As spring approaches, I am busy preparing oil painting surfaces.  I've written many posts about stretching canvas and oil grounds, but I am again reminded of the importance of the painting surface.  The painting surface dictates the brush control and how the paint moves, so different surfaces can yield a range of results.  If you're like me, the surface and technique can be just as interesting as the subject matter of the painting.  When I'm in museums, I often get close and stand to the side of the painting to look at an oblique angle to see the surface quality, shine and texture.
  Remember that painting is a craft and it can be studied scientifically to find the materials that best suit the individual and provide longevity.  I've tested out dozens of surfaces, but I always want to use the best materials that I can.  As with anything, there is always personal preference so it's important to test out different surfaces to see what you favor and what works.
   Let me add some info about the beauty of oil grounds.  Oil grounds are the traditional surface for oil painting and they come in a wide variety of textures and absorbencies and are usually single-primed or double-primed (more coats means a smoother surface).  If you look at a painting in a museum before about 1950, it was painted on an oil ground.  The glue sizing has changed over the years, but the Old Masters, 19th century painters, post impressionists and abstract expressionists all painted on oil grounds.  And it's my personal mission to get oil painters to switch back to oil grounds instead of the acrylic "gesso" grounds which are prevalent nowadays.
  I like certain commercially prepared linen rolls, but lately, I've been going back to applying my own oil grounds by hand.  You may ask why would you apply your own grounds?  For me, I feel more invested and a part of the process when I do it myself.  I also prefer oil grounds that have been applied with a palette knife instead of a brush--A lot of commercially prepared oil grounds are brush applied, which creates a more even surface and doesn't leave much tooth (not my cup of tea!).  I've had good results on a range of surfaces, but I want a certain feeling and degree of quality to them (I feel this way about watercolor paper also).
  Another thing that I like to do is to tone my canvases.  This is a pretty common practice, but it's good to test out a variety of tones.  I prefer a light neutral gray, made of ivory black which I apply with a rag and a little OMS.  I tone it beforehand and let it dry so it doesn't mix in with my colors.
  If you are wondering why painters tone canvases--it's to take away the white surface; if you have a white canvas, you can't go lighter in value so it can be tricky to gauge your values.  Working off of a light or middle value makes it easier to key your color values.  I also find that it seems less daunting to work on a tone instead of the stark white surface.  However, as oil paint ages it becomes more translucent so some artists prefer to keep the white canvas to help keep the painting bright as it ages.
  One last thought: don't be intimidated by using high quality materials.  I know that sometimes it feels like you should preserve them and that it's a waste to use them, but remember that high quality materials will help make the painting process easier.

  It was overcast this morning, but it wasn't raining so I got into the garden around 7am to begin painting.  I did a watercolor of the central path in the clos normand.  This is my first official painting in Monet's garden in Giverny.  It was surreal to be painting such an iconic scene and  it's so cool to stand in the same spots as Monet and to have free rein to paint anywhere in the garden.
  After lunch I stretched some canvases.  And the sun came out so I'm going to go to the water garden this evening to do an oil painting.  I'm just sitting in the courtyard now and enjoying the weather.  The light and atmosphere here is something that I've never experienced before; it makes the scenery very clear and easier to paint.  I can see why Monet enjoyed it so much here and why he used the colors that he did.

  What a day and what an experience thus far.  I took my first trip into Paris; I traveled from Vernon to Gare Saint Lazare, which was another favorite spot of Monet.  My journey was to purchase supplies from the original Magasin Sennelier from 1887.  I was mainly seeking a roll of oil ground canvas and was being shown a sample book with various surfaces; the gentleman helping me spoke English and was very kind; unbeknownst to me.. I was speaking with a legend because it was Monsieur Sennelier himself (the grandson of the original founder). 
  The entire store was beyond amazing and I could write an entire post about it.  Everything was done with care and personal attention.  I had quite a shopping list so I was busy.  All the products are the highest quality and it makes me so happy that a place like this exists.  I was also being helped by M. Sennelier's daughter who will follow him as 4th generation owner.  The journey to bring back the materials involved carrying my roll (over 2 meters long) through Paris back to the station - the last picture below shows my canvas roll stored by the bike rack on the train back to Vernon.  I felt like a true artist, bringing my canvas roll and supplies back to Monet's estate
  Lastly, I'm sharing some photos of the delicious food that I've been enjoying.  I know I've only been here since Saturday, but it's been absolutely wonderful.  I can't wait to start painting tomorrow!

  Some interesting history and great close-ups of this beautiful painting.  I always love seeing the brushstrokes and texture of the painted surface.