#gamblin palette knives

[malscare]

if you order palette knives from gamblin they send you a random tube of oil paint for free and I really expected them to send me a really random color ppl don't usually buy and it probably won't go with the other paints I ordered but i got titanium white!!!!!!!!! its like paint store gacha but I have to actually make the card reward

[beanbowlbaggins]

I visited the dick blick in the city, and I think the best items there were the traditional paper made primarily by women in Nepal, the colorful gamblin palette knives in the Frida Kahlo inspired display, and colorful measuring tapes.

[art-now-usa]

Lime and Pipe, jelena b

This is an abstract still life oil painting with heavy texture. I call it Lime and Pipe. This handmade painting is done with high-quality oil paints (Winsor and Newton and Gamblin artist professional colors) by applying media with palette knives on wooden board 14x11 in (approx. 35.5x28 cm). The painting is ready to be placed on a wall while it is also deep enough (2in , approx. 5cm) to sit on your console table or wherever it fits your space. The framing is not necessary.

https://www.saatchiart.com/art/Painting-Lime-and-Pipe/795346/3192068/view

[zebraskiin]

My amazingly wonderful boyfriend got me this awesome collection of art supplies for my birthday today!~☆ a sweet card, oil painting paper, storage cups, two palette knives, two different sized drawing pads, a paint brush, two amazing shades of gamblin oil paints, and a golden matte paint pouring set!! I can't even believe it and cannot wait to dig in and make some friggin art!! 🥰😍🥳🤩😊🎨 P.S. look at the friggin bag and paper combo!! He knows me too well~ 💞💜🖤 #strathmore #goldenpaints #gamblinoils https://www.instagram.com/p/B2AUmweBOwN/?igshid=1eyy0b2070a00

[sfldateideas]

ACRYLIC & OIL PAINTING CLASSES

ACRYLIC & OIL PAINTING CLASSES

Tuesday, January 9 – February 13, 2018 . 7 – 10pm  Six-week course; class once a week

Skill Level: Beginner to advanced (This class is for Beginners or Advanced Students that work with  Acrylic or Oil paint)

Taught in English & Spanish

Instructor: Pablo Contrisciani  (ArtCenter/South Florida alumnus) www.pablocontrisciani.com

This class is designed to develop and clarify student’s painting style and improve their technical skills. Through one-on-one instruction, demonstrations and exercises, beginners will focus on color theory, composition and form; advanced students will work on expanding visual vocabulary and technical skills. You will work from a variety of sources like visual samples and references, images of masters artworks, photos, reproductions, etc.Oil and acrylic mediums are welcome in this class. No previous drawing experience necessary. Students will use a limited palette in order to learn how to mix a variety of colors.

At the end of the six classes each student will have completed 4 to 5 paintings.

Material List Painting  w/ Acrylics or Oils | Instructor: Pablo Contrisciani PH.  305.788 8265

 Please bring the following items with you to the first class :

 If you have advanced skills, please bring 3 samples of your recent work.

 If you wish to work with Acrylics, please bring:

~Acrylic paints: ultramarine blue, emerald green, titanium white, cadmium red medium, cadmium yellow light, black, orange cadmium, crimson red, dioxizine violet, pthalo blue

 ~Gel Medium 16oz.

~3 palette knives (metal or plastic) big, medium or small and one large- see Richeson Plastic knife set at www.dickblick.com for example.

~1” bristle brushes ,1/8” flat bristle brush, 1/2” flat bristle brush, 3/4” flat bristle brush, 1” flat bristle brush   Two of each.

~16” x 19” acrylic paper palette

~2HB pencils, one eraser, one sharpener

~2 canvases (18” x 24” or larger)

~Empty cans for water

~Rags or paper towels

~Canvas pad 18” x 24”

~Masking Tape- ½” or push pins

If you wish to work with Oils, please bring:

– Oil Paint colors: Can be purchased in 35ml or 40ml sizes. (Some affordable brands include Rembrandt , Gamblin etc.)Ultramarine blue, emerald green, titanium white, orange cadmium, crimson red, dioxazine violet, cadmium red medium, cadmium yellow light, phtalo blue and black

-Set of White, Flat, Bristle Brushes:That includes: 1/8” flat bristle brush, 1/2” flat bristle brush, 3/4” flat bristle brush and 1” flat bristle brush.

