A short studio note on Clash of Forces, a panoramic wildlife oil painting of a bull and a bear. It covers why the two animals do not look at each other, where the gold comes from, and the wall size the painting needs.
A short studio note on Clash of Forces, a panoramic wildlife oil painting of a bull and a bear. It covers why the two animals do not look at each other, where the gold comes from, and the wall size the painting needs.
A short studio note on Cascading Color, a colorful textured floral impasto oil painting. It covers how the leaves are worked in palette knife, why the florals stay soft, and where the painting works best on a wall.
A short studio note on Cascading Color, a colorful textured floral impasto oil painting. It covers how the leaves are worked in palette knife, why the florals stay soft, and where the painting works best on a wall.
A short studio note on Intertwine, a textured wabi-sabi abstract oil painting with two figures in three colors. It covers the palette knife work, why the background stays cream, and where the piece works best in a home.
A short studio note on Intertwine, a textured wabi-sabi abstract oil painting with two figures in three colors. It covers the palette knife work, why the background stays cream, and where the piece works best in a home.
A short studio note on Mosaic of Minds, a colorful abstract figurative faces oil painting. It covers how the figures are stacked, why the brushwork stays loose, and what kind of room the painting needs to land well.
A short studio note on Mosaic of Minds, a colorful abstract figurative faces oil painting. It covers how the figures are stacked, why the brushwork stays loose, and what kind of room the painting needs to land well.
A short studio note on Emerald Hideaway, a green impasto jungle oil painting with two toucans in the canopy. It covers the palette knife work, why the birds sit at the top, and where the painting works best on a wall.
A short studio note on Emerald Hideaway, a green impasto jungle oil painting with two toucans in the canopy. It covers the palette knife work, why the birds sit at the top, and where the painting works best on a wall.
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.
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.
