+Travel tips
March 12, 2002
Dear Artist,
Pat Hart of Gabriola Island, B.C., wrote: "Apropos of workshops overseas, could
you talk about the subject of getting oneself and gear together and THERE? For instance,
does a French easel go as 'carry on' or is it slung in the hold? A workshop surely calls
for equipment and not everyone can afford to re-equip themselves on these occasions."
Actually, re-equipping some of your stuff on location is half the fun. I recommend that
you go as wild and crazy as you can afford. Foreign art stores are full of magic stuff
with unfamiliar names. It's one of life's major highs. Renewal is the game. In France, for
example, they sell brushes with handles that are 18 feet long. Easels are a different
matter. You can't go buying a new French one every time you land somewhere. They go in the
hold with your luggage. Because they're awkward and pointy I put on a couple of turns of
bubble-wrap in both directions. Still transparent, security personnel can see what's in
there. When they ask, I say: "Paint-box; I'm an artist." They often say:
"Go away."
Load your paint-box carefully. If you're working in oils you leave out the turps and
other flammable fluids. No spray cans. Linseed, Copal, Damar, etc., in little bottles seem
to be okay. Acrylic: no problem. For some reason they look at tubes; I once had a douannier
squeeze a little bit from a random selection. I let him keep his efforts. Watercolor boxes
can snuggle in a sweater in your luggage, and tripod-easels can be taken along with other
people's skis by "Special Handling." Powdery pastels arouse little suspicion but
they don't travel well. You might think of buying a few when you get there. "When in
Rome, etc."
With regard to the art you produce while you're away, don't sign it. Art's not a customs
event if it's not signed. Don't finish it either. Give your travel-work the benefit of
home-eyes. That last sentence is some of the best advice I've ever given. It pays for a
pile of travel. Another thing: Stretcher sizes in Europe and other places tend to be in
centimeters and won't fit your standard size frames if you bring them back to North
America or the UK. I take stretchers with me, remove the canvas and layer them on the
bottom of the suitcase for the trip home. If you work in oil, three days on the Riviera
will dry them.
Best regards,
Robert
PS: "No mode of creation is more direct or naturally arrived at than the
accumulation of materials found close at hand." (William Seitz)
Esoterica: A favorite home-built easel is one I call "The Laptop." It's a
folding box designed for horizontal 11" x 14"s. This may seem an unnatural limitation, but
sometimes a limitation can be a creative source. It's not the only easel in the world, but
it's simple to build and a piece of cake to ship. There's a picture of it in the previous
clickback.
The following are selected responses to the above and other letters. Thank you for
writing rgenn@saraphina.com
+Just take a camera
I sometimes feel guilty when I read some of your articles and those
of others who write your correspondence. I'm a professional painter who travels frequently
and I never take stuff to work on. I just take my camera. My customers don't know this. I
happen to think it's the only way.
(Name withheld by request)
(RG note) Let's be frank. There are many artists who work from reference
practically all the time. They synthesize in their studios from photographs
or slides taken specifically for the purpose. The great advantage apart
from the drawing and pattern problems that photos often solve, is efficiency.
An artist can wander in an environment that is pregnant with material,
tune into those subjects he needs, take advantage of fleeting light
and fleeting humanity--fairs, parades, happenings--and grab a lifetime
of material in an afternoon. This free-floating photographer-artist
combination is an art in itself and not to be sneezed at. It doesn't
mean the artist does "photographic work" either. His mind
and nature appreciates the processing of many images, the sifting that
can be done with the later studio-art of comparison and reflection.
Great things come of it. Leonardo would have loved a camera. No need
for guilt.
+Digital
My digital camera was indispensable for taking reference photos--no guesswork about
whether or not the picture turned out--you can see it on site. Also, it was easy to
transport the tiny memory cards, and after downloading the images to my hard drive I reuse
them. So easy and so inexpensive compared to film. Plus I can then zoom, crop, and edit,
as I like before starting the painting. You do lose some color in transit, so a small
sketch in oils on site may help jog the memory.
