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Painting

Egg Tempera Painting

Egg Tempera Painting of “Buck” by Maurice Garson This project was started due to an enthusiastic understanding of Louis Velázquez’s new medium CSO-EGG TEMPERA . Commissioned as a deer portrait with a rustic frame, the credit for the reference image goes to a “Photo’s for Artist’s” photographer posted as Whitetail Deer by Deb Henson — at Cades Cove National Park,TN . Click to enlarge image I will be starting with a  ¼ ” birch plywood panel which I have cradled around the parameter with 3/4″ x 5/8″ deep strips totaling a laminated 7/8″ edge to prevent warping and the panel’s tendency (more…)

Stretcher bars

Not all Canvas Stretcher Bars are Created Equal Starting out on any painting on canvas project regardless of medium it is important to visualize potential problems BEFORE they occur. Although this canvas had been in storage and still wrapped in plastic it will still need to be re-stretched on a less inferior frame. Tape has been placed over the manufacturer’s stamp to protect the innocent (myself) from any adverse action. The enlarged view shows marks at the problem spots.   Masterpiece B2 Stretcher Kit The one above could have failed in any of the marked locations. A single stretcher bar MUST (more…)

Oil Pastels

One of my favorite mediums (most likely do to quick results) that I have been experimenting a little with, primarily for use on paper. Oil pastels are a somewhat different than soft pastels because they do contain smaller amounts of linseed oil that can cause paper to decompose prematurely. They also don’t require as much “tooth” as soft pastels and can be lightly blended/smeared to make fine lines with a brush soaked in turpentine. A smaller piece I call “Eagle’s Haven” (ironically I didn’t see any in that exact location but they where nesting in the trees across the river) exorcising (more…)

Transparent Copper Ground

Transparent Ground for Copper by Maurice Garson For some time now I have received numerous inquiries about an appropriate or archive quality ‘clear’ ground when using copper support. I must honestly admit that in the past I only appreciated copper for it’s smooth surface texture failing to recognize the advantages of it’s metallic properties. Although I have heard of direct painting onto copper with linseed oil paint, I am (as well as many other artists interested in using this support) very skeptical about the results. The most obvious is that with copper as with all metals continues to corrode when (more…)

The CSO Method 

Oil Portrait Using the CSO Method  by Maurice Garson 05/18/2009 Oil Painting with’Calcite Sun Oil’:Safety and Permanence Without Hazardous Solvents, Resins,Varnishes and DriersCold Pressed Sun Thickened Linseed OilFrederic Taubes I will begin this portrait utilizing the strict traditional method of stretching and preparation of my canvas as explained here on my website. The only exception made at this step is the replacement of rabbit skin with poly vinyl acetate glue sizing. Once prepped with lead white oil base primer, the entire canvas ground is neutral toned in Ochre with a palette knife. When this segment of the project is dry (more…)
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