed and moved by it. Conversely, miniatures dazzle us with their meticulous craftsmanship. In very large or very small works, we’re immediately transported out of the ordinary. That is why The Heart of the Andes by Frederic Edwin Church must be seen in person—the scope is lost in photos.

The scale of the figures within a painting can make its message more powerful. Here, four masters show us how it’s done.

Wanderer above the Sea of Fog, Caspar David Friedrich, c. 1817, courtesy Hamburger Kunsthalle

Wanderer above the Sea of Fog is by the great German Romantic painter Caspar David Friedrich. He doesn’t spell out the identity of the model; in fact, the man is turned away from the viewer. He is an Everyman with whom we are meant to identify. He is centered in the canvas (saved from being static by the S-curve of his body) and is larger than the landscape itself. Friedrich wants us to focus on our human responses and not the landscape itself, as symbolic of uncertainty as it is.

A Sunday Afternoon on the Island of La Grande Jatte, Georges Seurat, 1884-1886, courtesy Art Institute of Chicago

A Sunday Afternoon on the Island of La Grande Jatte by Georges Seurat is one of the most famous paintings in art history. It’s the seminal work of Neo-Impressionism. It was birthed with some difficulty, as Seurat labored over it for three years. Observe the scale of the figures. They range from the monumental couple on the right with their weird little monkey to the distant figures in the background. Using figures of various sizes, Seurat deftly created depth without atmospherics or modeling. Compare this painting to its companion piece, Bathers at Asnières, which takes a more conventional approach to creating depth.

The Oxbow: View from Mount Holyoke, Northampton, Massachusetts, after a Thunderstorm, Thomas Cole, 1836, courtesy Metropolitan Museum of Art

Many Hudson River School paintings are sermons on canvas, and Thomas Cole’s The Oxbow: View from Mount Holyoke, Northampton, Massachusetts, after a Thunderstorm is no exception. You are meant to see the American landscape as an Arcadia where man and nature live in harmony. There’s also nascent American myth here, celebrating our story of discovery, exploration and settlement just as they began to fade into history. Cole hammers this home with the Hebrew lettering in the logging clearcut. It spells either “Noah” or “Shaddai” (the Almighty) depending on whether you’re reading it right-side-up or from the God’s-eye-view.

Cole painted himself into The Oxbow. He’s so tiny it will take you a moment to find him. Look in the ravine to the left of his kit and umbrella. By making himself so small he drives home the point that we are mere specks in Creation.

Much has been written about the ‘impossibility’ of the reflections in Édouard Manet’s A Bar at the Folies-Bergère (at top). The gentleman at the far right is enigmatic; he’s both transactional and nightmarish. Note the feet of the trapeze artist at the far left and the Bass Pale Ale bottle, which hasn’t changed in 140 years.

The barmaid’s face is life-size, and she is assessing us straight-on. Whether we’re looking at exhaustion, sadness, or resignation is hard to say. By making her life-size, Manet hammers home the power of her straightforward gaze. This painting isn’t just a mirror in a bar; it’s a mirror on our own souls.

Manet was dying of syphilis when he painted this, suffering severe pain and paralysis. Controversy has raged about the identity and character of the model, known only as Suzon. That hardly matters, because what we see in her eyes is a reflection of Manet’s, and by extension, our, thoughts.

If you’ve ever thought about taking one of my workshops aboard schooner American Eagle, here’s a lovely account from writer Georgette Diamandi, who joined us this past September.

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Okay, now it’s your turn to be the jury… you pick.

Dome of Light, 9X12, Carol L. Douglas, $869

I have completed eight paintings for this event, seven of which are in this blog post. By 9 AM Sedona-time (noon on the East Coast) I have to narrow it down to three for judges John Caggiano and Susan Lynn to view. We’re essentially pre-filtering; it’s far more difficult for a juror to filter through 300 paintings to determine what he or she likes.

River Light, 11X14, Carol L. Douglas, $1087

This is, for some of us, the hardest part of the event, so I’m turning it over to you. Think in terms of formal criticism, including:

  • Focal point
  • Line
  • Value
  • Color
  • Balance
  • Shape and form
  • Rhythm and movement

Crescent Moon, Dawn, 9X12, Carol L. Douglas, $869

Then ask yourself, “Does this painting move me?”

