Education

After a session of painting in the studio or en plein air, do you find yourself questioning why your back, neck, shoulder, elbow, wrist or hand are uncomfortable or painful? Does the pain last for more than an hour?  Does it interfere with sleeping or other activities?

My husband, Bruce, resumed oil painting shortly after retiring over 5 years ago.  Earlier this year, he attended a wonderful plein air workshop in France by Jane Hunt (workshopsinfrance.com) and I went along as a non-painting spouse. (I’m an occupational therapist/OT with an ergonomics and injury prevention specialty, and many years’ experience in an outpatient rehab clinic treating a wide-variety of work-related, as well as non-work-related, injuries and illnesses.)  During the course of the workshop, I was able to assist an artist who was experiencing significant neck, shoulder and upper back symptoms that were impacting her ability to participate.  Kinesiotaping, use of an ice pack and targeted gentle stretching helped to decrease muscle tightness.  This, along with discussing set-up and easel/canvas orientation along with awareness of neck and upper back posture, and positioning of shoulders helped to keep symptoms under control. Further discussion included points to cover with her physical therapist and doctor when she returned home.

As a result of this experience, I was asked to write a post for the OPA blog.   This is the first post with a focus on fingers, thumbs, hands and wrists.  (Future posts will address the elbow, shoulder, neck, upper back and visual system.)  The intent of this post and information is not to override or interfere with diagnosis and treatment recommended by your physician, occupational or physical therapist or other healthcare provider nor to keep you from seeking medical attention if needed.  The intent is to increase awareness regarding posture, how we position and use our upper extremities, and how this can impact comfort and symptoms.  Very basic anatomy and physiology will be covered, along with stretches focused on specific parts, and basic modalities (cold and hot packs) and treatment options (kinesiotaping, splinting).   

During the course of my career, it became apparent that:

• Many people lack awareness regarding their posture and how awkward working postures and positioning can lead to pain and a variety of symptoms, including muscle tightness and imbalance, trigger points, numbness and/or tingling, and pain.  People tend to forget to “check-in” with themselves when immersed in a project, and they will unknowingly maintain an uncomfortable posture or position for an extended period of time.  Injuries, illnesses and/or syndromes can develop as a result of an acute episode or cumulative trauma, and underlying medical conditions can worsen (e.g., carpal tunnel syndrome, cubital tunnel syndrome, Guyon canal syndrome, osteoarthritis, rheumatoid arthritis, lateral or medial epicondylitis, tendinitis). Even when a posture or position is neutral and balanced, it shouldn’t be sustained for a prolonged period of time; i.e., we need to move and stretch even when our basic working posture or position is good.  Regular, frequent movement and stretching becomes critical when our posture or position is less than neutral and balanced – less than ideal.  

• The visual system, the eyes, are the “boss.”  They will dictate posture and position. For example, if the eyes can’t see comfortably and clearly when working on the upper portion of a canvas, they will “demand” that you tip your head back with your neck in extension so they can gaze more downward with the eyelid covering more of the eyeball.  This downward gaze used for close work leads to more frequent blinking, which helps to lubricate the eyes, which makes the eyes “happy;” i.e., the eyes are comfortable but at the expense of the neck, shoulders and upper back.  This type of awkward rounded upper back and shoulders, with head forward and tipped back posture is seen when a computer monitor or canvas on easel is positioned too high for comfortable viewing, especially when the computer worker or painter wears progressive, bifocal or trifocal lens glasses.   In addition to neck and upper back pain, this type of posture can lead to symptoms in the upper extremities, such as those found with “Thoracic Outlet Syndromes” (TOS). 

The quick take-away is to set up your easel and canvas so that you can maintain a good balanced working posture but don’t forget to check the visual system and make sure your eyes will allow you to maintain this good posture.  I’ve seen people set up and before they begin working, overall their standing posture is good with their head well-balanced over their shoulders, chin and neck in a neutral position; however, as soon as they start painting, their head tips back and their chin juts forward and up (neck in an extended position) as their back and shoulders round because their eyes demand comfort and ease of viewing when focused on the upper portion of the canvas.

I will cover trigger points, neck, shoulders and upper back, TOS, and the visual system in more detail in future posts. 

Today’s post is focused on hands and wrists.

From Examination of the Hand and Wrist (Tubiana, R., Thomine, J., and Mackin, E.; 1996):

“The hand is remarkably mobile and malleable.  It is capable of conforming to the shape of objects to be grasped or studied, and of emphasizing an idea being expressed.  These possibilities and varieties of function are realized through the unique structure of this organ, which consists of 19 bones, 17 articulations, and 19 muscles situated entirely within the hand, and about the same number of tendons activated by the forearm muscles.”