-3 palette knives (metal or plastic) big, medium or small and one large- see Richeson Plastic knife set at www.dickblick.com for example.

 -Multi-palette/ paper palette 18” x 24” pad.

 -4 canvases (18” x 24”or larger).

 -Odorless turpentine or mineral spirits, 1 quart

– Linseed oil, 8 oz.

 -Rags or paper towels

 -Empty cans 1 big, 1 small-metal

 -2HB pencils, one Eraser, one sharpener

The post ACRYLIC & OIL PAINTING CLASSES appeared first on Miami Date Ideas.

from http://sfldateideas.com/event/acrylic-oil-painting-classes/2018-02-06/

[agosnesrerose]

Painting Knife Techniques

If you’ve ever spread frosting on a cake, you have an idea of the textural possibilities when using a painting knife to create an oil painting.

Different from painting with a brush, this process can help you achieve a variety of effects, from the sweeping strokes associated with impasto to refined details.

Hillside Sun (oil, 28×52) by Deborah Quinn-Munson

Painting Knife or Palette Knife?

The terms painting knife and palette knife are often used interchangeably when describing the technique of applying paint to a surface with the blade of an artist’s knife. Both tools are made of either plastic or of wood and metal. Both are available in a variety of blade shapes and sizes. A palette knife handle is generally straight, having at most a slight bend. The purpose of the palette knife is to mix colors or clean the surface of the palette. On the other hand, a painting knife has a deep bend in the handle that keeps the artist’s knuckles out of the paint. As its name indicates, a painting knife is used for actual painting. For the remainder of this article, when I use the word knife, I’m referring to a painting knife.

A palette knife handle is generally straight, having at most a slight bend. The purpose of the palette knife is to mix colors or clean the surface of the palette. On the other hand, a painting knife has a deep bend in the handle that keeps the artist’s knuckles out of the paint. As its name indicates, a painting knife is used for actual painting. (Note: For the remainder of this article, when I use the word knife, I’m referring to a painting knife.)

The knife at the top of this image is a large palette knife that I use to indicate the surface texture of water. Below this knife are large, small and medium painting knives, which appear in the demonstration photos in this article.

A knife with a metal blade has more spring to it than one with a plastic blade. Both metal and plastic blades have rather dull edges, and although some blades have a sharp point, a painting knife isn’t so much a cutting tool as it is a spreading tool.

Choose a painting knife for its shape, as different shapes will create a variety of effects. The way you hold the knife, its angle to the board, the amount of paint on the blade and the direction you pull it through the paint or drag it on the surface all add to the painterly options and effects available to you.

Surface and Paint Consistency

I’ve found that the painting surface for a piece done with knives must be firm to prevent the paint from cracking as it dries. Ampersand Gessobord works well, and there are many other suitable surfaces on the market.

I begin my painting knife pieces with an underpainting done in oil thinned with an odorless paint thinner, such as Gamblin Gamsol, and applied with a No. 10 or 12 bristle brush. With broad, loose strokes, I cover the white of the board, establishing color and value. The values of the underpainting are often a bit darker than those I anticipate using for the finished painting

The values of the underpainting are often a bit darker than those I anticipate using for the finished painting because light over dark yields a more desirable result. Because some areas of the underpainting will be visible in the finished painting, I choose underpainting colors that are analogous (near each other on the color wheel) to final layer colors.

When painting with knives, mix your colors on a palette, but don’t add any medium that will thin the paint. You need the paint to be thick so that it will maintain its shape and stay where it’s put.

