Thomas Jefferson Drafting The Declaration of Independence for our 250th Anniversary

To celebrate our nation's 250th anniversary (Semiquincentennial), I have tasked myself with creating a special painting. I could not think of a better subject than Thomas Jefferson drafting The Declaration of Independence! 

Thomas Jefferson Drafting The Declaration of Independence, oil on linen, 3'x5' by Jason Dowd

(Note: No Artificial Intelligence/AI, was used in the creation of this painting) 

Surprisingly, in my research, I have not yet found an American fine artist in our 250 years as a nation, who has painted Mr. Jefferson actually drafting The Declaration of Independence. Two Golden Age illustrators, Howard Pyle (the Father of American illustration) and his student N.C. Wyeth, a Golden Age illustrator of the highest order, have depicted scenes of Thomas Jefferson in this scenario, both commissioned by Scribner's. With the greatest respect for both of these artists, they show Mr. Jefferson working at night. My research has shown that Mr. Jefferson was an early riser, meaning that he preferred to write in the morning hours. One other factor for consideration is that my painting was not created for, nor commissioned by a commercial client. It stands as an inspired painting meant to inform and educate American citizens about our democracy and the principles laid down by our Founding Fathers.   

Thomas Jefferson by Rembrandt Peale, 1803

I enjoy history and love creating historical paintings. There is so much richness in learning about the past. Humanity and related historic events are engaging, though often messy, which causes me to ponder carefully the details involved. For example, we know that Thomas Jefferson drafted The Declaration of Independence. But where did he draft this world-changing document? What time of day did he prefer to write? Did others have any say about the language used? These are questions that I, as a historical artist, dutifully researched in order to create an authentic painting. And so, in my research, I discovered the answers to the preceding questions and much more. The stages set forth here represent many dedicated hours of reading, researching, sketching, drawing, traveling, interacting with experts, photographing models and props, stretching linen, and finally painting Mr. Jefferson. The entire process, including this entry in my blog, has taken approximately nine months to complete. Each step will be thoroughly discussed as I painstakingly build this most celebrated of subjects. This is my artistic journey. I hope that you find it an intriguing process.

Thumbnail sketch of Thomas Jefferson in the Declaration House room, 3" x 5"

I am a direct artist, conceptually speaking. By this I mean that my first thumbnail sketch is often close to my final painting. Such is the case here. One of the most important considerations of Thomas Jefferson Drafting The Declaration of Independence is the camera angle of the room. Deciding what the most  important elements are for the viewer to see is crucial to this painting's success. Mr. Jefferson's face and The Declaration of Independence itself are the two key points of interest, historically and visually. However, in order to capture a sense of authenticity, the Declaration House room must also be recognizable. These factors created an interesting visual problem to solve. If the text of the document is to be readable, the angle must be one of looking downward. Artists refer to this angle as a "bird's eye" view. How then should the viewer be able to see Mr. Jefferson's face if they are looking over his shoulder at the document? The answer came in some research that I had done regarding his genius for invention. It so happens that Mr. Jefferson invented the swivel chair. Therefore, the solution was simple. By rotating the chair a few degrees to the left, the viewer would have a clear view of his face as well as the document he is drafting. At this point, I became very excited about the direction of this work.    

Steve Edenbo posing as Thomas Jefferson at Woodford Mansion

                                   

The next crucial step in this process was locating a suitable model to pose as Thomas Jefferson. Ideally, this model would strongly resemble Mr. Jefferson. But where to start? These days, most people (myself included) begin any research online. As luck would have it, I quickly found photos of Mr. Steve Edenbo

associated with The History Channel's documentary of Thomas Jefferson. After comparing likenesses of these gentleman, it was easy to see that this was a match! 

Steve Edenbo next to sculpture of Mr. Jefferson 

     

During the research stage, I have discovered that things have an almost eery way of falling into place when I am on the right track. It is a wonderful feeling for an artist to have this sense of mysterious  reinforcement. Due to Steve's strong presence online, it was easy to find his contact information. Thankfully, when I reached out, Steve was as much of a kind professional as I'd hoped. He was very receptive to the idea of modeling for my project. Of course, it was familiar terrain for him, as he's been studying and reenacting Mr. Jefferson for 26 years! We arranged a time for a call. And soon, our conversation began about the details of where the Declaration was drafted, how he should be dressed, what time of day Mr. Jefferson preferred to write, etc. Steve was gracious with his time, offering his years of expertise. At times, it felt as if I were speaking to Mr. Jefferson himself. After approximately two hours, I'd managed to jot down three pages of notes. We excitedly acknowledged our new creative partnership and would stay in touch as events progressed.