“The functional architecture of the hand offers this organ multiple possibilities of adaptation, exploration, expression, and prehension. The hand joins, in the same anatomical structure, the powers of knowledge and action. It is both the origin of very precise information and the irreplaceable executor of the wishes of the brain.  The hand is the privileged messenger of thought.”

For a good, basic review of hand and wrist anatomy and physiology, I recommend “The Anatomy Coloring Book” by W. Kapit and L.M. Elson (Pearson Education, Inc.).  This book covers  skeletal and articular systems, including wrist and hand bones and joints; the skeletal muscular system, including intrinsic movers of the hand joints; the peripheral nervous system, including the brachial plexus and nerves to the upper limb (anterior division: musculocutaneous, median and ulnar nerves; posterior division: axillary and radial nerves).

Checking-In with Yourself:

The following stretches (and other similar stretches) can be a good way to “check-in” with yourself, as well as being used as part of a treatment plan.  

As an occupational therapist, after completing a thorough evaluation, I instructed clients in specific stretches and exercises depending on their condition and diagnosis (as well as assessing their activities of daily living and determining their work and activity recovery goals). 

These stretches and exercises were focused on improving range of motion by lengthening muscles and tendons and helping to “lubricate” joints, and typically on strengthening and decreasing discomfort and pain while addressing swelling or edema if that was an issue. When joints were inflamed or too painful, stretching and exercises were adjusted or discontinued (for the time-being) and the focus was on using modalities and other treatments to address inflammation and pain.  With appropriate stretching and range of motion exercises as part of a self-care program, most clients were able to return to previous activities and meet most or all of their goals.

Frequently this was done in conjunction with making adjustments to their work stations and work tasks to make them more ergonomically sound.  

For an oil painter, work station or work task adjustments may include:

• Remembering not to hold the brush any tighter than necessary (i.e., don’t use the “grip-of-death” when applying paint); consider using a brush with a larger or smaller handle.
• Adjusting your stance, as well as your elbow and shoulder position to avoid deviating your wrist and forearm into an uncomfortable position.
• Adjusting your easel so your canvas is lower to avoid tipping your head back when viewing and applying paint to the upper portion of the canvas.
• If you sit while painting, you may need to raise your chair and use a footrest.  You would do this to avoid hunching forward while jutting your chin and head out.  The footrest would assist with keeping your feet from dangling (i.e., feet dangling can lead to low back discomfort).
• Painting in a remote location with a less than an ideal set-up to allow for a good working posture; consequently, taking more stretch breaks focused on realigning posture, especially your neck and upper back position, and decreasing the risk of muscle tightness and trigger points.  
• Considering other activities that may be contributing to symptoms, such as extensive mouse use and clicking, opening tight lids on jars and tubes, grasping and carrying heavy items, gardening tasks, and determining how these can be modified so they create less stress for finger joints, hands and wrists.

Before beginning any of the following stretch exercises, please review these general guidelines and precautions.

General Guidelines and Precautions for Stretch Exercises:

1. If you have current restrictions regarding stretches or exercises from your physician or other healthcare provider, continue to follow these restrictions. If you have been instructed by your healthcare provider to avoid or limit any of the activities mentioned in this post, continue to follow these restrictions until you talk to your healthcare provider and are given clearance to proceed.
   
2. Work within your level and range of comfort.  Move at a pace and within a range of motion that is comfortable for you.   Be careful not to over-stretch delicate finger and hand joints.
   
3. If a stretch or exercise causes pain, either stop the movement entirely, or try the stretch/exercise using smaller or slower movements. You may also need to decrease the number of repetitions you perform of a particular stretch.
   
4. Initially stretches may only be held for 3-5 seconds with a gradual increase over a period of weeks to 10-20 seconds, or up to 45-60 seconds for larger muscle groups.  After stretching, release slowly avoiding sudden releases. Initially, you may also only perform 1 or 2 repetitions (especially for smaller joints) before increasing to 10 – 15 repetitions for 1 to 3 sets.
   
5. Rapid high force stretches can lead to injuries.  Perform stretches slowly without jerking or bouncing.  Move into a stretched position smoothly and gradually.  Continue to the point where you feel a mild tension, then relax as you hold the stretch. 
   