Use thick paint when working with a painting knife. Mix your colors on the palette without diluting the paint with medium

Wielding the Painting Knife

Apply paint with a knife as you would spread frosting on a cake—working the texture to achieve the desired thickness and swirls. I hold the knife as a conductor would hold a baton and change the angle of the knife to the board to achieve the desired effect.

A clean palette knife is essential when changing colors. To remove paint from the blade, simply wipe it with a clean cloth or paper towel.

Carefully inspect the painting knife after each stroke once paint has begun to accumulate on the board. Nothing is more frustrating than making a mark in the water area, for example, and realizing that dark green from the tree area was on the knife.

Choosing the Painting Knife Size

Smooth, relatively flat areas can be painted with a large blade, so the larger painting knife in my collection is used for laying in large areas of paint—water or sky, for example (C, page 25).

For large areas, like the sky in Hillside Sun (completed painting at top of article), I lay the paint on thickly with a large knife. The dark, bluish-gray area on the left is a portion of still-exposed underpainting.

  Used on its edge, the midsized blade creates effects like reflections, masses of trees or thin lines that add texture and detail.

  Using the edge of a midsized knife blade, I apply a thin line of paint, which adds texture and suggests dimension, contour and detail to the field in Hillside Sun (completed painting at top of article).

  I can also dip the small, rounded tip of this blade into paint, which I can then carefully apply to create details. I use my smallest knife for small edges in trees or other details. Occasionally I use a knife with a ¼-inch square tip for making a mark that could be a distant building or window. The corners of the blade are also excellent for creating fine detail.

  With a touch of paint on the tip of a midsized knife (top right), I added a detail to the tree line in Peaceful Marsh (above left; oil, 40×48; by Deborah !Quinn Munson). With the edge of a small knife (bottom right), I indicated blades of grass.

  Keep in mind that you can use painting-knife techniques with other paint applicators. Cutting expired credit cards into different-sized strips lets you create custom shapes for applying paint. For large areas, try a metal or plastic ruler.

I used a credit card to indicate tree trunks in Marsh Path (top; oil, 36×36; by Deborah Quinn-Munson)

Sgraffito and Scumbling

In order to give an edge between the sky and trees a varied, atmospheric appearance that suggests distance, use the edge of a clean painting knife held at a 45-degree angle from the surface of the board.

Connect the sky to the trees with up-and-down strokes of the knife, allowing it to gently touch the paint in the sky and in the trees. These strokes exemplify the technique of sgraffito, gently scraping the surface of the board to expose some of the early underpainting and blend a bit of the two areas.

Using a technique called sgraffito, I took a small knife and lightly scraped over the paint on the edge between the sky and trees, exposing a bit of the underpainting while blending a bit of the sky color into the trees and the tree color into the sky. This creates a softened, atmospheric edge in Hillside Sun (completed painting at top of article).

  The goal of the sgraffito is to keep this edge soft; remember that trees are a rounded mass going back into the distance. This technique can be tricky; there’s nothing about this particular part of the process that resembles spreading frosting.

The movement of a painting knife through the paint will result in some serendipitous painterly strokes. Work carefully as the top edge of a tree mass is created, making some edges more pronounced; others soft.

With a clean palette knife, you can use the technique of scumbling by pulling a bit of paint from the sky into the trees or some paint in the trees closer to the sky. You can also use scumbling to create “sky holes” within tree branches.

By using a small knife to scumble sky color into the tree branches, I created “sky holes” in Hillside Sun (completed painting at top of article).

Drying Peculiarities

As your paint begins to dry, a “skin” forms that will pull and drag as another layer of paint is applied, often creating an undesirable effect. When a painting session is finished, ridges in the paint must be neither disturbed nor covered with more paint until the drying process is further along.

Completed paintings done with relatively thick paint must be allowed to dry for six months or more. The surface of the paint dries to the touch more quickly, but closer examination will reveal soft inner layers that can be easily damaged. I recommend applying a finishing varnish after many months—up to a year if the paint is quite thick.