Woodford Mansion. Philadelphia, PA.

I would like to express my thanks to the gracious staff at Woodford Mansion for allowing me to photograph Steve, as Mr. Jefferson, in such a magnificent American home. Having access to this historical landmark added depth of knowledge and authenticity to my painting.

Historical details are fascinating and also never ending. In this instance, I was eager to learn as many facts as possible about Thomas Jefferson's life, especially his time in Philadelphia during June, 1776. From my research, which consisted of reputable resources including Monticello, The Smithsonian Institution, The National Parks Service, Steve Edenbo, and all relevant biographical books about Mr. Jefferson, a more accurate picture of the scene began to form.   

Thomas Jefferson's portable writing desk, circa 1775-76.
The Smithsonian Institution. Photo taken by Jason Dowd.


For example, Mr. Jefferson designed a portable writing desk. Cabinetmaker Benjamin Randolph was commissioned to build it. This mahogany desk (shown above), as seen in my painting, was used when Mr. Jefferson drafted The Declaration of Independence. It was a unique piece of equipment that had a tilted writing surface with extendable legs, which also opened to create twice the space for larger paper. Inside the locking drawer was an inkwell and sections for storing quills and paper. 

Thomas Jefferson's swivel chair, circa 1776.
The American Philosophical Society.


As previously mentioned, Mr. Jefferson invented the swivel chair. He improved on the English Windsor chair by adding four window sash rollers and a central iron pin to the chair's base (photos available online). This allowed the new action of rotating, or swiveling, the chair from one area to another, eliminating the need to continuously stand up. 

As a fine artist painting historical scenes, it is of the utmost importance to research relevant details as precisely as possible. My objective is to inform an audience about what they are viewing. This careful study maintains a sense of authenticity. In this painting, celebrating our 250th anniversary (Semiquincentennial), it is important to create a plausible re-creation of the event as it may have been.  

Plan to View Perspective Grid. Created manually/digitally by Jason Dowd in
Photoshop (no AI).

I teach Advanced Perspective at Laguna College of Art and Design. These skills, as I tell all of my students, are essential when there is a need to draw a building, house, or in this case, a room. Per my initial concept of having the viewer see both The Declaration of Independence and Mr. Jefferson's face, the room needed to be seen at a "bird's eye" view. The basic floor Plan is seen at top of the drawing and is then brought down into the View. The Grid is the method of proportion regarding height, width, and depth of people, furniture, and objects. For scale, I added Mr. Jefferson in his swivel chair (above). This 2-Point perspective also allows for a considerable amount of the room itself to become an integral part of the scene. Interestingly, this painting is as much a portrait of the Declaration House room as it is of Thomas Jefferson.

Detail of View/Grid

Graphite overlay drawing on tissue paper (Grid underneath) of Declaration House room  

This drawing took many hours of studying my own reference photos in order to properly draw/construct each piece of furniture. The Gateleg table, with its many intricate shapes, was the most challenging piece to draw. However, each object had its own unique designs, curves, and angles, all contributing to the Colonial period aesthetic.  

Thomas Jefferson holding his writing quill.
Graphite, charcoal, and white charcoal on Strathmore
gray toned paper. Drawing by Jason Dowd.

At this stage, it was time to create a "working drawing" of Mr. Jefferson in full value and detail. By this, I mean a relatively final image of the pose and clothing. The face (above) is stylized and not yet what I am looking for in the final painting. Drawing on toned paper is a wonderful way to save time and simultaneously gain a painterly effect of light and shadow. Having this middle ground value allowed me to register lights and darks, while leaving much of the space as the original paper. 

Compositional arrangement using the "Rule of Thirds."