The photo quality isn’t the greatest; I took these indoors. But there’s enough information there for you to see the fundamental structure.

Let me know your answers in the comments below.

Cypresses and Sunlight, 11X14, Carol L. Douglas, $1087

Persistent clouds along the Upper Wash, 11X14, Carol L. Douglas, $1087

Sunrise, 8X16, Carol L. Douglas, $903

Sunset, 8X16, Carol L. Douglas, $903

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Moving in with strangers

River Light, 11X14, oil on canvasboard, Carol L. Douglas, $1087, available through Sedona Arts Center.

Host housing is an imperative on the plein air circuit; buying a hotel room for ten days in a town like Sedona would wipe out any profit from the gig (and anyone playing at this level is in it for the money). But it’s difficult to show up at a stranger’s house, drop your paint-stained luggage in their entryway, and ask to be shown their guest room. Amazingly, it seems to work.

Earlier this month at Cape Ann Plein Air, I gamed the system by asking to stay with Rae O’Shea. I’d never met Rae in person, but we have a mutual friend in Jane Chapin and we’ve been Facebook friends for years. We’re both Anglophiles, so with the recent death of Queen Elizabeth we had a lot to talk about. Even with that, it was a little tough to pull into Rae’s driveway and announce, “Honey, I’m home!”

Sunrise, 8X16, oil on linenboard, Carol L. Douglas, $903, available through Sedona Arts Center.

I met Jane Chapin when she was my host for Santa Fe Plein Air Fiesta. I think she had six artists staying with her; wisely, her husband was elsewhere that week. As there is no cell service in the Santa Fe wilderness, we were frequently draped over her furniture, using her internet. Amazingly, she not only tolerated me then, we’ve become fast friends. We went to Patagonia together, where we were stranded at the start of COVID. There we developed giardiasis (so-called Beaver Fever). “Friends that suffer unremitting diarrhea together, stay together,” I always say.

Lisa BurgerLentz and I once shared an austere but beautifully-sited summer cottage at an event. It wasn’t being used by the owner, perhaps because it didn’t have potable water. We’d been warned; we were careful; we still managed to catch Beaver Fever. While I like extreme plein air painting, it can be tough on the gut.

Sunset, 8X16, oil on linenboard, Carol L. Douglas, $903, available through Sedona Arts Center.

My all-time favorite billet was a tiny cabin in the deep northern woods by a lake. There was an outhouse and an outdoor shower and I slept in a loft. I could have cooked as there was a propane stove, but as usual I made do with sandwiches.

Like most of us, I’m a creature of habit. I’m early to bed and early to rise; I don’t eat out, and I don’t watch television or movies. After a day interacting with strangers, I want to crawl into a hole to read. Depending on my hosts’ habits that can make me either a fabulous guest or a terrible one.

Cypresses and Sunlight, Carol L. Douglas, 14X18, oil on canvasboard, available through Sedona Arts Center.

This week I’m billeted with a lovely couple named Deb and Lisa at a luxurious home overlooking Sedona. Casey Cheuvront is also staying here, but she’s on another floor entirely. We could—if we chose—meet only by appointment. There’s a heated pool, a hot tub, and a gourmet kitchen. That last is completely wasted on me, but I have taken advantage of the pool.

Usually, our hosts are interested in the arts themselves, either because they’re artists or they volunteer for the organization hosting the event. Lisa is a jeweler herself, so she and Deb understand the nature of our days. And they’re wonderful company. Once more, I’m afraid, strangers have become my friends.

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Monday Morning Art School: painting and flying

"Dome of Light," 12X9, available through Sedona Arts Center.

I’m in Sedona, AZ for the 18th annual Sedona Plein Air Festival. My friend Jennifer mocks my packing list as unnecessarily exhaustive. However, it’s meant to be a complete list from which you choose what’s appropriate. For example, I bring foul-weather gear on my schooner workshops, but not dress clothes. This week, I brought a dress but no foul-weather gear. True to form, it rained yesterday.

“That’s all just materials and tools,” I hastened to tell a woman at the airport who watched me struggle with two large suitcases and a carry-on, her lips pursed. “Do I look like a person who owns three suitcases full of clothing?”

"Crescent Moon, Dawn," 9X12, available through Sedona Arts Center.