In Europe you can paint in museums. (US museums don't allow that--a serious oversight
on their part, I think. One of the most important functions of a museum is to help educate
the artists of today). In Paris, don't miss the Musee D' Orsay; it has a lot of the
impressionist work that is missing from the Louvre. In the Louvre is also a wonderful
library of historical documents (such as artist's letters) that is fascinating. One must
write ahead for permission to enter this area and many people don't know it exists. I
found out about it from a charming young portraitist I met in the museum and spent a
wonderful afternoon with at a cafe and comparing notes on art. I was shocked to find that
it was difficult to get archival quality canvases in Paris, especially in the Monmartre
area. I really had to look. They seem to use a lot of jute instead of cotton or linen and
we all know the life expectancy of jute is pitiable. Don't be fooled. I had taken a lot of
cash with me in order to buy cool supplies while there; but was so disappointed in the
quality that I made do with a couple new brushes. Maybe I just wasn't finding the right
stores.
I took with me a great pochade box "Open Box M". They specialize in
equipment for plein air painters working in any medium. Michael and Coletta, who make
them, are very kind people and the quality of their products is excellent. For example,
each wooden box is twice dipped in oil and hand-rubbed before the final sanding and
waxing.
Katherine Gordon prayandpaint@cfaith.com
(RG note) Open Box M is at openboxm@wyoming.com
+Rolled linen
I travel with the smallest, most adaptable pochade box, the largest
Box-M, which accommodates a 16x20 canvas. Likewise, I do not take stretcher
bars, but instead roll up pieces of linen cut just oversize for standard
issue, rolled up in a tube in the suitcase, which protects them. Each
day tape a few pieces to a backing board, and at the end of the day
strip them off, tape and all and attach to a wall to dry. When I'm about
to return they are again rolled up, put in the tube for easy carry home,
and then glued to masonite upon return to the studio. Saves a lot of
space and weight compared to carrying stretched canvases or panels.
Brushes also go in a tube for safe handling. And paper towels make excellent
dunnage around the easel, as does bubble wrap. I suggest paint always
be checked on, not carried on as it can be taken away. Also, the Kodak
film canisters will not leak so they are a safe place to carry your
mediums, but never take turpentine along. It can always be purchased
onsite.
Ann Templeton, Ruidoso Downs, NM, USA anntart@trailnet.com
+Travel to France
Before I packed for France, I cut papers just the right size to fit into my largest
suitcase. I mounted each on a same-sized board and I rigged acetate covers for each one,
taped to the back and creased so it would just flip over the face of the paper, and then
creased again so it would "lock" by folding over the bottom of the board. I put
a stack of these things in the flattest part of my suitcase under my clothes. A week or so
in advance, in time for the gouache to dry, I put a generous amount of each color into the
deep pans of a small watercolor palette. Once dry I stuck the palette in a plastic bag.
Took along a water bottle (empty for travel, of course) and a rolled up set of brushes.
You can always pick up a dish for mixing, even trimmed plastic cups will do. It all took
up very little room, and was not ever messy in my packing. When the painting is
sufficiently dry, flip the acetate over, and it's protected until you get it home to you.
The gear all fits nicely into one of those mesh shopping bags they use in Europe, it
stretches to fit awkward shapes and I could pack it easily here and there. (I use one of
those many-pocketed vests to carry the rest of my stuff, so it's just the mesh bag I am
toting around. Just sit on a step with M'sieur's kind permission, and paint away. People
come and watch. Little children throw 100mph spates of French at you and you have to draw
pictures to answer their questions. A 67 year old lock tender comes and says "C'est
chez moi!" and signs the painting on the back that depicts his ancient stone
house that has endured, he says, three floods in the years he has lived there.