Composition is the most important element for an artist to consider when approaching a drawing or painting. It is this initial impact of the subject which engages the viewer and often determines the success (or failure) of a work of art. I chose to utilize the "Rule of Thirds" in order to focus the viewer's eye on the most important elements - Mr. Jefferson's head, his quill, and of course, The Declaration of Independence. The key to using this strategy is selecting one of the four quadrants created when dividing a given Picture Plane into thirds, horizontally and vertically. I chose the upper right point which aligns with the subdivision of said point, creating an eyepath for the viewer to follow. Mr. Jefferson's head, representing the inspiration for our democracy, is the only point at which three lines intersect in an area of great importance.  

Oil-primed linen stretched on 3'x5' stretcher bars
purchased from Upper Canada Stretchers

Completed stretched linen

After finalizing the drawing stage, it was time to order the stretcher bars. In years past, I entrusted Upper Canada Stretchers to provide a sturdy, well-crafted foundation for my paintings. True to their word of offering easy to assemble strong/square stretchers, they earned my trust, delivering a high quality product. It is, once again, a pleasure to work with them. Stretching linen is more challenging than stretching canvas. First, I pulled the linen to the center of each side, then stapled that point. Continuing around the perimeter, I stapled up to the corners where I then carefully folded and stapled the finishing corners. Next, I gently but firmly used a hammer to tap the "keys" into the corners and center slots of the stretcher bars. This essential step tightened the linen like a drum and I gave it a good thump for testing, and good luck.

JD transferring drawing to linen

Fortunately, I am a professor at Laguna College of Art and Design (LCAD), where I have access to technical equipment. Here, I am transferring the drawing with a brush using Raw Umber oil paint instead of graphite, to eliminate the painstaking step of drawing in pencil first, then painting the lines. The Epson projector (not seen) allows me to position the image squarely on the linen surface. Being able to first see the image projected minimized compositional errors, and as importantly, greatly assisted with tracing my own drawing without having to redraw difficult elements, such as the antique furniture. Traditionally, artists would use a "grid" of squares to transfer a smaller preliminary drawing to a final canvas surface. This method was effective, but it was also tedious and time-consuming. 

Contour transfer on linen using Raw Umber oil paint

Here, the real scene begins to emerge. After much travel, research, photography, technical deliberation, and drawing, the fulfilling work of painting awaits. 

Step 1. Establishing the value of the walls and matching the color of the window trim

Paint color: Benjamin Moore HC-118

The Declaration House. Philadelphia.
Independence National Historical Park.

By way of research and discussion, I discovered the exact paint color that was used by the National Parks Service when they recreated the Declaration House room's window trim for the Bicentennial in 1976. In fact, Benjamin Moore created this line of 191 "Historic Colors" for the Bicentennial. These colors are based on historic American architecture from the 18th and 19th centuries. (Note: Due to the informal photography and lighting used to record each painting stage, the HC-118 color in each frame may vary) 

Step 2. Completed window and base board trim 

Step 3. Painting the base color of the swivel chair

The rich Transparent Red Oxide (Rembrandt brand) color used as a base for the swivel chair gives a layered appearance to what might otherwise be a flat color (black). In some areas, I let this deep brown color show through where everyday wear might occur.  

Step 4. Blocking in local color of the portable desk, High Boy, Grandfather clock, Gateleg
table, old-style chair, violin case, and table in the far left corner

This painting is relatively muted in its color palette, reminiscent of the American Colonial period. It was interesting to determine variations of brown hues for the different wood of the furniture and flooring. I chose to keep these chromas toward the warm side of the color wheel (yellow/orange/red), which offered a nice contrast against Mr. Jefferson's blue coat, the green trim and white walls.

Step 5. Blocking in the quill Mr. Jefferson is holding, paper upon the portable desk
(Declaration), violin, cup and extra quills, candlestick, bottle of sand (for drying the
ink quickly), reflections on table, stocking, and shoes

The painting is now feeling unified in terms of value and color. Some light effects, on the Grandfather clock and High Boy, express the idea of additional windows outside of the Picture Plane (left/right sides). There are a total of four large windows in this room. The violin, possibly a creation by Andrea Amati, is seen resting on its case across the table. Music was very important to Mr. Jefferson and he often played the violin as a break from his work. 