6. Use a natural breathing pattern.  Don’t hold your breath while stretching.
   
7. Develop Body Awareness! Promote and Maintain Range of Motion and Strength!  Prevent Injuries!  Feel More Relaxed!

Hand Stretches:

1. Whole Hand Finger Flexion/Extension Tendon Glides:

• Starting with knuckles/joints furthest from the palm, slowly make a fist
  • Bend or flex the DIPs (Distal Interphalangeal joints) then the PIPs (Proximal Interphalangeal joints) until your fingers are curled into a fist
  • Wrap your thumb around/across your fist
• Relax, then straighten your fingers and thumb out and spread them apart
• Pull the fingers and thumb back together
• Repeat for 1 to 5 repetitions

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2. Active Individual DIP (Distal Interphalangeal joint) Flexion/Extension

• Using the fingers of the opposite hand, hold/pinch or block the middle knuckle (the PIP) to prevent it from bending
• Bend or flex the end knuckle (the DIP) as far as you can then straighten
• Repeat for 2 to 10 repetitions

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This is an exercise I perform regularly when the osteoarthritis (Herberden’s node) in my right index finger DIP joint “acts up” after working on the computer keyboard and mouse clicking for too long.

3. Individual Finger Flexion Tendon Glides

• With the elbow bent (about 90 degrees) and kept close to the trunk, palm up and wrist straight, use the opposite hand to hold or block all but one finger (e.g., to start with the middle finger, block/hold the index, ring and little fingers in place) 
• Bend or flex the PIP through the MP (Metacarpophalangeal joint) as you bring the tip of the finger towards the palm
• Repeat for 2 to 10 repetitions; start slowly and only perform 1 or 2 repetitions if this is uncomfortable
• Complete with all fingers (e.g., middle finger, then index finger, then ring finger, then little finger; the order you use isn’t important)

If it is more difficult or painful to perform with one or more fingers, focus on these fingers throughout the day.  For example, if you notice more stretching/pulling and discomfort when using the middle finger, complete one or two repetitions; then about 30 minutes later, complete another one or two repetitions with the middle finger only; repeat this as needed.  If the flexor tendons and muscles for the middle finger are responding, it will become easier and you will be able to complete more repetitions by the end of the day.  If, on the other hand, discomfort and other symptoms (e.g., numbness and tingling in your hand and pain in your forearm) are increasing, stop and consider the need to see a hand specialist and a referral for occupational or physical therapy. 

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Due to the architecture of the hand, the tips of the middle and ring fingers can typically bend much closer to the palm than the tips of the index or little fingers.  This is normal.  Don’t force fingers to bend/flex more than they comfortably can.  Also, don’t be surprised if you notice pulling and discomfort in your forearm.  This is where the flexor compartment muscle bellies are located. 

I frequently recommended individual finger flexion and tendon glides for the index, middle and ring fingers, along with the “Carpal Tunnel Decompression Exercises” (covered next), wearing an appropriate wrist brace when sleeping and use of cold pack applications to assist clients who were diagnosed with carpal tunnel syndrome (CTS).  This treatment proved beneficial both pre- and post-carpal tunnel decompression surgery, as well as for clients who chose not to have the surgery or those who needed to postpone surgery.   It also helped to rule-out possible underlying causes of CTS; e.g., a body of research indicates that CTS is not caused by computer keyboarding and mouse use; however, CTS is associated with pinching and forceful gripping, as well as extreme wrist positions, especially if pinching, gripping and extreme wrist positions are prolonged or repetitive.  There is also a genetic and gender component.

4. Carpal Tunnel Decompression Exercises – Median Nerve Stretching

• Hold each position for up to a count of 10
• Move from one position to the next in a slow, controlled, fluid manner.

1. Start by standing with your arms, wrists and hands relaxed at your side
   
2. Lift your right arm out in front of you to about shoulder level (or slightly below) with your elbow straight (in an extended position) and the palm of your right hand facing up.  Bend your wrist back (into wrist extension) with your fingers spread slightly and the fingertips pointing towards the floor and hold for up to a count of 10.
   
3. While continuing to keep your elbow straight, bring your wrist up into a flexed position as you make a tight fist with your fingers and thumb and (again) hold for up to a count of 10 (i.e., your elbow is straight and your thumb and fist are trying to reach towards your face).
   
4. Next, bend or flex your elbow while bringing your fist towards your right shoulder and keeping your wrist in a flexed position and tight fist; hold for up to 10 counts.
   
5. While keeping it at shoulder level (or slightly below), rotate your arm out to your side; maintain your flexed elbow, flexed wrist and tight fist; then rotate your neck and turn your head so you are facing your fist (i.e., your nose is close to the back of your hand and knuckles); hold for a count of 10.
   
6. Straighten your elbow and release your fist (straighten your fingers) and bend your wrist into the extended position with fingers again pointing towards the floor, then slowly rotate your neck and turn your head toward your left (opposite) shoulder; hold for up to 10 counts.  (Note: This position puts the median nerve, which runs through the carpal tunnel, on a maximum stretch. It’s not unusual for people performing this step to initially only be able to tolerate it for a very short time – only for a count of 5 or 6.  As they perform this series regularly, people typically find they can tolerate it for a count of 10 and their arm feels relaxed and re-invigorated afterwards.)

