Oil Painting

The Key to a Silky Painting Panel

Mrs. Lisa Andrews · Aug 14, 2017 · 6 Comments

I’ll admit I’m quite a tinkerer when it comes to new gizmos to enhance my studio or painting experience. Over the years, innovative solutions have included making custom-sized palettes out of Corian in a perfect neutral gray color called Concrete, and using a mobile laptop desk or a French caterer’s cart discovered in a vintage furniture store as a tabouret.
Long ago I decided my painting style required a very smooth and stable surface to allow me to achieve the level of detail that I enjoy painting. Nothing says “luxe” to me more than a yummy fine weave of Belgian linen glued onto a fine birch panel, available from several fine art panel suppliers. I use these primarily for important commission pieces.
Yet there are some wonderful new materials that can outperform even linen or wood. For example, fine weaves of polyester art canvas are less prone to sagging than linen, and aluminum composite panels (made out of ACM) are more stable than wood panels (which can expand or contract). ACM is sold under brand names like Dibond, and sometimes you can find budget-friendly remnant pieces from sign makers.
Since I cannot control climate variations like temperature and humidity once a painting leaves my studio, I need to ensure my paintings are well constructed to avoid future problems.
By properly gluing fabric on panels instead of stretching it, the fabric becomes just a texture on which to paint. It no longer supports the paint layer because the panel does that. (Of course, the fabric still needs to be isolated from oil paint with a good sizing, just like linen.)
Here is when my “tinkerer’s brain” kicked in, once again.
Silk is a very strong, luxurious and durable fabric—think parachutes and the ancient art of Bo painting in China. It also has a very fine texture, perfect for achieving fine details while retaining the texture of a fine fabric surface. I liked the idea of using silk on my painting panels, but found some silks were better suited to my purpose than others.
Silk quality is measured in a numerical momme weight, which describes the weight of 100 yards of silk, 45 inches wide, in pounds. So 100 yards of 45” wide silk that weighs 23 pounds is referred to as “23mm”. Higher quality silks are 14mm or higher.
I began experimenting with different grades and weaves of silk and all were strong and adhered beautifully. You can buy small samples to test and see what weave suits your needs. I found it was easier to apply a heavier weave than an extremely sheer weave, so I settled on a natural unbleached 23mm spun silk broadcloth. I purchased it from a wholesale supplier in remnant pieces, some as large as 8 yards long, at a great discount making it a budget-friendly material, indeed!
Since silk is more sheer than even the finest linen, I needed to eliminate “bubbles” as the fabric was applied. I discovered a key step in that process: making sure the silk was uniformly damp before applying and stretching it over the glue-covered panel.
The dampness didn’t affect the adhesion, since I used an acrylic dispersion for the glue. In fact, it ensured the glue soaked into and around the fabric, giving me a much more uniform coating than if there were “dry” spots on the surface. The resulting panels have provided a lovely painting surface for my painting style. I hope this inspires you to give it a try!

A Process for Prepping an ACM Painting Panel using Silk

Measure and cut a piece of ACM (.012”/3mm thickness) using a straight edge and utility knife. You can score the material through halfway and bend it over a table edge to finish the cut.

Remove the plastic protective film and sand it lightly with 150 grit sandpaper and etch with isopropyl alcohol to remove the finish coating and create some “tooth” for the glue to adhere. (Do NOT sand down to the aluminum!).

Cut a piece of silk to overhang the board by about an inch or two. Immerse the silk in a bowl of distilled water, then press between two towels until it is just damp. Using a foam roller, roll a thick layer of Golden GAC200 mixed 50/50 with Acrylic gel medium over the board, making sure to cover evenly and out to all the edges.

Taking the silk, quickly “flap it” and lay it over the board as if you are putting a sheet on a bed. Now working from side to side, stretch and pull the damp fabric to eliminate bubbles and make sure the weave aligns with the edges of the panel. Tugging from the outside edges, pull it out until you have a completely smooth surface. Using a brayer or or an old credit card, smooth the silk out from the center to all edges. If you get a bubble, you can lift the fabric and tug that section, as the dampness keeps the acrylic dispersion from drying too quickly. Apply extra medium to any edges or corners that need it. You can also roll out or brush on a thin layer of the gel medium mixture on top of the silk to ensure that the fabric is uniformly saturated for maximum adhesion.

