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Fabrizio -


Last Active
  • Re: Safety issues?

    Exercising and eating healthy is a good way to improve respiratory problems. I had bronchitis when I was younger, and after starting to work out, it almost disappeared entirely. 

    However, good ventilation is also a good idea.
  • Why is modern art so bad?

    One of the excuses the establishment gives for justifying the most pointless modern art is that after the invention of photography, artists had to resort to imagination and forgo accurate or idealistic representations of reality.

    This gave life to the Dada Movement, whose purpose was to mock the pretentiousness of a whole chunk of what was considered to be modern. But even the most windy explanations cannot justify artists smearing blobs of paint on a canvas and calling it art. And what to say about installations, where artists have gone so far as to have "invisible art" and collectors were paying millions for it?

    The question is, why does the art establishment values little skill and self-absorption instead of real craftsmanship? 

    Does knowing someone can smear feces on a canvas and sell it for millions of dollars get you depressed with art? 

    Jean-Michel Basquiat, Dustheads, $30 Million 

    Gerhard Richter, Red Mirror, Sold for $ 750,000

    Barnett Newman, Onement Vi, Sold for $43.8 Million

  • What do you think about this type of alla prima?

    Hello, yesterday I found this very talented Dutch artist named Jos van Riswick, who also paints alla prima, but in different style than Mark's. He paints on masonite panels, prepared with Lefranc et Bourgeois gesso. "This type of acrylic gesso has a very subtle tooth to it, which simplifies smudging out brush strokes", he says. 

    He explains his way of painting: 

    "I try to stay faithful to what I see. If possible I use the sight-size method. This means that you put your subject as close to your canvas as possible, so that one can view both at the same time, without turning the head. 

    This method has been applied by many 19th century 'salon' painters, like eg. John Singer-Sargent."

    To start, I usually mix a couple of salient colors that I see in my subject, for instance: 2 colors for the background, then a shadow and light color for each object etc... This way I have a mixture that is not too far off any color I will need and I don't have to start from zero each time when I'm painting. Mixtures do have to be adapted continually of course. Making exact mixes is impossible.

    Lately, I've been painting on mdf panel al lot. I prepare the panel with acrylic gesso (Lefranc & Bourgeois). Before I start to paint, I apply a thin layer of especially formulated medium on the panel... (50% stand oil / 50% Liquin.) 

    The layer of medium gives the paint a homogeneous consistency all over the panel, which I like. The paint can be moved (and removed) easily. My medium is very slow drying, so I can work wet into wet for about 2 days. 

    His website ( ) is full of striking paintings, such as this one:

    And this one: 

    His YouTube channel has many demos, like of the painting above and many others.

    So what do you guys think of this style of painting? 

    I'm posting this because watching his videos you'll see how loose it is, since there is no drawing on the canvas previous to the painting session, and everything is done on about 10 hours or so, according to him. He claims not to know how to draw, by the way. I think this is very interesting.


  • Mark's DVD and how it helped me

    I was unaware of the fact that Mark had produced a DVD a couple of years ago until, after Googling the method, I found a used copy of it sale in a painting forum. I bought it and it arrived earlier today. Since it's 6 hours long, I haven't watched it completely, particularly the painting process, but only with the DVD I was able to understand how to locate the value on the still life. Perhaps I haven't payed much attention to the YouTube videos, but there's something about the DVD that made me go "ah, I get it now!" about the entire process.

    My biggest problem was to locate that area of value, the subtle changes on the lightness or darkness of the colour. Now I understand. I have ordered the paints, oils and some brushes from Winsor and Newton's website, I am looking all over for venice turpentine (hard to find) in order to create the medium and all the conditions for the method to work. I don't know when my package will arrive, but it'll give me time to work on my lightning and setup in general. Tomorrow I will go to a glass store to order my two palettes. I am really excited to do this because after a couple of failed attempts I realised I cannot reproduce the effect that I see if I'm not in the same sort of setup. I'm sure Mark could pull off realism in any environment because he's an experienced artist, but since I am beginning to learn the method, I need to follow all the instructions.

    I really want this to work for me and perhaps even become an artists and make a living out of it (which is the hardest part), but I know I can never say I have failed the method if I haven't trie it as it's supposed to be.

    Anyway, that was rather long rant. Here are a few screenshots of the DVD:

    Right value, wrong hue

    Right value, right hue

    Right value, wrong hue

    Right value, right hue

    Unblended teapot

    Blended teapot

    Almost finished painting

    dencal[Deleted User]mariebCMDjswartzart