Step 6. Rendering Mr. Jefferson's coat, pants, overpainting the chair black, and adding
cast shadows on table surface

The added contrast of the swivel chair creates a prominent dark shape which helps to bring the viewer's eye to the main focal point.  

Step 7. Adding the face of the Grandfather clock, July (left) and June (right) calendars
(upper left corner of room), and additional cast shadow on wall behind corner table 

Within the details of the clock face and chairs, I decided to add some layers of conceptual/historical interest. Nowadays, the nickname for these elements is known as "Easter eggs." In other words, they are details meant for an interested viewer to discover. I set the time on the clock face to 10:19am. This designation of time is consistent with the time that Mr. Jefferson elected to write. He preferred the morning, beginning at sunrise, and finishing at about 1:00pm in the afternoon. Contributing factors may have been that it was hot in June in Philadelphia, so it would be cooler to begin his work before the hottest part of the day. With specific regard to 10:19am, this is the date (October 19th) that the British, under the leadership of Lord Charles Cornwallis, surrendered to the Colonial Army at Yorktown, in 1781. This American victory signified the last major battle of the American Revolution, clearing the way for American independence. Though the war did not conclude officially until 1783, with the signing of the Treaty of Paris (seen below), the final days of the war were numbered. Visually, this seemed an appropriate way of showing the birth of our democracy and marking our moment of victory. The chairs also have a story to tell. The stationary/non-swivel chair opposite Mr. Jefferson represents "old world" thinking (i.e. Feudalism, Monarchy, etc.). This outdated mode of enslaving a country's people for the benefit of the king (i.e. the wealthy), led people to leave Europe in search of freedom. The swivel chair, invented by Mr. Jefferson, represents the "Enlightenment" movement of the 18th century. Championed by educated people such as Benjamin Franklin, Voltaire, and John Locke (among others), these men created a movement based on knowledge through reason, natural rights, secularism, and the social contract. These ideas were the foundation for our democracy.      

The Treaty of Paris (original document). The National Archives.
USC Fisher Museum. Photo taken by Jason Dowd.

The Treaty of Paris (original document), detail. The National Archives.
USC Fisher Museum. Photo taken by Jason Dowd.

Step 8. Painting the text of The Declaration of Independence, adding the cast shadows
from the table and chairs onto the floor, painting details of the High Boy drawer pulls
and darkening their value of (essentially "pushing" them back in space)

Painting the text of the Declaration was a bit of a mystery until it came time to paint it. Why? Because I was not sure what the exact size of the text would be until I painted the first line. My original hope was to have all of the text be legible. However, the only words that can be read clearly are "the United States of America." Interestingly, this is the first document to use that title for our nation. I did my very best to match the original document in terms of text structure, placement, corrections (i.e. lines that had been crossed out), and spacing. In spite of the type being so tiny, if you know the words of the document (and you have good eyes), you can make out what is written. Here is the type as it is painted: "A Declaration by the Representatives of the UNITED STATES OF AMERICA in General Congress assembled. When in the course of human events it becomes necessary for one people to dissolve the political bands which have connected them with another, and to assume among the powers of the earth, the equal station to which the laws of nature and of nature's god entitle them, a decent respect to the opinions of mankind requires that they should declare the causes which impel them to the separation. We hold these truths to be self-evident, that all men are created equal, that they are endowed by their creator with certain unalienable rights, that among these are life, liberty, and the pursuit of happiness; that to secure these rights, governments are instituted among men, deriving their just powers from the consent of the governed; that whenever any form of government becomes destructive of these ends, it is the right of the people to alter or abolish it and to institute new government, laying its foundation on such principles and organizing its powers in such form, as to them shall seem most likely to effect their safety and happiness." The text here is as it is written on Thomas Jefferson's actual draft, not the way it is transcribed in most literature. Certain words, such as "God" and "Creator" have been capitalized in books, henceforth. For authenticity's sake, I painted the words according to the original hand-written draft.       