The Frosting on the Cake

Painting with a painting knife is fast-paced, exciting and fun, producing finished pieces that evince textural qualities and expressive gesture. What’s more, after creating a few of these pieces, you’ll find that frosting a cake will be a snap.

This article by Deborah Quinn-Munson on painting in oils with a painting knife, first appeared in a past issue of The Artist’s Magazine.

Quick Tip: Palette Knife and Brush Harmony

In the video below, Julie Gilbert Pollard shares a quick oil painting tip on how to use a brush, palette knife or both to create interesting effects. When you balance your brushwork with palette knife applications, you’ll have oil paintings rich with harmony and texture!

  LEARN MORE

The Secret to Oil Painting With Light and Color With Michael Chesley Johnson – Preview the video

The Secret to Painting Wet Into Wet With Michael Chesley Johnson – Preview the video

  The post Painting Knife Techniques appeared first on Artist's Network.

from Artist’s Network http://ift.tt/2r9UrSh

http://ift.tt/2ra7MKv

[mredwinsmith]

Painting Knife Techniques

If you’ve ever spread frosting on a cake, you have an idea of the textural possibilities when using a painting knife to create an oil painting.

Different from painting with a brush, this process can help you achieve a variety of effects, from the sweeping strokes associated with impasto to refined details.

Hillside Sun (oil, 28×52) by Deborah Quinn-Munson

Painting Knife or Palette Knife?

The terms painting knife and palette knife are often used interchangeably when describing the technique of applying paint to a surface with the blade of an artist’s knife. Both tools are made of either plastic or of wood and metal. Both are available in a variety of blade shapes and sizes. A palette knife handle is generally straight, having at most a slight bend. The purpose of the palette knife is to mix colors or clean the surface of the palette. On the other hand, a painting knife has a deep bend in the handle that keeps the artist’s knuckles out of the paint. As its name indicates, a painting knife is used for actual painting. For the remainder of this article, when I use the word knife, I’m referring to a painting knife.

A palette knife handle is generally straight, having at most a slight bend. The purpose of the palette knife is to mix colors or clean the surface of the palette. On the other hand, a painting knife has a deep bend in the handle that keeps the artist’s knuckles out of the paint. As its name indicates, a painting knife is used for actual painting. (Note: For the remainder of this article, when I use the word knife, I’m referring to a painting knife.)

The knife at the top of this image is a large palette knife that I use to indicate the surface texture of water. Below this knife are large, small and medium painting knives, which appear in the demonstration photos in this article.

A knife with a metal blade has more spring to it than one with a plastic blade. Both metal and plastic blades have rather dull edges, and although some blades have a sharp point, a painting knife isn’t so much a cutting tool as it is a spreading tool.

Choose a painting knife for its shape, as different shapes will create a variety of effects. The way you hold the knife, its angle to the board, the amount of paint on the blade and the direction you pull it through the paint or drag it on the surface all add to the painterly options and effects available to you.

Surface and Paint Consistency

I’ve found that the painting surface for a piece done with knives must be firm to prevent the paint from cracking as it dries. Ampersand Gessobord works well, and there are many other suitable surfaces on the market.

I begin my painting knife pieces with an underpainting done in oil thinned with an odorless paint thinner, such as Gamblin Gamsol, and applied with a No. 10 or 12 bristle brush. With broad, loose strokes, I cover the white of the board, establishing color and value. The values of the underpainting are often a bit darker than those I anticipate using for the finished painting

The values of the underpainting are often a bit darker than those I anticipate using for the finished painting because light over dark yields a more desirable result. Because some areas of the underpainting will be visible in the finished painting, I choose underpainting colors that are analogous (near each other on the color wheel) to final layer colors.

When painting with knives, mix your colors on a palette, but don’t add any medium that will thin the paint. You need the paint to be thick so that it will maintain its shape and stay where it’s put.

Use thick paint when working with a painting knife. Mix your colors on the palette without diluting the paint with medium

Wielding the Painting Knife

Apply paint with a knife as you would spread frosting on a cake—working the texture to achieve the desired thickness and swirls. I hold the knife as a conductor would hold a baton and change the angle of the knife to the board to achieve the desired effect.