Let the fabric dry without turning it over and putting weight on it. This seems counter-intuitive compared with other methods, but I have found the fabric dries more smoothly that way. Once dry, turn the panel face down and trim the edges using a blade, then lightly sand with a 400 grit sandpaper.

Using a clean foam roller or brush, apply an even layer of GAC 100 size. “Feather” the surface with a very soft brush, then let dry overnight,

Lightly sand, then apply a thin layer of acrylic gesso using brush strokes in one direction. Let dry overnight. Lightly sand and apply a second coat of gesso in the opposite direction, repeating this process if necessary until you get the surface you want.

At this stage, you’re ready to paint or apply an oil ground.

I usually prep several panels at a time, and have a ready supply when inspiration strikes. I encourage you to give silk a try for a little variety in your painting surfaces!

Close-up of gessoed silk with a #1 sable brush for scale

Extreme close-up comparison of Claessens 13 DP linen (top) with gessoed silk panel (bottom).

Working Through Creative Blocks and Growth as an Artist

Doreen St.John · Aug 7, 2017 · 4 Comments

At various times in my life, I’ve struggled with artist’s block…those times when your spirit wants to paint, but obstacles are getting in the way. For me, it’s usually accompanied by frustration. At one point, when my personal and professional life was incredibly stressful, I went for 3-4 years without being able to paint. I doubted whether I could even call myself an artist. I had gone through a divorce, had a full time job, and was raising two young children. I would go down to my studio (it’s in the basement) and the sight of the chaos was enough to make me turn right around and go back out…! I wanted to paint, but when I finally made the time to paint it was frustrating because I couldn’t express what I felt. I hadn’t had enough ‘easel time’ to build those skills…and that led to more stress. It was a vicious cycle. I found my way out of my block through a lot of work, prayer, counseling, and serendipitous events…and things got better. I went to an art therapist, who helped me to focus on my strengths. That was many years ago; now, I paint every day and am finally starting to see real progress and growth in my work.
I am sure many of you have struggled with this, to varying degrees…when the demands of time, family, obligations, health, or other issues interfere with the creative process. Sometimes it’s just a short hiatus, and at other times it seems to go on endlessly. There are many great articles on the web for dealing with this, but I decided to share some of my personal strategies that have worked for me. I hope they may help you as well.

Figure out the source of your block

Try to figure out the source of your block – health, financial and/or personal problems, loss, stress, fear of failure/fear of success, anger, time management, procrastination – and do your best to eliminate those problems. If you are like many of us, you may have several obstacles, so pick the biggest one and start working on that. If you are feeling overwhelmed, don’t hesitate to get professional help from an art therapist or licensed counselor. These professionals are trained to help us get past those difficult times when nothing else works.

Decide what is most important

I had to decide what was most important in my life, and all my energy had to go toward those areas. I had to learn how to say ‘no’ to the things that were unimportant and focus on the important stuff. For me, it’s God, Family/Friends, Art, and Service; sometimes other things creep onto the list, and that is fine. When I was working at a day job, career had to go in that equation. The order sometimes changes, but for me it’s still the same core list. One of my best experiences in learning about this was from an old boss who made all her staff write a personal vision and mission statement. I couldn’t believe how difficult…yet valuable…that was.
One thing I learned is that art and life are inseparable. Robert Henri said, “Life is Art; Art is Life”, and I have seen this over and over again. My mark making is the sum of who I am as a person. Even when I’m not in the studio, I’m seeing things that are painting subjects and mentally putting them into a painting. As an artist, we are always composing, so the next time you are in the studio those mental notes are probably entering into your decisions…even if you feel ‘blocked’, you are still an artist.

Make a commitment and don’t give up

Symphony of the Wetlands sm opa — “Symphony of the Wetlands” by Doreen St. John

Once you know what the problem is, make a commitment to yourself. Make a commitment to change. Even though we all agree we need to change, change is difficult. To illustrate this, try crossing your arms in whatever way is comfortable for you…and then re-cross them in the opposite way. If you try it, you realize that a very simple change, even when you want to change, can be very difficult. Don’t give up!
We are all imperfect humans, and life has a way of getting in the way and giving us unexpected challenges. I have several slogans that help me with this…like ‘pobody’s nerfect’ and ‘slow and steady wins the race’. I used to read positive affirmations every day to focus on the positive rather than the negative. After a while, it became easier, but it’s easy to slip into negative thought patterns and give up if you aren’t aware of this. Newton’s ‘law of inertia’ is a good one to keep in mind: ‘An object at rest will remain at rest unless acted on by an unbalanced force. An object in motion continues in motion with the same speed and in the same direction unless acted upon by an unbalanced force.’ Once you get the positive energy going it’s easier to keep it going!

