6x8'' oil on canvas panel $125. SOLD
Here is a combination of some of the exercises and
techniques from yesterdays and today's post.
Yesterday I went over different ways to think about
doing edges and today I start on techniques.
Technique is how you choose to lay your paint down
(make your mark) no matter what media you use.
Just like your signature - it is unique to you.
Unfortunately, many of us do not get to experience
the many different methods available to enable us
to experiment and find our own way. This is especially
true for those coming into art at a mature age.
Workshops are available and most communities have
classes, but then you can find yourself painting exactly the
same way as the rest of the group. If everyone painted
the same view in a class of impressionists, for example,
many of the pieces would have a very similar appearance.
If this does not bother you then that
is perfectly fine, but if you do have a desire and the niggle
at the back of your mind that you would like to try something
different, then I would recommend taking ONE of the following
methods and try doing it, and nothing else for a week.
It would be good to do at least one hour a day.
Pick the one which appeals to you the most.
Don't give up if it is not easy. I advise you NOT to show
anyone else what you are doing unless you have a friend
trying a different one. Email me if you have a problem.
My email address is on the right bar of my blog.
#1 EXPRESSIVE BRUSH MARKS. click to enlarge if needed.
I am showing two examples of using a short handle
angle brush with a fast, light movement to place the paint on.
Stiff paint will not work, and too wet can be a problem also.
The texture of butter is about right.
Going over and outside the edge is desirable in this method,
and you can choose how much you want to tidy-up by
coming back in . It may help to have a drawing underneath.
Get a washable marker to draw and then it is easy to
The way I do a fast stroke is to move my hand from my elbow
but if you think about swatting a fly, that is about the speed
you need. Scary eh!!!!
#2 MUSHING with a KNIFE
This one gives lovely atmospheric ways of losing edges.
Look into the Tonal School of Painting for examples,
especially in landscapes.
I place the paint on with a brush making sure there is
enough to be able to move around. I am careful to leave
a thin space around each area of color. Trial and error will
show how much.
I then take the back, flat part of a trowel shaped palette
knife and do circular movements using the wide, flat base
and not the tip, for mushing the paint
around so the colors blend into each other. The colors
have a magical way of staying true with this method.
Unlike how muddy they would get if you used a brush.
I know mushing isn't a technical sounding term, but
I do think it explains what I mean. The whole painting
cannot be mushy, remember to have a focal point
using the principles from yesterday - just not that sharp!
I will show some more in my next post.