Step 9. Painting Thomas Jefferson's personal seal "REBELLION TO TYRANTS IS
OBEDIENCE TO GOD" in the lower third of the painting, rays of sunlight through
the window, adding a light reflection to the face of the Grandfather clock to make it
look like glass, painting a newspaper on the table in the upper left corner, and
detailing the floor with wood grain pattern

This most important stage brings us to the true statement of the painting, as a work of art. Presently, at our 250th anniversary of the founding of The United States of America, the evidence shows that we are once again in the talons of a tyrant. As an American citizen, and as an American artist, I am choosing to express my rights to speak out in favor of democracy over the whims of a tyrant. I firmly stand with Thomas Jefferson and our Founding Fathers against any person who desecrates the principles for which so many Americans have fought and died throughout our history.     

Thomas Jefferson's Personal Seal. Monticello.

Thomas Jefferson Drafting The Declaration of Independence, oil on linen, 3'x5' by Jason Dowd

Victor Mayén and his assistant, Roberto, holding the finished frame at
Mayén/Olson Framemakers & Goldleaf Studio

I wish to express my grateful thanks to Victor Mayén for crafting this wonderful 22-Karat gold hand-carved frame. Victor was very patient and attentive to the details of this project. It was my pleasure and privilege to work with him. He kindly recorded the process of making the frame, seen in the following pictures.

Basswood frame base

 

Corner detail

Carved quill

Ludo Leideritz photographing my painting of
Thomas Jefferson Drafting The Declaration of Independence

I wish to express my grateful thanks to Ludo Leideritz (Reflective Image Studios) for photographing my painting. Ludo has shown the greatest of patience in working with me to answer my questions, color correct my work in Photoshop, and serve as printer and distributor for my print series of this painting. 

___________________________________________________

Thomas Jefferson Drafting The Declaration of Independence

by Jason Dowd

-Own a Piece of the 250th Anniversary of The United States of America-

___________________________________________________

Limited and Open Edition Prints Available

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with questions or inquiries

"The Comedy of Life, the Death of Caesar Augustus" debuts at the Gerald R. Ford Presidential Museum (303 Pearl St. NW, Grand Rapids, MI 49504) in connection with Artprize, September 21-October 9, 2016

**To vote for this painting, VOTE CODE:  64099
Note: You must be registered with Artprize to vote and physically present in Grand Rapids, MI

http://www.artprize.org/64099

To view the creative process of this painting, please visit:

http://lightnatureart.blogspot.com/2013/08/the-comedy-of-life-death-of-caesar.html

ARTPRIZE AND AMERICAN HERITAGE 2

This painting, entitled "American Heritage 2", is a newly completed companion piece to "American Heritage."  For many years I have wanted to paint this illustration, and finally, I feel the project has been fully expressed.

I am honored to have this diptych accepted into Artprize (artprize.org) in Grand Rapids, MI.  They are currently on exhibit at DeVos Place (303 Monroe Ave. NW, Grand Rapids, MI 49503), from September 23rd through October 11th, 2015.  If you are in Grand Rapids and wish to vote for my entry, my vote code is:  61952

Limited edition prints of these paintings are available.  These giclee prints of "American Heritage" and "American Heritage 2" are signed by the artist (myself), and are offered printed on paper or canvas.  Each print is accompanied by a Certificate of Authenticity.  A 27" x 27" (original painting's size) paper or canvas print (edition of 250) is $575.00 (unframed).  An 18" x18" paper or canvas print is also offered (edition of 250) for $395.00. Please contact me at jason@jasondowd.com if you wish to place an order.  Please specify "American Heritage" (boy reading) and/or "American Heritage 2" (girl reading) when placing your order.

To view other works, please visit:  www.jasondowd.com

As I mentioned earlier, the concept for this illustration had been coursing through my imagination for many years.  Finally, the stars aligned and it was time to move forward.

The reason for this work is the same as its predecessor; inspiring children to read, and thus, educating themselves as a worthy pursuit.  Education has always been a cornerstone of strength in any successful society.  It is my intention that these paintings stand as a testament to this universal truth. 

Furthermore, applauding the incalculable contributions American women have made to our great Nation is paramount.  Mothers, wives, sisters, and any number of ambitions give our families, and thus, our country the necessary bonds to thrive.         

Three months were spent this summer (June - August, 2015), to finish this work.  I have documented the step-by-step process below, for those interested in the creative process.  

