Two figures, a mountain range, and why the brushwork stays loose

Two figures, a mountain range, and why the brushwork stays loose

A short studio note on Alpine Companions, a textured impasto painting of two figures in a mountain range. It covers why the figures stay small, how the palette knife handled the peaks, and where the piece fits on a wall.

Two figures, a mountain range, and why the brushwork stays loose

A short studio note on Alpine Companions, a textured impasto painting of two figures in a mountain range. It covers why the figures stay small, how the palette knife handled the peaks, and where the piece fits on a wall.

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Painting a mountain range without using much color

Painting a mountain range without using much color

A short studio note on Alpine Whispers, a textured white mountain oil painting. It covers how the palette knife did most of the work, why the snowline is the busiest part, and where the piece fits on a wall.

Painting a mountain range without using much color

A short studio note on Alpine Whispers, a textured white mountain oil painting. It covers how the palette knife did most of the work, why the snowline is the busiest part, and where the piece fits on a wall.

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Notes on a quiet mountain painting

Notes on a quiet mountain painting

A short studio note on Terra Alba, a white textured mountain oil painting. It covers how the piece is built up, why square format works in certain rooms, and what the white ground does for a wall that already has color around it.

Notes on a quiet mountain painting

A short studio note on Terra Alba, a white textured mountain oil painting. It covers how the piece is built up, why square format works in certain rooms, and what the white ground does for a wall that already has color around it.

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