Susan Holland, Issaquah, Washington, USA HOLLANDART@aol.com
+Continental art supplies
Here in Germany there is a terrific choice of materials including everything from such
renowned firms as Winsor & Newton, Daler-Rowney, Lascaux and Sennelier,
Rembrandt, Lukas, Schminke, Liquitex, Faber-Castell, Conté, Blockx (wonderful
watercolors), Caran d'Ache. Dutch, French, Swiss and German products are all
available in student and artist qualities, and of course you can get best quality paper
and all the other paraphernalia you need to get going. Perhaps you could persuade an art
supplier from the nearest city in France to send you a brochure or stock list, with a view
to having your requirements met as needed "on site"? I think if I were going on
such a trip, I would probably only take my favorite paintbrushes, a limited palette in
whatever medium I had decided to work in, a pencil or two, conté chalks and a
sampler pad. You can get them here containing various types of paper for various mediums.
Faith Puleston, Germany fpuleston@gmx.net
+Checked luggage
I haven't traveled since 9/11, but would advise to pack paint tubes in checked luggage,
protected with bubble-wrap, and enclosed in zip-lock bag. I had carry-on alkyd paints
confiscated by airport security with no recourse. I also carry rolled linen and paint on
cut pieces taped to cardboard. Every evening I remove the tape and hang the work on the
bathroom wall--they dry quickly. When returning home, I roll all together tightly, tape
and pack. At home, glue to cut board. I would also advise--LESS IS BEST. Painting
equipment gets heavy after a few days. But I do advise taking what you think you will
need, in some places art stores are not always easily found.
Ann Aldinger, Memphis, TN, USA annaldinger@msn.com
+Declaring paint
I recently flew with new tubes of water-based oils in my luggage and saw a sign
announcing a possible $27,000 fine for not declaring paint. So I told them at the ticket
counter and was asked to unpack my bag. After much discussion and consideration the expert
from security let it through. If it had been up to the ticket agent, I would have lost my
paints. After this I will either buy on site or mail ahead.
Pauline Conn, Bedford, Texas, USA p_conn@hotmail.com
+Art rocks
Returning to NYC from Europe many years ago, a friend had brought some modern
abstract statuary back with him. The wooden box was opened by customs and he had a hard
time explaining that it was art. Another customs official came by, seriously saying,
"You'd better shut that box or all those rocks will fall out."
Doran William Cannon, Santa Barbara, CA, USA dwc@writingacademy.com
+Pain needed as much as happiness
I'll bet I am not the only one who read Chris Tyrell's letter (in the previous clickback http://www.painterskeys.com/clickbacks/power.htm
) and said "yeah, that's me, I can identify with that!" As a young student at
Art school I was (inevitably) offered something illegal to use at a party. I thanked the
person and said "no thanks". Why? In my youth, I often felt an alien teetering
on the edge of sanity, unable to figure out the rest of the people. The idea of "mood
altering drugs" scared me because my mind alters its moods enough by itself and I
feared I might topple over the edge into the depths of insanity. In adulthood a parent was
murdered, a marriage ended late and bitterly and the stresses of life took a toll on my
health. During the worst of the divorce a doctor prescribed tranquilizers. I found it only
took the "edge" off the pain, you didn't hit "rock bottom" any more.
Later a psychiatrist fearing they might be addictive warned me he was only giving one more
renewal. I threw it away and went back to "full feeling". Now I realize that
pain is needed as much as happiness, it is an emotion and that's what artists are about;
expressing our emotions and sharing them. Who has not listened to Beethoven and not felt
his despair at being deaf and yet also felt his spirit transcend this monumental barrier?
June Raabe, Naniamo, B.C., Canada a5a56205@telus.net
+Watercolor journal
After a number of flights to Europe and Great Britain, I've settled for using 'watercolor
journals', a 9" high by 12" wide spiral bound book of 140 pound Waterford CP
watercolor paper. This, along with several brushes; a 1" & 1/2" flat and a
no. 8 round, a collapsible water container and a folding plastic Yarka watercolor pan set,
and I'm ready to sketch & paint just about anything, anywhere. This setup allows me
more time to do a variety of small watercolor studies, whereas with the old reliable (and
heavy) French easel, I'd do two or three half-sheets in a day's time and not gather nearly
as much info as I do, when I'm creating the watercolor studies. The other really great
attribute of creating the 'watercolor journal', is that when you've finished it (I put a
whole trip in one book), you can review the journal and 'relive' the entire experience!