End by lowering your arm, turning your head forward, relaxing and gently shaking your hands.  Repeat with your left arm. It’s also good to compare your right to your left; i.e., Is one side tighter? Do you experience numbness and tingling in one hand when you perform #6?

This series of movements was developed in 1996 by Dr. Houshang Seradge, an orthopedic surgery and hand specialist in Oklahoma City, OK.  Dr. Seradge recommends performing a complete series consisting of 13 steps once before and once after your workday. He recommends performing Steps 1 through 6 (described above) during breaks.  I started using this series shortly after I got an illustrated copy of them in 1996. I like them not only because of the benefit to the carpal tunnel and median nerve but because of the stretch and relief to the extensor and flexor compartments of the forearm (including the ulnar and radial nerves).  I worked with many people who didn’t have CTS but they did have very tight forearms, and this series was particularly helpful.  (In addition to other exercises and work station adjustments, this series was effective for people who had computer “Mouse-Shoulder syndrome.”)  As previously listed, follow general guideline and precautions for stretching.

These are just some of the hand and wrist stretches that can benefit oil painters.  Nerve glides (which I don’t cover in this post) can also be very beneficial.  The key is finding a good variety of stretches and nerve glides that you find beneficial and performing them regularly.  Check-in with Yourself!

Modalities:

In the rehab clinic, a variety of modalities are used such as ultrasound, electrical stimulation, phonophoresis, iontophoresis, TENS (transcutaneous electrical nerve stimulation), mechanical and manual traction, fluidotherapy, paraffin, moist heat packs, ice packs and contrast therapy (alternating between heat and cold).  

Cold Packs, Hot Packs and Contrast Therapy:

 I’m going to focus on cold packs, and contrast therapy, since these can easily be used at home as part of a self-care program as they don’t require any special equipment.

Benefits of Cold Therapy:

Cold or ice therapy is used to reduce blood flow (by narrowing blood vessels), reduce inflammation and pain signals. When used in conjunction with active range of motion exercises and stretching, cold therapy can help to decrease swelling (edema).  It’s typically used during the acute or early phase of healing but may also be used as part of an ongoing treatment plan for more chronic conditions. 

NOTE: Care must be taken to avoid cold packs that are too cold or are applied for too long as this can cause skin damage including severe burns.  People with compromised skin, neurological and other conditions, should always consult their physician before using any modality. (For example, cold packs are not used with people diagnosed with Raynaud’s syndrome.) 

Purchased gel cold packs can be kept in your refrigerator for use as needed or you can use a bag of frozen peas; both conform well.  You can also make your own cold pack using one-part isopropyl rubbing alcohol combined with two-parts water (e.g., ¼ cup rubbing alcohol mixed with ½ cup water); place this solution in a zip-lock bag.  Depending on the type and brand of bag you use, I recommend double bagging; i.e., place the sealed bag with the solution inside another zip-lock bag and seal this second bag. Put the double-bagged solution into your freezer, and you’ll end up with a cold slush that also conforms well.  Typically for hands and wrists, and depending on cold tolerance, a cold pack is applied to the painful area for 15 – 20 minutes maximum.  (After about 20 minutes, the cold pack has reacted to body heat and is no longer as cold or effective as it originally was.)  A washcloth or other thin material can be placed between the cold pack and the skin.  On applying, the typical phases when using a cold pack are: 1) feels really cold, 2) when you check under the cold pack, the skin appears mottled, 3) you experience a warming sensation, 4) then the area feels numb.  Shortly after removing the cold pack, there is usually a flushing or re-bound reaction when the blood vessels re-open and blood flow resumes at its normal level.  The skin should no longer look mottled, and you should say, “That feels better.  I’m glad I used that cold pack.”  (If you applied a cold pack properly, you should not see skin pallor, which indicates a circulation issue, or a dry patchy/rashy-looking spot, which could indicate a skin burn. Nor should you experience an increase in muscle tension and spasms, which may indicate that you shouldn’t use cold packs for this condition.)

I instructed clients to monitor their pain and swelling after applying cold packs.  While initially skeptical, many determined that cold packs worked better for them than hot packs, and cold packs became their treatment of choice. 

Benefits of Heat/Hot Therapy:

Both heat and cold have their uses in treating an injury.  Heat therapy works in the opposite manner compared to cold therapy. Heat expands the blood vessels, which increases circulation.  While this can relieve cramping, help with tight, aching muscles and decrease discomfort, it can also make inflammation worse.