A clean palette knife is essential when changing colors. To remove paint from the blade, simply wipe it with a clean cloth or paper towel.

Carefully inspect the painting knife after each stroke once paint has begun to accumulate on the board. Nothing is more frustrating than making a mark in the water area, for example, and realizing that dark green from the tree area was on the knife.

Choosing the Painting Knife Size

Smooth, relatively flat areas can be painted with a large blade, so the larger painting knife in my collection is used for laying in large areas of paint—water or sky, for example (C, page 25).

For large areas, like the sky in Hillside Sun (completed painting at top of article), I lay the paint on thickly with a large knife. The dark, bluish-gray area on the left is a portion of still-exposed underpainting.

  Used on its edge, the midsized blade creates effects like reflections, masses of trees or thin lines that add texture and detail.

  Using the edge of a midsized knife blade, I apply a thin line of paint, which adds texture and suggests dimension, contour and detail to the field in Hillside Sun (completed painting at top of article).

  I can also dip the small, rounded tip of this blade into paint, which I can then carefully apply to create details. I use my smallest knife for small edges in trees or other details. Occasionally I use a knife with a ¼-inch square tip for making a mark that could be a distant building or window. The corners of the blade are also excellent for creating fine detail.

  With a touch of paint on the tip of a midsized knife (top right), I added a detail to the tree line in Peaceful Marsh (above left; oil, 40×48; by Deborah !Quinn Munson). With the edge of a small knife (bottom right), I indicated blades of grass.

  Keep in mind that you can use painting-knife techniques with other paint applicators. Cutting expired credit cards into different-sized strips lets you create custom shapes for applying paint. For large areas, try a metal or plastic ruler.

I used a credit card to indicate tree trunks in Marsh Path (top; oil, 36×36; by Deborah Quinn-Munson)

Sgraffito and Scumbling

In order to give an edge between the sky and trees a varied, atmospheric appearance that suggests distance, use the edge of a clean painting knife held at a 45-degree angle from the surface of the board.

Connect the sky to the trees with up-and-down strokes of the knife, allowing it to gently touch the paint in the sky and in the trees. These strokes exemplify the technique of sgraffito, gently scraping the surface of the board to expose some of the early underpainting and blend a bit of the two areas.

Using a technique called sgraffito, I took a small knife and lightly scraped over the paint on the edge between the sky and trees, exposing a bit of the underpainting while blending a bit of the sky color into the trees and the tree color into the sky. This creates a softened, atmospheric edge in Hillside Sun (completed painting at top of article).

  The goal of the sgraffito is to keep this edge soft; remember that trees are a rounded mass going back into the distance. This technique can be tricky; there’s nothing about this particular part of the process that resembles spreading frosting.

The movement of a painting knife through the paint will result in some serendipitous painterly strokes. Work carefully as the top edge of a tree mass is created, making some edges more pronounced; others soft.

With a clean palette knife, you can use the technique of scumbling by pulling a bit of paint from the sky into the trees or some paint in the trees closer to the sky. You can also use scumbling to create “sky holes” within tree branches.

By using a small knife to scumble sky color into the tree branches, I created “sky holes” in Hillside Sun (completed painting at top of article).

Drying Peculiarities

As your paint begins to dry, a “skin” forms that will pull and drag as another layer of paint is applied, often creating an undesirable effect. When a painting session is finished, ridges in the paint must be neither disturbed nor covered with more paint until the drying process is further along.

Completed paintings done with relatively thick paint must be allowed to dry for six months or more. The surface of the paint dries to the touch more quickly, but closer examination will reveal soft inner layers that can be easily damaged. I recommend applying a finishing varnish after many months—up to a year if the paint is quite thick.

The Frosting on the Cake

Painting with a painting knife is fast-paced, exciting and fun, producing finished pieces that evince textural qualities and expressive gesture. What’s more, after creating a few of these pieces, you’ll find that frosting a cake will be a snap.

