On canvas or on wrapping paper, grounded with egg-varnish-titanium. Masses in broad design with cloth and egg-oil paint. When dry enough to trowel on a thin scraping a thick medium (sun thickened oil, 8% beeswax and 8% drier) into this with painting knife scrape and glazes and opaque additions to original design. "

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"Make paint by mixing moistened (with water) pigments with the above medium. Prepare canvas for knife painting. Stretch canvas duck. Size with glue. Scrape white lead-zinc and flat white onto surface."

Draw in masses with rag. Glaze over all color or colors. Draw freely into with palette painting knife scraping off surplus paint on lines leaving a lighter line (broad, vague) next to the scraped out line. Next paint masses into the shapes between lines. Probably repeat process when dry.
September 13th 1952. Painting with egg varnish medium over vinolite toned grounds, either on lead ground canvas or plain presswood panels. Draw on a vinolite ground with egg varnish paint. It erases easily with a sponge and water. Also dries quickly for over painting. The when composition is arranged with egg varnish used, textures may be built up using vinolite and inert substances such as string, sawdust, cloth, etc.

"November 29, 1946 Composition procedure 1. Use shellac paint on cloths--one red, one olive, one yellow. Draw masses in movement and space development--this may call up associations with actual subject matter. When subject and design are fairly definite, proceed with enrichment by first glazing shellac paint with sun thickened linseed oil. Into the oil glaze, work color glazes, to give bolder pattern to composition. Into the bold glazed color patterns, paint opaque, breaking the patterns into more dynamic color gradations and intensify the depth movements with texture and contrasts of line against tones. Retain some of the original equivocal forms to give creative urge to the spectator's eye.

"November 29, 1946 Painting technique. Flannel ranks soaked with casein paint (Shiva) to draw in composition. Glaze with oil color. Paint is solidly into When dry again, work with Shiva casein on rag to assure thin coat of casein paint. Again glaze with oil paint."

His Methods

Oct. 18th. Painted from memory on portrait of Helen Steward. Had previous drawn it in from the model with burnt sienna on oil moistened canvas. When it was dry I used egg varnish tempera to paint the color and patterns of a finished nature. All areas were kept flat