Contrast Therapy – Alternating between Cold and Hot Therapy:

While both cold and heat can be beneficial, sometimes it’s difficult to decide which is best and sometimes one alone may not provide as much relief as alternating between the two, known as contrast therapy.   Contrast therapy can reduce swelling and inflammation, improve circulation, decrease muscle tension, and ultimately reduce pain.

A typical ratio for contrast therapy is 1 minute of cold (using a cold pack) for every 3 to 4 minutes of heat (using a hot pack) repeated about 3 times. A basic pattern for applying contrast therapy is: begin with 1 minute of cold, apply 3 minutes of heat, apply 1 minute of cold, apply 3 minutes of heat, apply 1 minute of cold, apply 3 minutes of heat, and finish with 1 minute of cold.

The guidelines I gave clients at the rehab clinic varied slightly from this ratio:

1. Prepare two pans or sinks of water (deep enough to be able to submerge hands and wrists)
   • One pan/sink with water 105-110 degrees (comfortably warm but not hot)
   • One pan/sink with water 59-68 degrees (cold)
2. Immerse your hand(s) and wrist(s) in the warm water for 10 minutes
3. Immerse your hand(s) and wrist(s) in the cold water for 1 minute
4. Immerse your hand(s) and wrist(s) in the warm water for about 5 minutes
5. Immerse your hand(s) and wrist(s) in the cold water for 1 minute
6. Repeat 4 and 5 two times, then end in warm water for about 4 minutes or end with 1 minute of cold if you need to focus on reducing inflammation and swelling.

Clients could use conforming cold and hot packs if they preferred.  Whether using packs or immersing in water, they were instructed to monitor their response and adjust accordingly.

Kinesio® Tape Technique:

Kinesiotaping is a rehabilitative taping technique developed by Dr. Kenzo Kase.  I found it very beneficial for providing support and stability to muscles and joints without restricting range of motion, and for decreasing edema.  Kinesiotaping along with other treatments, such as strengthening exercises and cold therapy, helped clients to meet their pain-reduction and rehab goals. 

Below are photos of several taping patterns for hands and wrists.  Where you anchor the tape and the amount of stretch applied through the tape is important.  Since it is flexible and latex-free, most people tolerate kinesiotaping well and can wear the tape for days at-a-time.  However, in my experience, due to hand use and washing, kinesiotape applied to fingers, thumbs, hands and wrists only stays on for a day at the most, and then needs to be re-applied.

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You can find more information on kinesiotaping by going to https://kinesiotaping.com or by talking to an occupational or physical therapist or other healthcare provider who is trained in kinesiotaping.   There are also a number of reasonable YouTube videos.

Braces/Splints:

The last item I’m briefly mentioning is the use of braces or splints.  A brace or splint can be beneficial if it fits well and provides the support required without rubbing (i.e., creating red spots).  It can be problematic if it doesn’t fit well or you “fight” against it or you don’t perform stretches and exercises to maintain range of motion and strength on a regular basis in conjunction with wearing the brace or splint.

I like the Comfort Cool™ brand of braces because they are breathable, well-designed with good adjustability, and a good range of sizes.  The Comfort Cool™ Thumb CMC Restriction Splint works well for people with thumb issues, and the longer Comfort Cool™ Thumb and Wrist Splint are good for people who need thumb support as well as maintain a neutral wrist position and/or need additional wrist support (e.g., people with lateral epicondylitis that is exacerbated by wrist extension).  Comfort Cool™ splints are readily available through web sites.  Similar braces and splints can also be found in pharmacies.

In Conclusion:

I’ll cover the elbow, shoulder, neck, upper back and visual system in future posts.

Remember to check-in and take good care of your fingers, thumbs, hands and wrists!

Enjoy a life-time of creativity and oil painting!

After viewing the OPA’s 28th National Juried Exhibition, albeit, via the internet, I was impressed by the volume and level of talent this organization hosts. Bravo! I am a relatively new member and I imagine many of you have a litany of solo shows on your resume’ and have attended art events that could fill Alladin’s wish list. Whether you have attended a museum exhibit, exhibited in a nationally recognized show such as the OPA, or a local small-town venue, you will notice that each show has its inherent culture and theme.  

Every art opening deserves a thoughtful respect to the presented art and those who represent it. To make an event run magically I am going to offer a couple of observations on what to do, and what not to do at an art event. While I’m sure a few of us may have unintentionally committed a social blunder or two, as I sure know I have, we could all use a little polishing up on our art manners.  So here are a few pointers to make a show shine:

Late is a FOUR Letter Word.  When hosting an art opening, it is best to arrive at an agreed time prior to the opening so that the gallery director can address any final concerns.  This helps build trust and eases the flow of the evening.  Being late also means keeping close to closing time. Don’t linger too long after the show is over. Gallerists have a life too, and may want to retire after a hard day’s work. After all, it is possible the gallery dealers may have been on their feet for nearly twelve hours. 