This article by Deborah Quinn-Munson on painting in oils with a painting knife, first appeared in a past issue of The Artist’s Magazine.

Quick Tip: Palette Knife and Brush Harmony

In the video below, Julie Gilbert Pollard shares a quick oil painting tip on how to use a brush, palette knife or both to create interesting effects. When you balance your brushwork with palette knife applications, you’ll have oil paintings rich with harmony and texture!

  LEARN MORE

The Secret to Oil Painting With Light and Color With Michael Chesley Johnson – Preview the video

The Secret to Painting Wet Into Wet With Michael Chesley Johnson – Preview the video

  The post Painting Knife Techniques appeared first on Artist's Network.

from Artist's Network http://ift.tt/2r9UrSh

[sfldateideas]

ACRYLIC & OIL PAINTING CLASSES

ACRYLIC & OIL PAINTING CLASSES

Tuesday, January 9 – February 13, 2018 . 7 – 10pm  Six-week course; class once a week

Skill Level: Beginner to advanced (This class is for Beginners or Advanced Students that work with  Acrylic or Oil paint)

Taught in English & Spanish

Instructor: Pablo Contrisciani  (ArtCenter/South Florida alumnus) www.pablocontrisciani.com

This class is designed to develop and clarify student’s painting style and improve their technical skills. Through one-on-one instruction, demonstrations and exercises, beginners will focus on color theory, composition and form; advanced students will work on expanding visual vocabulary and technical skills. You will work from a variety of sources like visual samples and references, images of masters artworks, photos, reproductions, etc.Oil and acrylic mediums are welcome in this class. No previous drawing experience necessary. Students will use a limited palette in order to learn how to mix a variety of colors.

At the end of the six classes each student will have completed 4 to 5 paintings.

Material List Painting  w/ Acrylics or Oils | Instructor: Pablo Contrisciani PH.  305.788 8265

 Please bring the following items with you to the first class :

 If you have advanced skills, please bring 3 samples of your recent work.

 If you wish to work with Acrylics, please bring:

~Acrylic paints: ultramarine blue, emerald green, titanium white, cadmium red medium, cadmium yellow light, black, orange cadmium, crimson red, dioxizine violet, pthalo blue

 ~Gel Medium 16oz.

~3 palette knives (metal or plastic) big, medium or small and one large- see Richeson Plastic knife set at www.dickblick.com for example.

~1” bristle brushes ,1/8” flat bristle brush, 1/2” flat bristle brush, 3/4” flat bristle brush, 1” flat bristle brush   Two of each.

~16” x 19” acrylic paper palette

~2HB pencils, one eraser, one sharpener

~2 canvases (18” x 24” or larger)

~Empty cans for water

~Rags or paper towels

~Canvas pad 18” x 24”

~Masking Tape- ½” or push pins

If you wish to work with Oils, please bring:

– Oil Paint colors: Can be purchased in 35ml or 40ml sizes. (Some affordable brands include Rembrandt , Gamblin etc.)Ultramarine blue, emerald green, titanium white, orange cadmium, crimson red, dioxazine violet, cadmium red medium, cadmium yellow light, phtalo blue and black

-Set of White, Flat, Bristle Brushes:That includes: 1/8” flat bristle brush, 1/2” flat bristle brush, 3/4” flat bristle brush and 1” flat bristle brush.

-3 palette knives (metal or plastic) big, medium or small and one large- see Richeson Plastic knife set at www.dickblick.com for example.

 -Multi-palette/ paper palette 18” x 24” pad.

 -4 canvases (18” x 24”or larger).

 -Odorless turpentine or mineral spirits, 1 quart

– Linseed oil, 8 oz.

 -Rags or paper towels

 -Empty cans 1 big, 1 small-metal

 -2HB pencils, one Eraser, one sharpener

The post ACRYLIC & OIL PAINTING CLASSES appeared first on Miami Date Ideas.

from http://sfldateideas.com/event/acrylic-oil-painting-classes/2018-02-13/