<?xml version="1.0" encoding="UTF-8"?><rss xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:content="http://purl.org/rss/1.0/modules/content/" xmlns:atom="http://www.w3.org/2005/Atom" version="2.0"><channel><title><![CDATA[Cait Jewell, American Oil Painter.]]></title><description><![CDATA[Cait Jewell. Selected Large Original Paintings for Direct Sale by Artist. Contemporary ​Fresco, Cold Wax Medium.
East Bay, California.]]></description><link>https://www.caitjewell.com/blog</link><generator>RSS for Node</generator><lastBuildDate>Mon, 19 Oct 2026 22:46:06 GMT</lastBuildDate><atom:link href="https://www.caitjewell.com/blog-feed.xml" rel="self" type="application/rss+xml"/><item><title><![CDATA[Moving From Plaster to Concrete: A Studio Update]]></title><description><![CDATA[My paintings usually start with a plaster base on birchboard. Lately I have been covering that plaster with concrete. This new piece is spray paint on concrete on birchboard. Here is what the change means for the work. Concrete is a harder and cooler surface than plaster. The paint meets it differently, so the color sits differently on the panel. The first layer of ladybugs is protected under a matte UV coating. This painting is a work in progress. It is not finished. Why ladybugs? Ladybugs...]]></description><link>https://www.caitjewell.com/post/moving-from-plaster-to-concrete-a-studio-update</link><guid isPermaLink="false">6ad65db0756af967e8e71b45</guid><pubDate>Mon, 19 Oct 2026 18:13:33 GMT</pubDate><enclosure url="https://static.wixstatic.com/media/f2f361_48af8b8dce8f453c9462768f40a03c64~mv2.jpg/v1/fit/w_1000,h_1000,al_c,q_80/file.png" length="0" type="image/png"/><dc:creator>Caitlin Jewell</dc:creator></item><item><title><![CDATA[How to Hang and Care for a Large Panel Painting]]></title><description><![CDATA[A large panel painting is rigid and substantial, so hang it with care. A few steps protect the painting and your wall. Here is what I recommend to every collector and designer. Start with the wall. Find studs or use anchors rated well above the weight of the painting. Ask me for the weight and hanging notes before delivery. Plan on two people to lift and position the piece. Use hardware made for the job. Wire and a single nail will not hold a large panel. A French cleat or a pair of heavy...]]></description><link>https://www.caitjewell.com/post/how-to-hang-and-care-for-a-large-panel-painting</link><guid isPermaLink="false">6ad65d6e8ff9f8dc8bd4b12f</guid><pubDate>Mon, 19 Oct 2026 18:12:30 GMT</pubDate><enclosure url="https://static.wixstatic.com/media/f2f361_3193bdcc19b947e4b3858a7b04428a6e~mv2.jpg/v1/fit/w_1000,h_1000,al_c,q_80/file.png" length="0" type="image/png"/><dc:creator>Caitlin Jewell</dc:creator></item><item><title><![CDATA[Abstract or Figurative: How to Pick for Your Space]]></title><description><![CDATA[I paint both abstract and figurative work, and people often ask which one belongs in their space. There is no wrong answer, but a few simple guidelines help. Here is how I think about it. Abstract work suits spaces where many people pass through. Color, texture and movement set a mood without telling one story, so the painting works for different viewers and different uses of the room. Figurative work brings a story and a human presence. It suits rooms where people linger, such as a dining...]]></description><link>https://www.caitjewell.com/post/abstract-or-figurative-how-to-pick-for-your-space</link><guid isPermaLink="false">6ad65d2dcf358735cfc5a7ab</guid><pubDate>Mon, 19 Oct 2026 18:11:22 GMT</pubDate><enclosure url="https://static.wixstatic.com/media/f2f361_37734865d03d4ea4a669600b128bf3f1~mv2.jpg/v1/fit/w_1000,h_1000,al_c,q_80/file.png" length="0" type="image/png"/><dc:creator>Caitlin Jewell</dc:creator></item><item><title><![CDATA[Choosing Large Format Art for an East Bay Office]]></title><description><![CDATA[A large painting does a lot of work in an office. It sets the mood for a lobby, anchors a conference room and gives a long hallway somewhere to rest the eye. Choosing the right piece starts with a few plain questions. Start with the wall. Measure the width and the height, then leave breathing room on every side. A large format piece usually reads best when it fills about half to two thirds of the wall width above furniture. Think about color. Bold, bright color brings energy to open...]]></description><link>https://www.caitjewell.com/post/choosing-large-format-art-for-an-east-bay-office</link><guid isPermaLink="false">6ad65ca1935c90a2fc1a9ad8</guid><pubDate>Mon, 19 Oct 2026 18:09:57 GMT</pubDate><enclosure url="https://static.wixstatic.com/media/f2f361_721c21428cf84aca9e10a8d33f971863~mv2.jpg/v1/fit/w_1000,h_1000,al_c,q_80/file.png" length="0" type="image/png"/><dc:creator>Caitlin Jewell</dc:creator></item><item><title><![CDATA[How a Large Format Painting Is Built: Plaster, Cold Wax and Concrete]]></title><description><![CDATA[Every large format painting I make starts as a panel. Most are birchboard because it stays rigid. Cold wax paint needs a rigid support, since it does not flex the way paint does on stretched canvas. Next comes the plaster. This is the fresco secco underpainting. Plaster takes pigment differently than gesso and gives the surface a stone like depth. Then the layers begin. I mix Gamblin cold wax medium with oil color, mica and pigment. I scrape, press and build the paint with knives. Each layer...]]></description><link>https://www.caitjewell.com/post/how-a-large-format-painting-is-built-plaster-cold-wax-and-concrete</link><guid isPermaLink="false">6ad65c1bcf358735cfc5a562</guid><pubDate>Mon, 19 Oct 2026 18:07:17 GMT</pubDate><enclosure url="https://static.wixstatic.com/media/f2f361_2fa57ad04d344a9ab8648d452c1fa60d~mv2.jpg/v1/fit/w_1000,h_545,al_c,q_80/file.png" length="0" type="image/png"/><dc:creator>Caitlin Jewell</dc:creator></item></channel></rss>