Dress to impress.  An opening is like a job interview. so wear appropriate attire that matches the occasion. With art being displayed in all types of venues from country craft fairs to big city galleries, take a mental inventory of the venue and dress a notch up so you take the honor over the venue and customer. Don’t wear a painting smock and stocking cap, nor a ballroom gown and crown, unless it’s a dress themed show. If you are arriving straight from the studio or field, take consideration and pack a change of clothing. Some of us are not fashionistas or GQ models, so when in doubt ask a buddy for an honest opinion.

Decibel Discussions.  Speak at a lower volume than the crowd. A show opening is a joyous event and is a celebration of the art. Yes, I admit that I have had loud outbursts of laughter during a show and have had to tone it down, but be conscious of the room’s volume and allow others to have uninterrupted intellectual conversations. That is not to say that others don’t wish to hear what we have to say about the work, but be conscious of your volume.

Negative Notes.  Don’t openly criticize the show unless you are a professional art critic. While attending an event, it is advised to keep any negative opinions to ourselves. As we all know, art is subjective, yet we may react in unforeseen and unexpected ways. That’s great! The art has spoken through the senses, but let’s play nice. Be aware that the artist’s intent put forth took immense effort, so wait to discuss potentially harming and disappointing opinions…in privacy on the way home in the car. Just remember that public criticism is itself a display of competition. Or is it individuality?

The Consumer:  You’ve seen it before, a guest who consumes a large portion of you or the presenting Artist’s attention and time. Let us all be aware that the show is up and there are several curious collectors at the opening who may want to ask exhibiting artist a question or two.  As an art attendee or supporter, we may also unknowingly stand directly in front of a piece while catching up with long-lost friends. Keep in mind that blocking others from taking in the work consumes the guest’s space and time. Move on to view the show and take it in. Also, how many times have you witnessed a close friend or enthusiast cornering the Artist with personal subjects outside of the show at hand? This behavior puts the Artist in an uncomfortable position. If you witness this, please help the Artist by redirecting the guest to allow the Artist to meet other attendees at hand.

Indulge Yourself…in the art and the collectors, but not in the treats. This includes alcohol. The host often supplies and expenses a spread of morsels and wine to share with the guests. There have been times when a full meal is provided and this is very generous of the host, yet be mindful and step away from the silver trays. Perhaps eat a small snack prior to an event, or wait to go out after the event with your new-found art admirers. When it comes to the wine, monitor your intake. I know it is easy to take in a little more than needed, but be careful. Sadly, I have witnessed a gallery owner get drunk and it embarrassed me to no end. Sadly that gallerist did not last long in the business and this is true for us artists as well. Also, when finished with your wine cup or small snack plate, place them in the trash receptacle or table and NOT on art pedestals. This gives the 3D art the respect it deserves and keeps the presentation of the room at it’s best.

No Solicitors Allowed.  Do not promote yourself while attending another artist’s show!  I had once attended a beautiful show and while there, I saw business cards from another artist placed precariously around the gallery. OUCH! This is not a good way to get attention for our art and will tarnish a hard-earned reputation. Neither is it a good time to solicit a portfolio or whip out a cell phone to share some recent work to the gallerist or director. If asked to share, then take the opportunity to set an appointment for another time.

Permission Please.  If you wish to take photos of the art, always ask the artist for permission. A flash may affect the work, and the artist owns the copyright on their creations. Many times I have witnessed admirers snapping close-ups and have imagined that they might print it out for their enjoyment, or even copy the idea. Here is a great moment to address the admirer that not every artist wants their work photographed. Then again, they may have a potential buyer on the other end. Don’t be afraid to ask what their intention is, and perhaps offer up the gallery directors business card to follow through with the image.

There is always more we can do to improve our industry, so I’m hoping that I have cast some light upon a subject that is not often discussed. Whether a small town exhibit or a national solo show, it is my wish that every one of us can adjust and elevate the sense and value of our work by being mindful of our show manners. We are our best representatives and genies of our work.

Mixing skin colors can be challenging. Flesh often contains hints of every color of the rainbow! Plus, it’s easy for skin tones to become “chalky” or “muddy.” In this article, I’ll share information to help you mix realistic, lively flesh colors.

