suspended moments
bonding with micrographia
two boys transported
she doesn't want emeralds
dancing 'round an iceberg
Horse
tentatively upbeat
Interesting Building
Loplop
The wood at infinity's edge
In Taumarunui Camping Grounds.
Carving On Camp Kitchen.
Australia Souvenir
Fish mosaic.
Lovely Place To Sit And Rest
On The Frog Pond.
Te Ngaire Bay
One Of My Rock Paintings
Against The Fence
Egg sculpture
Bowl Of Roses.
rust never sleeps
undersea with vampire squid
it's all about the strange blue thing
hard to go wrong with ammonites
dance of seven whales
sinuous energy
pow!
skin diseases mitigated
skin disease two
skin disease one
stuff happens
sometimes unexpected
eine kleine nachtmusik
Land contours
striving, mostly blue
patti smith with soviet textiles and sky
wonder and joy
In Stratford Shopping Center
dada pc for moreno
a dream of mobility
the sky mother's playground
star field with dark matter
star field with blue ice
star field with human artifacts
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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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