At home I drive a full-size pickup truck and have more than 500 square feet of studio space. Here, my tools are crammed into a rental car. I don’t have the luxury of bringing everything I might want.

Travel is always a compromise between canvas size and practicality. I like to paint big, but the largest thing I can pack in a suitcase is 16/20 (in a very narrow frame). I’m carrying four sizes here in Sedona (16/20, 11/14, 9/12, and 8/16) and that’s too many. The less variation in size, the easier it is to pack.

Every art material comes with a Safety Data Sheet (SDS), an exhaustive document that is, for the most part, irrelevant to you as an artist. What matters is the flash point, which is in section nine, Physical and Chemical Properties. This tells you what you can and cannot fly with. A flash point at or below 140° F (60° C) indicates it is a flammable liquid and may not be carried in airline baggage.

"Buckboard," 11X14, Carol L. Douglas, available through Sedona Arts Center.

You’ll have to hunt, but all vendors are required to provide SDS for every product.

Not all solvents are created equal. Turpenoid has a flash point of 129° F (54° C), so it can’t fly. Gamsol’s flash point is 144°F (62°C) so it’s safe. I buy a fresh pint and wrap it in its SDS with the flash point highlighted.

My favorite painting medium (Grumbacher Quick Dry) has a flash point of 140° F, meaning it can’t fly. After buying countless bottles of it after the road that were ditched after using only a few drops, I switched to using linseed oil as a medium. That sacrifices dry time for convenience, but it hasn’t been a problem. Again, I wrap the bottle in its SDS with the flash point (500° F) highlighted.

A small tube of oil paint is 37 ml. or 1.25 oz, so is safe for your carry-on. A large tube is 150 ml., or 5 oz. It must be checked or it will be confiscated. I pack this handy label with my oil paints. Watercolor tubes are tiny and harmless, but the only trouble I’ve ever had flying with paints was with watercolors. An inspector at Heathrow dumped them back into my checked luggage without putting them in their plastic container. My clothes were stained on my return home.

A glowering sky yesterday morning.

It’s very easy to forget your brushes in the heat of travel, and dried brushes are unredeemable. If you can do nothing else, rinse them thoroughly in solvent and wipe them down until you can treat them properly.

Most accommodations don’t have utility sinks. I sometimes take my brushes into the shower, where the force of the water clears away all lingering pigments. That’s not practical in places where water is a luxury. There, I use a superfatted soap and clean all residue from the sink when I’m done.

There are a number of portable painting racks, including RayMar’s DryAngle, but when painting in a festival, I simply snap the painting into its frame. If it doesn’t sell, it can travel home like that. Unframed work gets separated with waxed paper, taped together, and packed in my checked luggage. As long as the paint isn’t too thick, it won’t be harmed.

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I’m rich!

The Rocks Remain, 16X20, $2029, available through Sedona Arts Center.

Flying west from a tiny town in northern New England lacks charm. You get up at an unearthly hour, drive to a bus depot, and head to Logan. It complicates the already-dismal nature of air travel to have to start at 2 AM.

I live in one of America’s beauty spots. Why I’d spend 21 hours to get to another beauty spot is a mystery of wanderlust and economics, but apparently it works. I do it with frequency.

Rim Light, 16X20, $2029, available through Sedona Arts Center.

The trips themselves can make me grumpy. Yesterday, I was in Phoenix, consoling myself in my friends’ kitchen with chocolate when my phone rang. It was Eric Jacobsen, calling to wish me well at the 18th Annual Sedona Plein Air. That’s what’s brought me to Arizona.

Eric’s a great listener. I’d made an error in my car reservation and it ended up costing me a thousand bucks. My frames were dinged in transit. That sets the break-even hurdle at this event higher than I’m comfortable with.

He reminded me that blessings are not always linear, but they are guaranteed. That was an indirect way of pointing out my true wealth: I’m surrounded by people of great intellect and compassion.

Falling Tide, 11X14, $1087, available through Cape Ann Plein Air.

My old pal Ed Buonvecchio, formerly of Manchester, Maine, has been watching for my paints. They’re traveling here by UPS. As of this morning, they still haven’t arrived, but I have a small reserve in my kit. Ed was my monitor at my 2022 workshop in Sedona and I’m hoping he’ll do next year’s, too. (It’s called Towards Amazing Color, and it sold out last year.)