Simplify

When I’m mixing skin colors, I often find it convenient to dip into every color on my palette. To simplify this process, I think of flesh as containing just three types of colors:

1. Reds
2. Yellows
3. “Nudge Colors” (I’ll define this in a second)

I find simplifying like this is an efficient approach to painting any skin color under typical conditions.

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Mix Up Big Piles Of Average Colors

By “average” colors, I mean colors that represent the colors in the subject generally. I know you can see dozens of colors in your subject. But in the beginning, keep things simple and don’t try to match every color you see right away. You can mix more specific colors later with those “nudge colors” I’ll talk about.

At the start, I mix up just 2 big piles of average color–1 average color for the lit side of the head and 1 aververage color for the shadowed side (below, you can see these two colors applied in broad, blocky shapes).

Nudge as Needed

So what is a “nudge color” anyway?

Well, mixing just red and yellow together can produce some pretty intense oranges that may not look natural as flesh colors. For this reason, it’s usually necessary to “nudge” your mixture toward one color or another by mixing in other color(s)— “nudge colors.”

Below are two examples of average color mixtures I often start out with. In both cases, white is used as a nudge color. The white both lightens and cools the original orange color.

Now, although I often start with the above mixtures, I certainly also mix in various other nudge colors as necessary. Sometimes your subject will dictate a nudge toward green in places. Or blue. Or violet. In fact, any other color on your palette is a candidate for a nudge color.

How Do I Know Which Reds, Yellows and Nudge Colors to Use?

Excellent question. My best answer is let your subject be your guide. Choose colors that are appropriate for the values, temperatures and colors in the subject. In the end, observe your subject with care and faithfully paint the colors you see before you. Much more important than any formula is the process of training your eye to observe and paint faithfully.

Now that we’ve explored how to simplify and mix skin colors, let’s take a look at a common difficulty:

Muddy & Chalky Skin Tones

It’s happened to all of us who have ever attempted to paint a portrait…

You’ve been painting that cherub of a child. You’ve been carefully trying to match the colors of that perfect, unblemished skin. You think you’ve nailed those rosy cheeks, that fair flesh, that sandy blonde hair.

But then you stand back from your work and… wow. Those cheeks are definitely rosy… like the red soil of Arizona. That skin is exactly as fair as chalk dust. And that hair is sandy, alright. Just like… well, sand.

If only you had a chart of “skin-tone recipes” written by some Betty Crocker of the art world that would tell you exactly how to whip up big batches of “Satin Skin” and “Ethereal Epidermis” instead of the “mud,” “dirt” and “chalk” currently on your palette.

Fortunately, the cure for “muddy” or “chalky” color is not an unobtainable fantasy. In his book Alla Prima: Everything I Know About Painting, master artist Richard Schmid sheds light on this topic…

“’Muddy color’… is simply a color that is inappropriate in temperature” —Richard Schmid

“Muddy” and “chalky” color is not so much a color issue as it is a temperature issue. So let’s talk temperature…

Temperature Basics

Here is the first thing to understand about temperature: When you’re painting, there is no such thing as “warm” and “cool.” There is only “warm-er” and “cool-er.” It’s relative–a color is only cool-er or warm-er compared to another color.

Therefore, a “muddy” or “chalky” skin tone is a color that is either too cool or too warm compared to the surrounding colors.

Side-Note: A color might also look “muddy” or “chalky” if it’s the wrong value. For example, a shape that’s too dark on a portrait will look like just that–a dark smudge on the face. But given the value is correct, the reason a color looks “muddy” or “chalky” is that it’s either too warm or too cool in comparison to the surrounding colors.

But of course, this information is useless unless you know how to fix a mixture that’s too warm or too cool…

Two Ways You Can Make A Color Warmer Or Cooler

1: By Moving Around the Color Wheel Like a Clock

First, however, here are two important things to know: 1) the red-orange-yellow side of the color wheel is considered “warmer” than the green-blue-violet side, which is considered “cooler.” 2) Most consider either bright yellow or yellow-orange the very warmest color. Blue is considered the coolest color (However, there’s an exception that I’ll mention in a bit…)

Now, imagine you’re traveling around this color wheel like the hand of a clock. The closer you move toward the cooler side, the cooler the color will become. The closer you move toward to the warmer side, the warmer the color will become.

Here are two examples:

Let’s say you’re standing on that very warmest color–a bright yellow-orange. You take one step clockwise toward the green. Now, you’re standing on a yellow that’s tinted with a hint of green. This yellow-green is cooler than the yellow-orange because you’ve moved closer to the cooler side of the color wheel.

This time, start out on violet. Take one step counter-clockwise toward the blue. Now, you’re standing on blue-violet, which is cooler than violet because it’s closer to blue and because you’ve moved further away from the warmer side of the color wheel.

