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):

 

  

 

(Click through the image above to Like it, Pin it, Tweet it)

 

View larger version of the image HERE
 .

 

Details:

 

 

 

 

 

 

 

Until next week,

David A. N. Cheifetz
www.davidcheifetz.com  

 

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