Try it... you'll love it!
Don Getz, Peninsula, Ohio, USA djgetzbgolly@hotmail.com
+Easels and palettes
A friend of mine who is a plein air painter, suggested I invest in a Soltek Easel
to use while teaching classes around the country and abroad. This easel quickly became one
of the most valuable art tools I use. It seems to be indestructible. The Soltek Easel fits
into a small rolling suitcase that I can take onboard some flights. It is only 9 pounds
and can hold all the supplies I need. It sets up in 20 seconds and can be put into at
least 10 positions. The versatility it gives my while painting on location is perfect for
my groups. Students can watch the demonstrations with ease and I find it very comfortable
to work with. It has a strap that I sling over my shoulder making it easy to carry while
walking to our painting location (and I'm only 100 pounds myself). One can also leave it
in the small suitcase and wheel everything to the painting site.
I also use the Quiller Travelling Palette which fits perfectly on top of the set up
Soltek Easel (it also fits a French easel and the Italian - French easel.) I can fit in
all the paint I need since it has 24 wells and a space at the bottom to hold brushes.
There is a nice area in the center for mixing colors and it has a tight fitting lid.
Joye Moon, Wisconsin, USA joyemoon@hotmail.com
(RG note) Soltek Easel information can be found at http://www.soltekarts.com/portable.html
Stephen Quiller Palette information is at http://www.quillergallery.com/miscsupplies.htm
A valuable site which illustrates a home built (cigar) box and carrying case: John and
Ellie Clemens at: http://people.ne.mediaone.net/jcle/
+Go away
A cloudy day peers in through the window. It is gray, but doesn't have the effect of
dulling. I am not in the darkroom nor am I shooting. Still there is reason for
rejoicing... the corporate world is rapidly disappearing in my personal rear view mirror
and I am free to do my art for myself and whatever commerce finds it way to my door. Now
that this is truly my life 24/7, I can say "I am an artist, this is only my day
job." And I have already heard the cosmic and social equivalent of your customs
officers' "Go away". Yes, gladly!
Bruce Meisterman, Memphis, Tennessee, USA bmeiste2@midsouth.rr.com
+
(RG note) The above are a few more of the 250 or so entries that have come in since the
contest was announced two weeks ago. They are not necessarily finalists in the "Free
Painting Workshop in Brittany with Robert Genn" contest. You can get more information
on this contest and workshop at http://www.painterskeys.com/workshops.htm
The contest is open until June 15, 2002. All finalists will receive a free copy of The
Painter's Keys book. The workshop takes place from September 20 to 30th,
2002. Cost of the workshop is US$2350. The Robert Genn information for Phil Levine
Workshops Inc. is at http://www.paintingfrance.com/Robert_Genn.htm
Please note that in the event that the winner of the contest has already signed up for
the Brittany Workshop, his or her deposits will be refunded and air transportation from
anywhere in the world will be looked after as well. Artists entering the contest who wish
to send regular photos of their work may send it to R Genn, 12711 Beckett Rd., Surrey, B
C. Canada, V4A 2W9. These will be scanned and transferred to our contest archive. Thanks.
þ
Please feel free to comment on anyone's remarks. If you add your email address right
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incognito we will honor that too. All unused letters are carefully archived for possible
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able to translate letters from most languages. Please address your letters to rgenn@saraphina.com
You may be interested to know that artists from every state in the USA, every province
in Canada, and at least 97 countries worldwide have visited these pages since January 1,
2002. That includes Sara Genn sara@saraphina.com
who says: "French pastels are the most beautiful things in the world. Buy them in
France....use 'em up before you go home."
To see contributions to the previous letter "What steals your power?" please
click here http://www.painterskeys.com/clickbacks/power.htm
This also contains further information and art that has been entered in the free painting
workshop in Brittany contest.