As with any of my illustrations, the process remains the same.  First, I make preliminary sketches called "thumbnail" sketches (typically about 2" x 3" in size).  This helps to establish the composition, or placement of the the characters in this case.  Once I am happy with this arrangement, it is time to find models.

This proved to be more time consuming than in the past.  It is crucial to find people with features that truly express the spirit of the subject.  Starting with friends is a great place to begin.  My friend Joann Pitteloud would make a great aviatrix.  Picturing her as such in my mind's eye was easy, and fortunately, she enthusiastically agreed to model.  Being a creative soul herself, she understood the nuances such a project entails.  Colleagues and students from the college where I teach (Laguna College of Art and Design) also jumped in to help when asked.  Christa Jech (suffragette), Lacey Bredsguard (Annie Oakley), Kimberly Winters (Harriet Tubman), Emmalyn Tringali (Betsy Ross), and Monica Magana (Sacajawea) all graciously accepted my invitations to pose.  Of course, I had to find the star of the show - The girl reading the book!  A friend of my son's, a girl named Talia, would prove to be just perfect.  It can be a challenge to work with children; communicating expressions, subtle movements, and keeping their attention during a photo shoot are all potential obstacles to capturing the much needed reference.  However, she was very attentive and delightful to work with, and being that we were all family friends helped a great deal.  With hair braided (thank you Mary!) and ribbons in place, we moved through the shoot with ease.  Thank you, one and all, for your contribution to this painting - It couldn't have happened without you!   

                                                                                                          Lacey Bredsguard as Annie Oakley

Now it is time to move onto researching costumes and props that the model's will eventually use in the portrayal of their characters. For example, Betsy Ross was just 24 years old when she sewed our Nation's flag.  It seemed a natural touch to have her proudly displaying the thirteen starred creation in her hands.  Fortunately, I found an excellent costume shop - Bianca's Historic Costumes, located in East Long Beach, CA (562-235-8887, biancascostumes@verizon.net).  Bianca and Peter were very helpful in offering just the right dresses, hats, and gloves to bring this image to life.  Thank you both! 

Things were moving forward and everything "felt right."  This feeling cannot be overlooked in the creative process.  I tell all of my students that they must make every effort to find that "creative spark" of inspiration before beginning a new piece.  If that feeling can be carried through with its original enthusiasm intact, then it is almost guaranteed to be a success.  

Usually, I would proceed from the thumbnail sketch stage to refining rough sketches followed by the final drawing.  However, time would not permit these important steps (apologies to Mr. Rockwell), as I knew the Artprize deadline would arrive quickly.  

Instead, I went from the photo reference to the final painting.  The following steps will visually explain each stage from block-in to finish:

    

                                                                                   Drawing and block-in underpainting with acrylics

                                                     Unifying glaze of Brown Madder Alizarin creates "jewel-like" effect

                                                 Simple underpainting establishes general value and shape relationships

                                                 Detail of girl's head shows "relative finish" compared to block-in areas

                                                                  Color block-in/detailing continues... Many changes to come!

                                                                                                                                                    Finished!

                                                                     "American Heritage 2" and "American Heritage" (diptych)

I sincerely hope you have enjoyed this post regarding "American Heritage 2."  It is always a pleasure to share insights with students and creative enthusiasts alike.  Please feel free to contact me (jason@jasondowd.com) if you have questions or comments to share.

Michael Dolas - Illustrator

This post is about a piece of vintage illustration I recently purchased and restored.  It is by a wonderful, but relatively unknown illustrator named Michael Dolas (1912-2010).  He had a career spanning six decades and was friends with Norman Rockwell and J.C. Leyendecker.  I have written an article about this great artist which may be seen in the July 2014 issue (#45) of Illustration Magazine:
http://www.illustration-magazine.com/Illustration_Magazine_Site/home.html

The piece came to me through the estate of a very close friend, Bill Vann, who passed away in 2011. Bill was an incredible illustrator himself and had the most amazing personal collection of vintage illustration I ever had the pleasure of viewing.  It is a privilege not only to possess such high calibre of work, but to have the honor to restore it to its former glory.  It is a Budweiser billboard from the 1950's, in what was coined (by MD) as his "floating head" period.

