Dear Subscribers,

Greetings!

New still life. It'd been some 9 paintings of brush-use since my last knife painting, so this was all knife (except for initial umber layout). Ahhh knife, thick lovely paint.
This painting is a bit of an exploration of time....and an orange.

The setup (before the unpeeling, at least):


First stage:


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(interlude)
For painters, my little rant on knife-painting: Using lots of paint doesn't need to mean a sacrifice in detail. Impasto and detail aren't mutually exclusive. And it's a helluva lot more fun than fiddling around with a microscopic round sable. That's a brush for signing. Of course, to each their own. Whatever floats your boat. But consider this: your center of interest will be stronger if it has higher detail (relative to its surroundings). It will also be stronger if it has the most impasto. You can't get thick impasto with a tiny detail brush that doesn't hold lots of paint. So if you've only practiced detailing with tiny brushes, you've hamstrung your ability to create powerful focal points. What you have is a conundrum. This is something that used to frustrate me. I wanted to build up lots and lots of paint at my point of greatest detail, but with smaller/softer brushes it was driving me nuts. As with a brush, it takes many hours to learn how to manipulate a knife. And when you do, you have a POWERFUL painting tool. The visual effect of varied paint thickness is an amazing attribute unique to this medium. Take advantage of it.



And the finished painting, "Moment Orange" (14x11):



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View larger version of the image HERE.

Details:
   

        


Until next week,
David A. N. Cheifetz
www.davidcheifetz.com

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