Saturday, January 22, 2011
The secret of the master
I will swear by the (Cennini) glazing medium. Very, very little is needed to create to most delicate and accurate passages...Graydon Parrish
A former student speaks
On a personal note, I never really understood paint mediums until I took Rob's technical class and watched him in the flesh. I can't stress enough that this is your education. This information is not available anywhere else, I am certain. The value is in watching and asking a lot of questions...Graydon Parrish
Praise...when opinions were honest
[Re: the 911 Painting] My technique was pretty standard, really. The secret medium, though, was SP Glazing medium and congo copal for the impastos with lead white. I used Special Aged oil plus Canada Balsam for the sky and water. The details in the hair were couched in with Pre-Raph medium. With Studio Products, I could vary the paint effects to suit the subject. I couldn't have done the painting without them...Graydon Parrish
Credit where credit is due
more praise from Richard Murdock: I can say with all honesty, that without this forum, Rob's Bootcamp, Tech Course and guiding hand, and most recently, Graydon's color system, I would still be stuck in the morasse my years at Pratt deposited me in.
With friends like this...
Another unsolicited quote from Richard Murdock: I say to everyone in this thread who is intimidated about going to Bootcamp, the sooner you go the sooner you can paint.
In the first WD post that got edited I spoke about how much I have learned from Rob, and Graydon, in a very short time, less than two years. There is no time for wallowing in ignorance. There is no time to waste!
In the first WD post that got edited I spoke about how much I have learned from Rob, and Graydon, in a very short time, less than two years. There is no time for wallowing in ignorance. There is no time to waste!
Rationalized Painting
Learn much more at www.artbootcamp.com
An unsolicited testimonial from Richard Murdock: I've been to Bootcamp, a year ago, and the Tech Course two months ago. Both courses are invaluable to me, for different reasons. I would recommend them to anyone who has the intention to be serious in their career.
For instance, I've met with three gallery owners in the last four months. Each one of them did the same thing. First they looked at my paintings and then they looked at the way I made the panels. The most recent dealer told me he has seen lots of paintings on copper that will not last because the panels weren't made correctly. The first dealer spent quite a while showing me work hanging in the gallery that had problems, from drawing and perspective to badly stretched canvas.
They are also quite interested in the materials I use to paint with, and my knowledge of, and desire to use, the best quality materials also made a good impression. It seems very clear to me that solid working knowledge and expertise is a big component of success. There are people getting away without it, but I don't want to be one of them.
Plus, it is impossible to quantify the importance of the after-hour discussions. Each workshop I attended resulted in my learning critical information that was not part of the workshop. There's no question that these workshops have changed my work, and my approach to my work, completely. I received in value many times what I paid to attend.
An unsolicited testimonial from Richard Murdock: I've been to Bootcamp, a year ago, and the Tech Course two months ago. Both courses are invaluable to me, for different reasons. I would recommend them to anyone who has the intention to be serious in their career.
For instance, I've met with three gallery owners in the last four months. Each one of them did the same thing. First they looked at my paintings and then they looked at the way I made the panels. The most recent dealer told me he has seen lots of paintings on copper that will not last because the panels weren't made correctly. The first dealer spent quite a while showing me work hanging in the gallery that had problems, from drawing and perspective to badly stretched canvas.
They are also quite interested in the materials I use to paint with, and my knowledge of, and desire to use, the best quality materials also made a good impression. It seems very clear to me that solid working knowledge and expertise is a big component of success. There are people getting away without it, but I don't want to be one of them.
Plus, it is impossible to quantify the importance of the after-hour discussions. Each workshop I attended resulted in my learning critical information that was not part of the workshop. There's no question that these workshops have changed my work, and my approach to my work, completely. I received in value many times what I paid to attend.
Subscribe to:
Posts (Atom)