Time Management/Planning

One of the most difficult things is finding time to paint if you are not a full time artist. Even for a full time artist, carving out studio time can be difficult. Being more efficient with time is so important! When I look back on all I accomplished as a single parent, I can’t believe it, but I know part of the reason was that I was more efficient with my time. Make a plan and stick to it. Hire a babysitter for x amount of time each week so you can get into the studio. Get a small planner/use your cell phone and write down your studio time, or schedule plein air days with friends. There are more suggestions in the list below. The book, The Seven Habits of Highly Effective People, by Steven Covey, has a great model for learning how to do more planning and to decide what is most important, but there are many blogs on the internet that also deal with this. I follow Robert and Sara Genn’s online newsletter, “The Painter’s Keys”, and, coincidentally, today’s post was taken from Steven Covey’s book! Here is a link to the article: painterskeys.com

Working on the work

When I was in education, we talked about ‘working on the work’. It was one of those slogans that gets thrown around and becomes a catch phrase, but for me it has a deeper meaning. Life is about working on the work; creating is most definitely ‘working on the work’. For me, it means get into the studio, show up, and get to work. If you can’t work, then show up and clean, or organize…do something to work on the work. On a deeper level, ‘working on the work’ is going deeper into your art/work, and that leads to new discoveries, new connections, and new understandings. You may have that painting where you got lost for hours but it seemed like only minutes had passed…you were working on a deeper level. So…work on the work, and your ‘block’ may lift.

Strategies to help get out of a creative block/slump:

Finally, I have a list of strategies that I sometimes use if the creative muse isn’t showing up. You may have your own list; feel free to share!

Exercise or take a walk in nature. Movement helps to reduce stress and stress can interfere with creativity.
Practice positivity; read positive affirmations.
Join an art group that meets regularly. I joined a plein air group that met once a month because my time to paint was so limited. That experience is what got me back into painting. Painting from life in the outdoors and the camaraderie of being around other artists was just what I needed, and it reaffirmed to me that I was still an artist.
Focus more on the process of creating, rather than the product. It helps me to say, “It’s just canvas and paint”.
Attend an art show/opening. Being among other creative people can energize you and get your own creative juices flowing!
Keep a sketchbook and pencil close by and sketch anything…even your house plant, or your sleeping cat! Drawing skills need to be constantly exercised, too.
Take a workshop from someone you admire, or watch an instructional art video.
Read a great book by your favorite artist, a biography of someone who has achieved great success while overcoming obstacles, or read a personal growth book. You may be surprised to learn that creative blocks are often not about art, but about other areas in your life. One of my favorite books, “The War of Art” by Stephen Pressfield, is a wonderful book and a quick read.
Experiment with a new product, medium, or method. You can get some amazing ‘aha’ moments when you try something new. Trying pastels has led to new growth in painting in oils. Buy some new art supplies…I call it ‘art store retail therapy’!
Find a way to make yourself accountable. Some ideas: schedule an event or volunteer to give a demo; have a weekly goal and keep track of how you are doing; schedule art time in a planner – even 30 minutes can help get me over a ‘hump’. Having an obligation helps to motivate. Be honest with yourself.
Decide to enter a show and create a plan on how you will have work ready.
Print out your favorite photos and put them in a file for the next time you need inspiration.
Talk to an artist friend for motivation; go out painting together.
Volunteer your time. Being around others and giving back is a great way to boost your mood, especially if your block is related to a loss.
Show up in the studio, even if it’s only to clean or organize.
Quit making excuses. Just paint.

Successful Air Travel With Minimal Art Supplies

Christine Lashley · Jul 31, 2017 · 6 Comments

Fear of how to fly with art supplies, especially internationally, can prevent artists from enjoying the joy of plein air painting in wonderful places. Concerns of TSA confrontations, paint confiscation, or hefty fees for overweight luggage can deter the most dedicated artist. Good travel strategies are required.

I have traveled a lot with art supplies: to to plein air events, and to teach international plein air workshops. Yes, you can travel easily with your oil paints! The trick to packing is to pare everything down to the smallest ounce based on essentials.
The first step in deciding what to pack is thinking about your needs.

