Howdy, Stranger!

It looks like you're new here. If you want to get involved, click one of these buttons!

You can send an email to if you have questions about how to use this forum.



Last Active
  • Re: Chiaroscuro Challenge....#2...deadline May 1st, 2013

    I don't know if this counts, it's one that I've just finished and maybe can be described as chiaroscuro, almost - perhaps :-?

    12x10 oil on board, using an overexposed photo as reference.
  • Glass palettes

    I've been using tear-off paper palettes for a few years and always meant to get around to buying myself some glass for a couple of palettes. Here in the UK, safety glass has to be ordered to size - they have to cut it to size before they temper it to make it 'safety', so it seemed like a drawn out, and costly process.

    However, I 'acquired' a couple of palette sized pieces from our local, municipal dump..... fridge/refrigerator shelves. Made out of tempered, safety glass and seem to be ideal.

    Just saying... ;)
  • Re: Need help identifying artist

    Found it ..... Stan Prokopenko

    .... and here's the image I was looking for
  • Re: No blending WIP

    Thanks for all your kind comments, much appreciated

    Well, it's finished, but I did succumb to a little blending on the backdrop.... however, the wine glass and tankard just have the paint laid on and left, without any bumping, fixing or blending.

    I can see areas that need fixing but I'm just going to leave it as it is. From normal viewing distance, it looks ok. It was an exercise in 'no blending' and I'm pleased with the result - I've also learned a lot throughout the process.

    I'm neither qualified nor sufficiently experienced in the method to offer the following as recommendation for others to follow, but for what it's worth.......

    My drawing must be accurate and 'clean' - makes laying in the brush strokes more accurate, there's only one attempt, so it's got to be right;

    Black painted walls and ceiling, or black fabric 'tented' all around the shadow box, to prevent weird colour matches - using a colour checker with anything other than a very dark ceiling is less than satisfactory.

    When painting a still life that includes items that reflect the surroundings, dark, preferably black clothing should be worn. I couldn't understand how I was getting a pale green reflection on the wine glass - till I realised it was the reflection of my shirt!

    I don't have a studio easel, but have a board g-clamped to an old step ladder - shiny metal of the ladder creates other unusual reflections on the subject.

    The slow-drying-medium means that more time and care can be taken, in both the colour-mixing and the laying in of the paint. There's no rush, the paint will still be wet on the palette for at least a week.

    I know Mark sits at his easel, but in order to gain confidence in the 'lay in and leave' approach, I found it better to stand so that I could move away from the canvas and see how it looked from normal viewing distance. Mark is right when he advises that you'd be surprised how well it looks when you have a break and then return to view your work.

    That's all that I can think of at the moment.... I should have made notes :)

  • No blending WIP

    After watching the latest hangout

    I decided to try a still life with no blending... difficult for me, because I've always blended/fixed/bumped as I go along. Even drawing with the coloured pencil, I tend to fix to the extent that it becomes scruffy - so I go over it it in a different colour.

    Although you can see my scruffy drawing on the handle of the tankard (self discipline required here) this exercise was to seriously concentrate on not blending - like Mark says, lay the paint then leave it.... so that's what I did. There are some areas that could have been bumped and/or fixed, but I stuck to my resolve.

    The photo isn't the best, but I'm pleased with the 'non-blended' result so far.... I may not even blend when all the canvas is covered.