Unfortunately, at that time, original illustrations were viewed solely as a means to a commercial end. Once a piece was finished, it might have been kept by an art director, shoved into a flat file, or discarded all together.  In this case, one-third of the work (right side) was cut off.  Likely, the party involved was only interested in the people, not the type or bottle.  In any case, we are thankful at least to have part of the original work preserved.

Upon researching Dolas' work from that era, I had the good fortune to find a website dedicated to billboard art:  http://advertisingbillboards.blogspot.com/2008/04/old-budweiser-beer-billboards.html
It features well over a dozen billboards by MD and confirmed the authentic layout/content therein. Now, it was a matter of putting in the necessary hours to complete the task at hand.

BEFORE

Here is the illustration as it was received.  Note the splatters (top right), masking tape, and though it may not be apparent in this photo, a generally dirty surface.

The first order of business was tape removal and a good, careful cleaning.  Per Ralph Mayer's Handbook of Artist's Materials and Techniques, a lightly dampened cloth/Q-tips (with water) was applied inch by inch over the surface surrounding, but not touching the heads.  Thankfully, this simple but painstaking step did wonders in removing years of grime.  Since the type is watercolor/gouache, however, extreme caution had to be observed when cleaning in and around the letters.

Next, again citing the RM book, it was time to bring out the dental tools.  These 60+ year old smiles needed a cleaning.  Using a loop and a steady hand, I observed dirt within the pits of the brush strokes. Every effort was made to avoid contact with the metal edge and paint surface.  The idea was to "pop" loose whatever soiled material was present, then gently clear it away with clean air.  It was amazing to discover a rhythm, not unlike the act of painting itself, which seemed to take over during the process. Once again a tried-and-true method had worked its magic and the surface sparkled.  Colors were vibrant and highlights turned their forms.

The easy part was over.  Now for the real work.  A similar surface had to be located and prepared.  The original board is masonite.  It wasn't a problem finding some, as I too keep much of it on hand for painting. Though not perfect, it was a good match.  After three layers of Winsor & Newton oil priming, it was ready for painting.  Matching the color was a challenge, but with a little raw umber and ivory black added to the titanium white, a color with the proper "time stamp" appeared.  

The lettering was pretty straightforward too.  I was able to use tracing paper to trace/transfer most of the letters, while the "s" and "r" (in Budweiser) were free-handed/cobbled together respectively.  As was mentioned earlier, the type is watercolor/gouache, which was likely done by another artist.  Often, the illustrator did the main image and technical artists would paint type and/or other mechanical objects. Thankfully, I'd just finished teaching a watercolor class last semester and was up to speed.  Phthalo green (watercolor) paint was mixed with some raw umber and a very small amount of titanium white to touch up "Those who know enjoy Bud."  There were many cracks in the letters which were laid back down with some subtle touches.  Since the new lettering appeared on the new surface, I thought it would be more permanent to paint the remaining letters in oil.  It worked well.  

The last stage was painting the bottle.  This would be the most critical execution in order to give the proper "feel" of the piece, thus bringing it back to its original state.  If this was not convincingly recreated, all would be lost.  Thankfully I discovered early in my freelance career that I had a knack for painting bottles (Coca-Cola in one such case).  The product must, of course, look cold and refreshing. High contrast and clean, sharp edges are needed to give the illusion of metal (bottle cap) and water droplets on a glass surface. I was once again indebted to internet research.  Fortunately, a vintage Budweiser advertisement from the 1950's was located.  It featured a hi-resolution photo of the specific beer bottle in question.  I decided to paint it on Arches oil paper.  By doing this, the original surface would not be disturbed with new paint.  The main logo/lettering was carefully rendered, while the smallest type was merely suggested or "gooned" (as it was known in the business).  The rest was just a matter of light logic on a transparent cylinder.  Strong core shadows, hot highlights, and rich transmitted light all contributed to its solidity.  Zots acid free/archival dots were then placed on the back of the Arches paper (generously) for good adhesion.  Pressed into place, the illustration was complete.  It measures 21" x 46".

AFTER

At this point, a connection was made.  Such is my appreciation for these artists - Norman Rockwell, J.C. Leyendecker, Michael Dolas, and so many more, that to have the honor of sharing this restored piece with future generations gives a deep sense of fulfillment.  Thank you and I hope you enjoyed this process.