Graffiti ************Star WArs**********
I wish healthy Halloween... ©UdoSm
Allumer la lumière ......... !
St. Nicholas ante portas... ©UdoSm
Les dunes : Agadir 1960 (après février)
Founti : Agadir 1950
Agadir : La baie (vers 1930)
La danse . (brou de noix à la plume)
Quelques fleurs .
Les mimosas
Les chalutiers
Cyber-Greenfinch. ©UdoSm
Le parapluie bleu
Jonques à HongKong
La maison bleue
Aquarelle et brou de noix
Pastel sec.
La fête des lanternes. Chine
Le phare
A painted bouquet for all of you... ©UdoSm
Soft Purple Crocus...
A la campagne
Fin d'hiver
Hagia Sophia, 1. OG, Mosaik. ©UdoSm
White Orchids... ©UdoSm
Quietly live
Please do not shake... ©UdoSm
A gamble with a color family... ©UdoSm
Aquarelle : Escapade mentale
2019-05-26 Toits-der-Paris Coucheur du soleil web
Aquarelle : "Passer la vague"
Aquarelle :" L'oiseau jaune " version 4
Aquarelle : Près de la rivière LI
Aquarelle : L'oiseau jaune
Aquarelle : FOUNTI - Agadir avant le 29/02/1960
Mirroring roses... ©UdoSm
Frohe Ostern für alle Ipernianerinnen und Ipernian…
Aquarelle :....
Aquarelle: En Provence le printemps
Aquarelle : Rien à l'horizon
Blauer Enzian. ©UdoSm
Aquarelle : Le printemps
Der Gaffer... ©UdoSm
C'est l'hiver pour tous...
Nikolaus, Νικόλαος, Saint Nicholas, Nicolas de Myr…
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X
OK, X is for experimental or some such.
This is multi-media, sumi-e (Brushed ink on "rice" paper) then chalk pastels added for color, then "fixed" by brushing linseed oil on the back, which penetrates the paper locking, binding, both the ink and pastels. The linseed oil leaves the paper somewhat translucent. The painting is sitting atop blank, white stock and the black back cloth is visible showing through the sides beyond the edge of the white sheet behind the painting.
Since I paint purely for pleasure, not for profit nor posterity, I can afford to experiment (GRIN) although I suspect that drawing I do in ink, charcoal and/or pastels that I 'fix' with linseed oil are as archival as any oil painting.
This is multi-media, sumi-e (Brushed ink on "rice" paper) then chalk pastels added for color, then "fixed" by brushing linseed oil on the back, which penetrates the paper locking, binding, both the ink and pastels. The linseed oil leaves the paper somewhat translucent. The painting is sitting atop blank, white stock and the black back cloth is visible showing through the sides beyond the edge of the white sheet behind the painting.
Since I paint purely for pleasure, not for profit nor posterity, I can afford to experiment (GRIN) although I suspect that drawing I do in ink, charcoal and/or pastels that I 'fix' with linseed oil are as archival as any oil painting.
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