As I mentioned Monday, frames make me nuts. Ed’s a dab hand at woodworking, and he’s offered to help me mend my damaged frames. That’s a generous offer, since he is also painting in this event. But that’s Ed; he has a heart a mile wide.

Dawn Wind, Twin Lights, 9X12, $869, available through Cape Ann Plein Air.

It seems like I always land in Phoenix at rush hour. That puts me on Interstate 10 just in time to sit in traffic. “I fail to see any beauty in this landscape,” I grumbled. I felt better when I arrived at my friends’ house. I’ve known Jim and Ellen since our salad days. That’s a uniquely comfortable relationship that involves knowing each other’s secrets but electing to not disclose them. I felt even better when we went out for dinner and Jim picked up the check.

After a too-short visit, I was northbound to Sedona on US 17. There’s a point around Black Canyon City where you cross a ridge, the saguaro cactuses giving way to the conifers of higher elevations. “This is the most beautiful place in the world!” I exclaimed.

And thereafter, every ridge I crossed was tinged with loveliness—not simple grandeur, but the ineffable beauty of Creation. My pulse quickened. I’m uniquely blessed, because wherever I am is at that moment the most beautiful place in the world.

True wealth is in being surrounded with good people. It’s also in not coveting anything but simply experiencing it in the moment. I’m happy to be here, as I have been happy to be in all the places it’s been my good fortune to visit. When I get home, I’ll be equally happy to be in my little farmhouse on Richards Hill.

By the way, paintings from Cape Ann Plein Air are up and for sale. There is work available from some of the best plein air artists in America. Buy early; buy often!

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Art-vs.-Life is a false dichotomy

High Plains, 8x10, oil on canvas, available unframed, $522

By now, most of us have read about two Just Stop Oil activists who threw tomato soup over Vincent van Gogh’s Sunflowers at the National Gallery in London. They’re part of a growing trend of annoying young people gluing themselves to the frames of great art and gallery walls in protest against petroleum culture.

They ought to be gluing themselves to a gas pump where they’d be addressing their actual enemy; oil paintings are generally made with flax-seed oil. However, they’d doubtless be ignored or worse, as their sit-down protests in roads have mostly just infuriated British drivers. In a gallery, they’re sure to get attention.

Sedona, 8X10, oil on canvas, Carol Douglas, private collection

“What is worth more, art or life?” said one of the lasses, Phoebe Plummer, 21, from London. “Is it worth more than food? More than justice? Are you more concerned about the protection of a painting or the protection of our planet and people?

Mankind has always recognized that there’s a physical world and a non-physical world and that the borders are fuzzy. Descartes wrote “cogito, ergo sum” (I think, therefore I am) to prove to himself that he really existed. Cartesian dualism rests on the idea that there are tangible things, and there are intangible things, and that we humans are a combination of the two. Generations of spotty teenagers, myself included, have pondered Descartes’ question. The idea that reality isn’t real is tailor-made for adolescents.

Apparently, Plummer missed all that. Otherwise, she’d know that art isn’t separate from life any more than food or justice are. It’s part of thinking, and that’s part of life as much as checking the gas meter.

Van Gogh was just 37 years old when he died, either by suicide or murder. The vast majority of his 900 paintings were finished in the last two years of life as he grappled with crippling mental illness. That period of suffering paradoxically gave us a legacy of paintings that’s unparalleled in human history. Through his work, Van Gogh lives on.

The Rocks Remain, 16X20, is one of two pictures going with me to Sedona Arts Center. I'll post a better photo later.

I’m a reader. That takes me to alternate worlds and different viewpoints and realities, all possible through the artistry of the writer. Are those worlds more or less real than my physical one? The answer, I suppose, depends on when you ask me.

Marcel Proust addressed this question in Remembrance of Things Past, that monumental opus that we all talk about but seldom read. “(A)s many original artists as there are, so many worlds are at our disposal, differing more widely from each other than those which roll round the infinite and which, whether their name be Rembrandt or Vermeer, send us their unique rays many centuries after the hearth from which they emanate is extinguished.” The knowledge thus gained, he said, is something different from the “practical ends which we falsely call life.”

Rim Light, 16X20, is one of two paintings going with me to Sedona. I'll post a better image later.