Purpose of your trip. Will you be teaching a workshop, or attending one;
traveling for fun, etc.
Preferences while painting. Sit vs. stand; are you a quick painter vs. slow etc.
Special issues. For example someone who needs maximum sun protection would make having an umbrella a priority, otherwise an umbrella can be left at home.

Know TSA Regulations and What to Expect
It’s pretty simple. The word ‘paint’ is not a nice word for TSA agents. They think of flammable and caustic items which are prohibited. A tube of color does not contain the word ‘paint.’ Use the term ‘artist’s oil pigment’ or even better ‘artist’s vegetable-based oil pigment,’ if asked about your materials. Print out the Materials Data Sheet for your tubes to prove they are airplane-safe. Each paint manufacturer has this data online. A flash point at or above the 61°C mark is ‘safe’ for travel. (The flash point is the temperature at which a product will flame; therefore a higher flash point is better.) For example, Winsor & Newton paints all are easily within the ‘safe’ range at 100-250°C flash points according to their website. Winsor & Newton states: “We caution against travel with Liquin products. Although the flashpoints are in most cases greater than 61° Celsius, airline officials may still disallow their carriage… all solvents and thinners are banned regardless of flashpoint.” I have never had any paint confiscated in more than 15 years of travel with my materials. There is always the small chance that you will encounter an agent that is hyper-focused on finding ‘bad’ things in bags. It won’t help matters to get upset or angry. Remember that they are just trying to keep the skies safe. By knowing your materials and regulations no doubt the materials will be allowed.
Paints In Checked Bags
In general don’t treat your paints as something precious and fragile in your checked luggage. Keep your paints with your clothes to show TSA they are not dangerous items. If you wrap each tube in bubble wrap it may look suspicious and it will possibly annoy an agent that has to unwrap each one. Just toss your tubes in a Ziploc (double bag it if you are too nervous) along with the data sheet. There is the small chance that a tube will burst or get crushed, but a tube should still be useable upon arrival. Pack a few empty sandwich Ziploc bags in case a leak happens. A loose sheet of bubble wrap around the whole Ziploc package usually protects everything in transit just fine. I travel with partly-used tubes (especially in colors I don’t use as much) knowing that the weight of my bags is decreased. Do check weight restrictions on each airline you are using and weigh your bag with a luggage scale prior to departure. Overseas bags have strict weight and size restrictions and it may vary depending on your airline. Palette knives must be checked.
Paints in Carry On Luggage

It’s possible to travel light and not check a bag, even when traveling overseas (Rick Steve’s backpack is great for this). Artist’s color in tubes is considered a ‘wet’ or ‘liquid’ item, (for watercolor or oil) and subject to the liquid requirements of TSA, so you will need to put any tubes you take with you in your 1 quart Ziploc allowed onboard. For oil you can only realistically get by with a limited palette of partly-used tubes and a full small white. Don’t have a large white tube half-used (the tube must have only ever contained less than 3 oz). Buy things like toothpaste or shampoo after you pass security. Watercolor puddles in a pre-filled palette must be dry (pre-fill your palette and leave it open for at least a week to dry out) to not be subject to the ‘wet’ rules. Take only the small or tiny setup listed below if one bag is your travel goal.
Three Basic Art Travel Setups – From Medium to Tiny
Please note that I do not use solvent when painting. As stated above this is NOT allowed on the plane in either checked bags or carry on. You can use water-mixable oils (read my prior OPA blog post on using these paints), or look for solvent when you arrive. Sometimes conventions, or workshops/schools provide solvent upon arrival.

