marietta museum art exhibition – the works

This gallery contains 42 photos.

This is a catalog of Jim Yarbrough’s recent exhibition, held in 2012 at the Cobb/Marietta Museum of Art here are jim yarbrough’s paintings, etchings, and sculptures that were shown january 12 – march 24, 2013 at the marietta/cobb museum of … Continue reading


Venice, anyone?

lady in green

October 7, 2014.

Jim’s wife here.  I just wanted to let everyone know that we’re going to Venice, Italy for the winter. This is earthshaking news, because Jim never wants to go anywhere but downstairs.  However, he caught me coming back from my recent art residency to iceland, and decided to get in on the fun.  But he wanted to go to Venice, which he’s been interested in his whole life.  And he wanted to stay for as long as possible before coming back.

So I am in charge of arranging a 3 month stay in La Serenissima, and will be keeping this blog up to date while we are there.

While we are in Venice, Jim is planning to start a painting every day, which means that he’ll more or less finish one a day.  We’re going to be there all winter, so that’s a lot of work.

He’ll be taking his pastels and drawing implements, and plenty of his own handmade paper, and he might stray into acrylic painting while he works, but mainly he will be producing small pastel paintings of scenes of venice.

Since Jim thinks people might be interested in these quick pastels and drawings of Venice, I (the wife) decided to put up this page, and proudly display all his sketches and paintings for the three months we will be working in venice.  I’ll put up my stuff, too, mainly scarves and some watercolors.  And everything will have a pricetag on them, so that people who follow our blogs and like our work can have a little piece of our time in Venice.  Which will help us afford our little time in Venice.

for our new etsy site, see here
for the travelogue of our trip, see here
for my work, see here

how to make your own clayboard

several years ago, at an art supply promotional activity at our local art supply store, i was given, among other things, several ampersand clayboard panels.

they sat unused in my studio for a couple of years, but i wanted to do some miniature painting in egg tempera, and i took one of these panels and cut it down to a 4×5 inch size (it was something like 8×10).

as soon as i started laying in the egg tempera on the little clayboard panel, i thought – what a lovely surface – and really enjoyed working on it.  i think these panels must be a delightful support to work on for many different media, egg tempera in particular, and i recommend them highly.

while i was still in the process of doing this little painting, i got out the label that came with my clayboard, and read the ingredients and the information the manufacturer supplied, and my first thought was – i have five pounds of kaolin clay sitting on my shelf in the studio that’s probably been there for eight to ten years (leftover from the unsuccessful manufacture of handmade pastels.)  so naturally, i thought – why don’t i make up some of my own?  i can do gesso, why can’t i do clayboard? which i proceeded to start doing within a few days.

i’ve liked the results, i find it no more difficult than doing the traditional gesso.  in fact, for me it may be a little easier, because of the nice simple flow off the brush, and the rapidity of the application, which goes faster than the regular gesso.

after making a number of these panels, and painting on a few, i have made a few inquiries amongst fellow egg tempera painters, whether or not any of them have ever tried making their own clayboard, and so far nobody has come up with any stories about trying it themselves, altho a number of them have tried the commercial product and seem to find it very workable.

also, checking with some technical sources (amien rocks), none of the scientist types seem to come up with any objection to this product on an archival basis.  so it looks like a full speed ahead, go to it situation to me.

and for an artist who is not imaginative enough to market everything he produces almost instantly, the economic advantages are a real consideration.

the recipe

one cup boiling water
1tsp – 1 tbs rabbit skin glue
one cup kaolin clay
1tsp – 1tbs dry pigment (titanium white, or for a warm gray, 1 part raw umber to 3 parts titanium white)

you’ll need

double boiler, or saucepan and bigger saucepan to fit it into, stove to boil water
spoon and measuring cup
gesso brush
sized panels

how to do it

it’s just like mixing up a bunch of rabbit skin gesso, but you use clay instead of marble dust.

boil a cup of water in the small saucepan, and sprinkle the rabbit skin glue into it, stirring well.  use more or less to make the surface more absorbent (less glue) or less absorbent (more glue).  let this cool.  they say to cool it overnight, but i’m not very patient, and usually just wait until all the glue crystals disappear.

mix your pigment with your kaolin.  use more or less pigment depending on how much covering power you need.  mix in roughly a cup of kaolin for every cup of water.  i usually mix up three cups of water and fill my little saucepan.  stir it well.  let this cool, several hours or overnight.

i usually use this time preparing the panels with acrylic size, one coat per board.  there’s no need for two coats, as all you’re doing with the size is making the board somewhat less absorbent, so that the paint goes into the surface, but doesn’t disappear into it.

when you’re ready to coat your boards, heat the clay mixture over a double boiler until it stirs easily.  in summer weather, i only have to heat the mixture up in the morning and it stays workable for hours, sometimes all day.

using your gesso brush, a wide, flat brush, coat your panel and let it dry.  then coat it again.  i put 7 coats on panels i recently made, and several panels got 9 coats.  i could have used more white in the mix to make the opacity build better, but i don’t mind the grain coming thru a little.

when you’ve got enough clay built up on your panel, let it dry well, and then take a razor blade and use the flat of it to scrape over the top of the board.  this knocks off the burrs and scrapes a smooth surface, like a zomboni making ice.  when you’re done scraping, take some fine sandpaper and rub it gently until your surface is as smooth and shiny as you like.  it’s a good idea if you’re going to use it with watermedia to make it super smooth, because imperfections will show.  but if you’re using it as the substrate for oil painting, or encaustic, then who cares, and you might even skip the initial planing with the razor.

nobody makes their own clayboard as far as i can tell.  buying it at the art supply store gets expensive really fast, and i’m against the idea of artists paying thru the nose for art supplies.  so i make all my own supplies whenever possible.  the current batch of clayboard – 16×20 panels – comes from a 4’x8′ sheet of luan plywood from home depot – 20 bucks.  rabbit skin glue is $13 a pound, and a 5-lb bag of kaolin cost us $13 just yesterday, and will go a very long way a cup at a time.  i figure the 16×20 panels cost us about $1.40 apiece, and they’re ten times that at the art supply stores.

some of the panels i have made are substantially larger, twice or three times as big as the largest commercial clayboard panels i’ve seen listed in the catalog.  since these smaller panels retail for several hundred dollars, something two or three times as large would begin to look a little costly.  so i don’t really see having much of a choice should i want to work on clayboard on this particular scale.

this post has been viewed a whole bunch of times. i should write some more how to posts, you think?