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Dec. 31, 2007
Saterday, July 31, 2010 Page last edited 08/01/2010 06:36 PM
FAA Email sent today...
Name Your Own Price on
Original Art Thru August!
Below are a few recent original paintings.
No reasonable offer refused, shipping included in price.
Keep it for thirty days, if you don't love it, 100% refund and I'll pay for return shipping.
1. The Falls, 16x20", Acrylic on stretched canvas, Retail: $1900, make an offer.
2. Cherry Tree, 9x12", Acrylic on canvas panel, Retail: $650, make an offer.
3. Clint, 16x20", Acrylic on stretched canvas, Retail: $1900, make and offer.
4. On the Rocks, 8x16", Acrylic on canvas panel, $770, make an offer.
This applies to any painting not in a gallery, at a museum or earmarked for a show. See many more originals at Fine Art America, or have a print made. Or go to my website buildart.com.
Monday, July 26, 2010 Page last edited 08/01/2010 06:36 PM
Hi Bob, I’m about to buy a Stanrite 100 easel for use with a pastel box and I love what you’ve done to extend the shelf forward and make it more sturdy (posted on Wetcanvas). Were you able to get the hardware for attaching the shelf “off the shelf”? I’m especially intrigued by the horse-shoe item with the black knob. What is it called, or did you make it yourself? Soes it attach to another bracket below the wooden pieces? Any info you can provide would be very appreciated. -- Patricia
Sunday, July 25, 2010 Page last edited 08/01/2010 06:36 PM
New! Ebook Version of
You can be on your way to better paintings
ISAP Entry as it
Zodiac Under Sail
this painting has been juried into
August 7 - September 5, 2010
Drawings, Photos by Robert Bissett.
Latest work High Quality
Prints and Framing.
Saturday, July 24, 2010 Page last edited 08/01/2010 06:36 PM
The 'for sale' church.
The grain elevator.
Making a painting from the outdoor sketch.
This is my demo of an apple from memory
which was raffled off at the end.
Friday, July 23, 2010 Page last edited 08/01/2010 06:36 PM
Drawing with waterproof pen
followed by watercolor.
A minimum of equipment and fuss.
Here is a sample of exercises we will be doing...
The reference image
Simplified to lines and shapes
Color added...solid and gradations
Another reference image
Simplified to lines and shapes
A recent example from my sketchbook.
Thursday, July 22, 2010 Page last edited 08/01/2010 06:36 PM
Doodle of the Day
Pencil on paper
Tuesday, July 20, 2010 Page last edited 08/01/2010 06:36 PM
Another New Plein Air
Acrylic on canvas
Plein air today
Sunday, July 16, 2010 Page last edited 08/01/2010 06:36 PM
New Plein Air
Boats at Dock
Pen, Watercolor on paper
This afternoon at Sandpoint City Beach.
Friday, July 16, 2010 Page last edited 08/01/2010 06:36 PM
Today is the last day for entry into the
Oil Painters of America
October 9 - November 10, 2010
Mountain Trails Gallery
Each artist can enter up to two paintings, no more
than one will be accepted...
24 x 18"
Oil on Canvas
Fisherman's Wharf in San Francisco.
A palette knife painting.
Chemise on Tree
Oil on canvas
It's an accomplishment just being accepted to OPA shows.
Won't know until August 24th who is in and who is out.
I got in the Western Regional a couple years ago with this one...
End of Day
Oil on canvas
And as luck would have it, it was used in the article...
'Entering a show' is one of the exercises in my new book
Real Art Real Easy. Link below. It focuses the mind
very well and can produce your best work.
Even if you don't get in or win a prize
it is worth the effort and you will learn from it.
Tuesday, July 13, 2010 Page last edited 08/01/2010 06:36 PM
Newport, WA Demo
Yesterday I was invited to demo at the Evergreen Art Society in Newport,
Instead of doing a painting demo I thought charcoal
drawing would be a nice change.
After the group's business and lunch had been
taken care of I began my presentation.
The membership at River Bank Family Restaurant
Half way done.
They had never seen charcoal drawing demoed before and
seemed to enjoy it very much! I donated the sketch and it will be
raffled off at the next meeting.
Tuesday, July 6, 2010 Page last edited 08/01/2010 06:36 PM
Question about Panels
First let me say how much I like your art. I found your
site by searching for info on painting with painting knives and yours came up
on my Google search. I've since ordered the two books you recommended. Now for
my question: I work in acrylics, usually on canvas or Masonite and am curious
about some of your work that is labeled "Acrylic on Board"--what kind of board
is it you use? I was specifically looking at your work done in/of Italy
Glad you like my work...makes my day!
I used Masonite boards with a coat of gesso. To be safe as possible you should first seal those with something like Golden GAC 100.
"Support Induced Discoloration (SID) is a phenomenon that occurs in acrylic paints and mediums. Many common artist supports have impurities that can discolor a translucent acrylic gel layer or color glaze, and a size must be applied before gessoing to ensure the products stay clear as the films dry.
As a paint film cures, the water exits two ways: through the surface of the paint and through the back of the support, if porous enough. Canvas, linen, wood and masonite are all porous enough to allow water to absorb into them. During this drying process, the water is actually in equilibrium moving back and forth between the acrylic paint and the support. The water extracts water-soluble impurities such as dirt, sap, starches, etc., from the support and deposits them into the acrylic film. The result is a discolored (typically amber) film, with the degree of discoloration dependent on the amount of contaminants deposited and the inherent level of inpurities in the support.