Medium Oil Setup: easel or paintbox and tripod (EasyL lite, Strada Mini or Micro, EnPleinAirPro Travel), brushes, oil paint (warm and cool of each primary color plus white), 8×10” drybox (will hold 6×8 and 8×10 panels), featherweight panels from RayMar or WindRiver (AC14), cut pre-primed canvas sheets cut to be a little larger than an 6×8 panel (you can mount these on 6×8 panels when you get home) tape these scraps to an 8×10 panel with artist’s tape, wax paper to place between semi-dried panels or use frame bumpers to separate and tape the bundle together when ready to go home. Fresh wet paintings can go in your drybox. Solvent free gel (Gamblin), increases paint spread-ability and hastens dry time. Masters Brush Cleaner. Small plastic snap-top cup for water (or solvent that is acquired upon arrival). Paper towels (good to travel with a few folded, buy more upon arrival if needed). Palette knife. Brush tray and holder. About 8-15 lbs., fits in a large tote or backpack.
Small Oil Setup: Tabletop mini box with no tripod legs such as Thumbox Pochade (Utrecht) or Strada Micro. One color of each primary (Permanent Red Light, French Ultramarine, Cad Yellow Light, White) if you are going to a tropical location add one tube of mostly used Thalo Blue. Most of the other supplies above (edit as desired). Use half-handle brushes such as Rosemary’s Ivory Pochade Set. Plastic credit card cut in half instead of a palette knife. About 3-7 lbs. fits in a small tote.
Tiny/Sketchbook Setup: Some artists choose to just work in a small sketchbook of oil on paper when traveling. Use primed paper or primed canvas pad. Use a disposable paper palette to avoid a box and easel, or try an empty Altoid tin or two. Watercolor or gouache presents a terrific compact option for sketchbook studies. A problem for some artists is the weight of carrying water for the watercolor paints. Tiny watercolor paint set kits (Winsor & Newton half-pan Field Set) and a water-pen solve this problem (Aqua Stroke or Koi Waterbrush). Pencil (mechanical), pen and sketchbook (Holbien Multimedia; Stillman & Birn Alpha – Red label; or Moleskine). 5oz -1.5 lbs. can fit in a tiny tote or purse.

Plan Ahead
Get your supplies in order early and try everything out, so you don’t have disappointment on your trip. Sometimes items are out of stock and there is a wait. Plan on setting all your supplies out and just looking at them. Pre-pack them to see how heavy or light they will be. Try them out in your yard or at a cafe before you go to make sure all works fine.
Plein Air Competitions
Competitions require the greatest amount of materials. If you are doing a plein air event you need to create a certain number of paintings for the jury, and to hopefully sell artworks to pay for your trip. I ship my frames ahead along with heavy items such as a drill or point driver. I order from an online art company a basic set of duplicate paints – just in case mine burst or don’t make it. I check in my bag another set of paints, some partly used to save space. You must arrive for a plein air competition with enough materials to get started right away. I travel with items that are critical to use immediately upon arrival and would be costly to ship overnight if lost/damaged in my carry on bag (Redwing 50 backpack) which can perform double duty to carry all my art stuff during the competition: paintbox (EasyL lite), brushes, Revelite light component 12” wrapped in bubblewrap (if you have a Revelite battery it must be in checked luggage as it is a lithium ion battery and not allowed in carry on luggage), a few panels, watercolor mini set for sketching. In a checked bag I put: clothes, oil paints (a warm and cool of each color plus white, solvent-free gel), tripod, drybox/PanelPak(s), panels, umbrella (Best Brella) Revelite battery and cords, brush tray, misc. small items such as bungee cord, paper towels, tape, pen, etc.
Shipping Considerations
Overseas shipping will incur heavy fees and customs red-tape so this is not advised. Shipping is a good option domestically, especially for plein air events. However, there are a few problems to consider. 1) You must pickup your package(s) when you arrive (rarely can it be delivered to your host home directly). 2) Often framers or art suppliers over-pack items (they don’t want things to get damaged) and the package will not fit in your rental car! Try to talk to your supplier that is shipping items ahead (such as frames) and ask for reusable boxes or smaller packaging. Do not have the UPS Store pack items for you as they often use huge boxes filled with peanuts (a nightmare to deal with). 3) If you pack a box yourself (versus ordering direct) you pay twice for shipping to your event… once to your home/studio and then to your event, so this can add up.

Final Advice
Most people still over-pack and bring too much, I’m still working on the perfect list myself! Figure 2-3 paintings a day when calculating the number of panels to bring, less if you are with non-painters. You can usually buy what you need if you really had to, or if you are with a group someone will gladly give you a blob of paint. Check your expiration date on your passport; it must be valid for at least an additional 6 months from when your ticket departs.