The 2nd way you can make a color warmer or cooler is…

2. By Moving Along Imaginary Spokes of the Color Wheel

Earlier, I said blue is considered the coolest color, but I mentioned there’s an exception…

It’s true that blue is the coolest color of the rainbow. However, for the painter, there is one other color so icy, it gives blue frostbite… pure white.

In this particular color wheel, you’ll notice there is a narrow ring that contains the main colors in their most saturated forms (1)…

The farther you travel away from this ring toward the center of the circle, the more white is added (2).

Adding white will cool any other color… even blue!

Did you find this lesson valuable? Watch me demonstrate these principles on video in my upcoming online course, “Learn to Paint Dynamic Portraits & Figures in Oil.” The course will launch later in 2019, but you can access the first unit for free! To learn more, please visit //ClagueFineArt.com.

I’ve spent a good bit of time breaking down the components of painting in order to become more thoughtful about my work and to help others do the same. To my way of thinking, the intent of the work is the number one consideration in any creative endeavor with the narrative/story next in importance. Yes, drawing, color, shape and all of the aspects of craft are critical for the realist painter but once that skill set is acquired, what do you do with it?
Every song has a narrative, every movie a storyline, every poem a scenario, each novel a plot, every song an emotion, and every picture tells a story. Why should a painting be any different?  The intangible thing that separates the greats from the pretty-goods is rooted in a deep pool of ethos that is mixed into every puddle of color and imbued in every movement of the brush. It’s the foundational idea of a piece that sets the tone for a poignant outcome.
You may be thinking that I’m referring to the Golden era illustrators or the cowboy and Indian paintings that fill every gallery in the west. I’m not, but that’s as good a place to start as any. A quick Google search of “golden era illustration” will give you a balcony seat view of some of the greatest storytellers of the last century; Mead Schaeffer, Howard Pyle, N.C. Wyeth, Dean Cornwell, Jessie Willcox Smith, the list is incredibly long. This, one of the most prolific movements in the narrative arts, housed the masters of story, design, style, and ability.

One of the tricks (beyond a brilliant design) to creating a powerful narrative in a painting is to think like a movie director. After all, a painting is a single-frame movie that speaks to a moment in time, but the outstanding ones hint at the preceding events and those that are yet to come. If you incorporate a figure or figures in your work, you should know them as a writer knows his/her characters. What are they thinking? What is their backstory? Why are they there? What do their expressions, posture, and the placement of the hands, say about them?
Go through a top 100 movie frame by frame, Citizen Kane or The Grand Budapest Hotel come to mind, and look at the construction of each scene. What symbolism does it hold? How is it designed? What are they up to and what’s coming next? That’ll fill your noggin with some new ideas.
I appreciate the skill in a great portrait or a well-executed nude but I, as a viewer, want more. If you’re going to paint a beautiful female nude languishing on a sun-drenched bed, put an easter egg in there to give the discerning eye something to think about, something that hints of events beyond the boundaries of the frame. The viewer wants to be included, let them fill in some of the script. Think like a writer, give them enough but leave room for the imagination. Tap into your inner recesses and tell your story.

A painting doesn’t have to contain pirates or a well-heeled couple in high society to communicate a message. Even a simple still life should hint at a plot line. Who put the stuff on the table? What are the flowers feeling? What’s the relationship between the asparagus and the knife and who drank half the beer placed at a calculated distance from that nibbled on bread? The space between objects is like a pregnant pause in a conversation. It helps to create a compelling plot even if the characters in the play are just vegetables and dinnerware. Assign human characteristics to every piece in your static production. Use your friends and family as a reference for a more compelling dysfunctional still life.
If it’s a landscape, there’s always a story to tell. What is it about this place that you are painting that is important? Who lived there? Or died there? What would a pioneer have felt having seen this place for the first time? What would Thoreau say about this land? How does it feel on your skin? What memory does it spark? What is the message you want to convey about that bustling street scene? Even if it just stays in your head while you are painting, it may not be readily evident, but the lookers-on will feel it.

So, how does it make you feel? If you took 15 minutes before you ever lay brush to the surface to write about your sense of place you’d have a deeper understanding of what you are saying to the viewer because you have defined it for yourself. Your palette, your brushwork, drawing, design, and style all go to the story. Every mark and movement should be in support of the plot line.
Included are a few of my own pieces to show how I weave the narrative into a body of work. It took me a while to find it. The broad theme is that of environmental concern, but each piece has its own sub-plot. Sometimes the story is written before I begin and other times it unfolds as I go. I’ve come to view this series as stories that I tell myself. If other people get them, all the better. More often than not they make up their own. But, at least, I am telling my story.