SID contamination often goes undetected. In most cases, the paints applied contain a sufficient level of pigment, thus a strong enough color, to conceal the yellowing. However, in a transparent glaze and especially in thick translucent gel layers, SID becomes quite noticeable. SID can transform the appearance of an Ultramarine Blue glaze into a lower chroma, greenish color. Gesso alone will not stop SID, and different gels and mediums have varying degrees of blocking capabilities. The best product Golden Artist Colors produces to prevent SID is GAC 100. This thin medium works best when 2 or more coats are applied directly into the support. Once dry, the canvas can then be primed and subsequently painted with less potential for discoloration. Pre-primed canvases can be sealed with GAC 100 as well. Apply one or two coats onto the surface, and follow with at least one coat of gesso to regain tooth if needed."
Personally I've never
notice that discoloration in thirty years of using hardboard.
I've been using canvas panels rather than the hardboard panels. The canvas already has gesso, inexpensive from Dick Blick and lighter.
I've attached a recent knife painting on stretched canvas with acrylic. And I'm getting started on another. The more I use knives the more I like them. Almost guarantees you will loosen up and think in large shapes...though detail is possible.
Good luck with your
painting! Let me know how it goes.
Lower Snow Creek Falls
Acrylic on Canvas, knife
Monday, July 5, 2010 Page last edited 08/01/2010 06:36 PM
Monet Barred from Paintout
Painting outdoors on location is becoming more and more popular. Practiced most notably by the 'Impressionist' it is usually called painting 'en plein air' or often 'plein air' painting. It can be an enjoyable way to spend an hour or two with fellow artist when the weather is pleasant. A good way for any artist to improve picture making skills and powers of observation. It focuses the attention like nothing else.
Plein air paintouts can be found all over the country. Artists gather from far and wide to paint outdoors for a few days after which is held an exhibition and sale of the work produced. Plein air societies have also arisen. All of which requires a definition of 'Plein air painting'. "All paintings must be done 'en plein air' meaning in the open air where the artist has no control of light or weather."
Certain questions come to mind. Can you start working on location, then at home touch it up a little, ten per cent or maybe twenty? Can you continue working indoors from a digital photo of the scene? Can you sit in the rear of your hatchback with the hatch open? Or in a van with the side door open? How about sitting in your car with all the doors and windows closed? What if you go on location, observe and memorize for an hour, no photos or sketches or notes, then go to a different outdoor location to paint that scene? What if you return to the studio and paint that memorized picture? How about setting up inside and painting a scene through a window? Most of these practices are questionable. The last two clearly not allowed. Plein air painters are expected to work outdoors in natural light. Yet it was not always so.
In 1892 and 1893 over two periods of three months, at about the age of 52, Claude Monet painted thirty paintings of the cathedral in Rouen. Twenty years earlier Monet had painted 'Impression, Sunrise', the origin of the name for this new Impressionism movement. He would start to paint at about seven in the morning. As the effects of light continually change, he would switch from canvas to canvas, ten in all, throughout the day. Below you see one of these. A masterpiece? Certainly. Where is the painter who could equal this today outdoors or in?
Even so, this painting does not comply with current rules and regulations. Monet would need to mend his ways before he'd be accepted to a modern day plein air society or invited to a plein air paintout if he weren't so famous. All of those cathedral paintings were painted indoors looking through a window! In Monet's time there was a dress shop opposite the cathedral. He rented space there in front of the window with a screen to insure his privacy.
The present day plein air movement has taken one of the techniques employed by the Impressionist and made it the focus. As laudable and enjoyable as that may be, many confuse 'en plein air' with Impressionism. Painting on location was a means to an end. The goal was "a different way of seeing, an art of immediacy and movement, of candid poses and compositions, of the play of light expressed in a bright and varied use of color, recreating the sensation in the eye that views the subject rather than recreating the subject".
The next time you paint en plein air remember why you are there. As always it's the painting that counts, not how or where you did it. Capture the momentary and transient effects of sunlight, portray overall visual effects instead of details. And it is ok to be a tonalist, post-impressionist, colorist, expressionist, etc.
Thursday, July 1, 2010 Page last edited 08/01/2010 06:36 PM
Chemise on Tree
Oil on canvas
This may be my entry for the
Oil Painters of America
Western Regional Show
About this Color Scheme
I used a very limited palette for this painting.
Viridian, Dioxazine Purple, Yellow Ochre and White.
If you look closely you will see blue in there.
Where did that come from?
WHERE THESE THREE COLORS ARE
ON THE COLOR WHEEL
"That is a remarkable painting. Masterfully executed and a striking expedition into color theory. Really something." Jim U.
"Considering just those colors, that indeed is an extraordinary painting!" R.
"Stunning painting, really nice, so glad you finished it. Very inspirational that you used a limited palette. Exploring what they can do is so much fun! I love the light on the bark of the tree and the folds of the chemise." D.
"That is an exceptional painting, and your palette of colors is WILD! Once I read your palette, I just had to go back and study the painting, ...several times. Extraordinarily interesting!" Bill M.
BF Jr. Miss
Landscape Portfolio 1
Landscape Portfolio 2
Landscape Portfolio 3
Secret of Painting
Daily Painting Blog
Figurative Portfolio 1
Wild Life Portfolio 1
Still Life Portfolio 1
Digital Portfolio 1
Portrait Portfolio 1
Portrait Portfolio 2
About the Artist
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