The 2017 National OPA Convention in Cincinnati

Booth Malone · Jul 24, 2017 · 2 Comments

Why Every OPA Artist Should Attend This Event
If I may borrow from actor George Takei: “Oh My!”
I never expected to see John Michel Carter, Kathryn Beligratis, Bill Whitaker, or Suzie Baker together in a conga line – or myself for that matter – but that was what the closing party for the OPA’s 26th Annual National show was like.
The venue for the party, Cincinnati’s American Sign Museum, was just the place for painters, patrons, venders and friends to kick up their heels. The unusual surroundings (iconic neon signs and memorabilia from the fifties and sixties), capped an unusually relaxing and comfortable four days along the banks of the Ohio.
With the weather and temperature cooperating, the river and the city parks were within walking distance – as were the fine dining and Graeter's Ice Cream. Friday, Saturday and Sunday were packed with informative demos and presentations. More things to do and see than any one person could take in.
The reason most frequently given for not coming to an OPA National Juried Exhibition is: “I didn’t get in.” With all respect, if you are waiting for that you are missing the point of a conference. The annual show provides every OPA member the opportunity to see and learn, to meet and to exchange ideas with other artists. And by missing the National you’re just missing a lot of fun.
A painting demonstration by William Whitaker OPAM is always as entertaining as informative, and he was followed on Friday by a portrait demo by Johanna Harmon and still later, a presentation by David Mueller: “Sophisticated Fundamentals.” Many who attended this talk came away with the feeling they had just gotten their money’s worth for coming to Cincinnati. I could go on, and maybe I should – but whenever I hear that phrase spoken, I’m already tuning out.
I will just make a plug for next year’s conference: Steamboat Springs, Colorado – a place as beautiful in the summer as it is the rest of the year.
I’ve been on both sides of the equation myself, but can’t say ‘in-or-out’ has ever deterred my attending a show. If time, distance, and budget cooperate, the opportunity to see, meet, hear and learn from your contemporaries cannot be missed.
At every conference I’ve attended, information is exchanged constantly and freely: technical, material, professional. It is there for the asking.
Quite literally, going to OPA events has made me a better artist.
Okay. That’s the business end.
The real story was this: Cincinnati was a great place to go, just to have fun with your ‘peeps.’
Cincinnati may have been the best yet.

Seeing the paintings accepted into the annual OPA online or in the catalog, is a poor substitute for the real thing.

Save the date for next year’s National Show in Steamboat Springs, CO, June 1 – September 3, 2018.
Opening Weekend Events: May 30 – June 3, 2018

Epiphany: on Music and Breaking the 'Rules'

Anna Rose Bain · Jul 3, 2017 · 7 Comments

I am a professional artist, but what some people don’t know about me is that I've played piano since I was eight years old. I was classically trained all the way through college, with a major in art and a minor in music. I took all the music classes: theory, aural skills, counterpoint. I even took voice lessons and sang in the choir. I loved music with a passion that rivaled my love for art… it was that big a part of my life.
But there came a point when I had to choose, because I couldn't devote 100% of my time to both. These art forms each demand much more of a person when it comes to choosing a career path. I chose painting, and the music gradually diminished from my life.
Recently, however, I’ve returned to playing piano once in a while just for fun. Since I've played some of the same stuff over and over for the last 15 years, I decided to order some new sheet music to freshen up my repertoire.
At first I was excited to play through the new material, but I quickly realized that the music was just "ok". Honestly I got rather bored playing through these lovely but cliche arrangements of popular songs.
This made me realize that I have changed. I'm not a student anymore, but a person who is capable of taking something and making it my own. And as a recovering rule-follower, it has taken me years to realize that I can do this. The possibilities are limitless.
Now I know why my high school piano teacher was pushing the "Fake Books" on me, but I never wanted to try them. Now I know why jazz musicians can really let loose, and why improv performers can take an ordinary tune and turn it into something amazing.
What does this have to do with art? Well, as with the music, I am arriving at a similar place in my painting. One can spend a lifetime playing scales or painting color charts, and working solely on technique, but at some point, we have to break away and start becoming artists. We have permission to use our imagination and just roll with it. Let the art carry us on an unexpected journey. Those of us who struggle with perfectionism will constantly hear voices in our heads telling us to play it safe, and do things the comfortable or traditional way. Follow the "rules" because they are time tested.
But that is ridiculous! I have the vocabulary, and I’ve had it for years-both as an artist and a musician. Why did chord charts always scare me? Because it meant I had to take something and be "original" with it! Why does breaking away from classical art scare me? Because it means I am forging new territory and I have to own it.
I've been having conversations with other artists about ways that we can break away from traditional molds. Here are a few ideas:

Glaze an area down to improve the value structure and overall design.
Eliminate or add elements either from another reference source or from your imagination.
Do an entire painting in only one color family.
Choose unusual subject matter (I am currently starting a series on people
working out at the gym!).
Go through stacks of old studies and paintings and analyze why they worked or didn't.
Drastically change some of them to see if your problem solving skills have improved since you first painted them.

The list goes on and on but I’d love to hear what you have to say about this. How are you successfully "breaking the rules" in your art?