It's an unexamined life that makes us so prone to excess consumption, exacerbating the petroleum problem. By no measures are American adults healthy. More than 37 million of us take antidepressants, more than 40% of us are obese, and 77% of us worry about money. A little more reading, writing, drawing, painting and thinking and a little less shopping would make us all happier.

By the way, the wise old souls at the National Gallery had protected the painting, and only the frame sustained minor damage.

I’m writing this en route to Sedona, AZ, for the 18th annual Sedona Plein Air Festival. It’s the last event of my season, and I’m excited about all the rocks I get to paint this coming week!

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Monday Morning Art School: buying frames

This is my painting Stone wall, salt marshes in a Canadian-style frame. They're almost impossible to get in the US.

I woke up one morning in a surfeit of gold, hating gold plein air frames. This is partly my friend Poppy Balser’s fault. “You Americans love those heavy gold frames, but Canadian buyers think they look cheap,” she said. Well, dang.

Frames are my bête noire. I have a garage full of them, and yet, seemingly, never the right one. If you have a painting in black, the buyer wants gold—or vice-versa. And they ding easily. I’ve lost count of the paintings I’ve gotten back from shows with the protective corners missing.

This is my current favorite frame, a simple chop I buy from Omega, on a painting called Drying Sails.

Last week I wrote a guide to buying art supplies online. “What about framing?” a reader asked. I asked several professional artists to chime in. Here are their suggestions.

Don’t dismiss your local option, like Primrose Framing in Rockland. “I have my local frame shop build me simple frames, simply the four pieces of wood mitered together, from their stock,” said Bobbi Heath. “These are comparable in price to the other sources, and convenient.”

I buy frames and chops (lengths of moulding) from Omega Moulding. The quality is excellent and they have an exhaustive catalog, but they require a business account. They’ve recently limited what they’ll send by freight up to my neck of the woods, so sometimes I have to have things drop-shipped to my daughter in New York. That’s not always handy.

I’ve also purchased unfinished framing stock from Vermont Hardwoods and built my own. That’s the most beautiful option, but I don’t have time these days.

A number of my peers recommended JFM. They require a state resale certificate, as do most wholesale vendors. Chrissy Pahucki likes them “especially for panoramic sizes. I like to save their very sturdy boxes for shipping paintings too.”

They’re Lynn Mehta’s go-to as well. “Their price point isn’t too bad. They have a pretty wide selection of ready-made sizes as well as custom.” Natalia Andreeva and Eric Jacobsen also endorse them.

A traditional gold plein air frame from Florida Frames (photo courtesy Bobbi Heath).

“I also really like King of Frame,” Lynn said. “Some of their frames are really beautiful. I’m always looking for low-profile moulding which isn’t too heavy and preferably closed corners. Both companies have a good selection. Also, the customer service at both of these companies is wonderful.” Eric Jacobsen and Ken DeWaard also like King of Frame. “King of Frames has many of the same styles as Omega,” Jane Chapin noted.

Ken suggested San Diego Frame. They also require a resale certificate, but Ken says they’ve provided a good-quality product. “I used to make my own,” he said, “but I’m not ready to go back down that road yet.”

Bobbi Heath and Jane Chapin recommended Florida Frames, although Jane likes them for chops only. Bobbi also likes varnished wood contemporary frames from Frame Destination. And she points out something that’s true of all frame sellers: “Buying multiples in each size lowers the cost and combines the shipping.” That’s one reason professional plein air artists end up working on standard-sized boards. It’s also how I ended up with a garage full of frames.

Don’t dismiss the big-box art supply retailers. “I also use Dick Blick Simplon black frames with a gold liner for more standard sizes because they ship pretty fast,” said Crissy Pahucki.

“I just ordered some frames from Jerry’s Artarama Museum Collection on another artist’s recommendation,” said Lynn Mehta. “When you go on the site look for museum quality frames and in particular the artist frames, not the plein air. The big bonus he pointed out is that Jerry’s offers free shipping.

“They look pretty good, in my opinion. Solid frames. Came in their own boxes, like Omega Frames, and wrapped in a bubble-wrap envelop.

“Heavy as can be, though. I'm not a fan of heavy frames. Heavy for me to ship and heavy to haul around. I will buy them again if I need a frame in a hurry. But I don't want to stock up on them.”

Natalia Andreeva buys frames from Jerry’s, too. She also points out that antique and second-hand stores are a great source for frames.