4 Classic Albums – Art Farmer-Portrait / Modern / Featuring Gigi Gryce / Jazztet

4 Classic Albums - Art Farmer-Portrait / Modern / Featuring Gigi Gryce / Jazztet

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– Portrait Of Art Farmer/Modern Art/Art Farmer Quintet Feat. Gigi Gryce/The Jazzt



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GO Bottles Stainless Steel Insulated Water Bottle with Flip Straw and Sweat-Proof Rubber Grip, 24 oz

GO Bottles Stainless Steel Insulated Water Bottle with Flip Straw and Sweat-Proof Rubber Grip, 24 oz

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Go bottles presents our newest hydration bottle, the go active water bottle. Designed to improve your hydration by giving you access to ice cold water wherever life takes you. Using state of the art stainless steel vacuum insulation technology, the go active insulated water bottle outperforms competitive bottles in head to head testing. Born in the desert of Arizona we know heat like few others in the country do and if our bottles can keep ice here, they can keep ice anywhere. Tested in the rugged desert environment but designed with a eye for elegance and style our bottle is the perfect blend of performance and style. Customers trust go active living for their outgoing customer service, their industry best always-smiling warranty and our commitment to all our customers in the go active community. At go active we don’t have customers, we have an extended family, welcome to the family.1) durable: 18/8 food-grade stainless steel tough enough for camping yoga hiking cross fit or the gym
2) bpa-free: Avoid harmful chemicals that bleed from plastic bottles and be kind to the environment
3) portable: Fits most car and bicycle cup holders and easily clips to bags, purses and backpacks
4) premium insulation: Keeps water, iced coffee, iced tea, cold and refreshing, even in hot weather
5) fun: Straw is enjoyable to drink from, encouraging proper hydration, energy, health and happiness



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The Difference Between Chinese Cloisonne and Japanese Cloisonne


Oriental art has always mystified people and has been appreciated by the Western Culture. However, only a few people can specify the difference between Chinese Cloisonne and Japanese Cloisonne. While seemingly similar to an uneducated eye their differences, once mentioned, are hard to look past. Below we explore a few differences between Chinese Cloisonne and Japanese Cloisonne.

Trade: Chinese Cloisonne was well developed before Japan even opened its door to trade businesses. Due to Japan’s desire to remain hidden from the rest of the world, they had a lot of catching up to do. Japan managed to reignite the popularity of their Cloisonne pieces amongst Europe and France Within two. Once their borders were opened, Japanese tradesmen were able to get the necessary skills and means to create new modified version of the Oriental Cloisonne.

Border & Rim: When looking at a piece of Cloisonne, the easiest way to tell the difference is not by the actual motif on the art piece but by actually looking at the rim and borders of each object. Chinese vases and boxes were often finished with a smooth and bright turquoise interior. On the other hand, Japanese boxes and vases were distinguishable by their orange peel texture on the enamel. They would use dark green, yellow, navy blue or gray enamel to decorate their vases.

The borders of the Chinese pieces were decorated in ruyi. Ruyi is a colorful design that is 1 inch in width. Japanese Cloisonne never has this border; instead they would use a thin circular decoration at the rims. The color of these decorations would be reddish brown, blue or green.

Types: Even though the Japanese started experimenting later with this technique, they had a larger variety of Cloisonne that they created.

Make sure to pay special attention to the rim and border when inspecting a piece of oriental art created by this ancient and beloved technique.

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Source by Sheila Bridge

Stanley Premium Paint Kit, 8-Piece

Stanley Premium Paint Kit, 8-Piece

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Stanley paint applicators are tested to rigorous standards and protocols to ensure smooth and even paint distribution. These specialized paint applicators are designed for easy use and maximum performance, to ultimately save time and money. This Premium 8-Piece Painting Kit provides everything from the tray and liner to 2 sizes of roller frames and covers, plus a sash paint brush.Kit contains:
Bright, sturdy metal tray
Clear tray liner
9 inch 5-wire Deluxe roller frame
Two 9″ x 3/8″ high-capacity polyester rollers
Premium quality kit with tools to paint an entire room
Smooth even application
Splatter resistant
Easy to clean
Great coverage with all paints



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Dogs Playing Poker – Beyond Art, Behind Coolidge


C. M. Coolidge, known for his “poker playing dogs”, was a brilliant man with innovative ideas and an entrepreneurial instinct about art. Born in a small town in upstate New York to Quaker parents, he didn’t receive a formal college education, but did take some college business classes later in his life. By the time he was 18 or 19, he took a few lessons in portrait painting, along with a course in bookkeeping a few years later. His love for reading resulted in a solid self education. At the age of 19, he started doing cartoons for newspapers in surrounding neighborhoods. A few years later, while living in Rochester, NY, he wrote and illustrated a weekly newspaper column.

Coolidge loved people and was quite social. At around the age of 20 or 21, he was elected Superintendent for one of the local school districts. Later, he was elected Town Clerk. Around the same time, he became active in the Masonic Lodge. Coolidge had lofty plans for himself, although most of his pursuits didn’t work out or were short-lived. When he was 27 or 28, he started the first bank in the town of Antwerp, NY. He worked there for a short time, and then became a druggist. That; however; did not hold his interest for long. And, a year later he founded his hometown’s first newspaper. Unfortunately, that failed a short time later.

Between jobs and in his free time, he would draw cartoons for area newspapers and would do caricatures of people. One of his many elaborate projects was the writing of a comic opera concerning the elimination of mosquitoes. Interestingly, it was produced but made no real money. He also applied for a patent for collecting fares on street cars. Although, again, nothing became of it.

The one consistent endeavor he held onto was his love of comics and art. He began to do dog paintings around the turn of the century. Mainly, they were purchased by cigar companies and used as giveaways. Coolidge’s big break came when the advertising firm Brown & Bigelow approached him to do a series of paintings that would be used on calendars and other memorabilia. That was in 1903. Around this time is when his infamous poker dog paintings got underway.

Over the next ten years, Coolidge created 16 paintings of dogs – seven that portrayed dogs playing pool. The other nine were dogs surrounding a poker table. By putting dogs in art, yet in a situation familiar to middle class Americans, he not only anthropomorphized them, but created an instant kitsch fad. It certainly helped the cigar and calendar businesses for which he worked. A few of his original dog paintings sold for US$2,000 to US$10,000 dollars’ which was an astonishing amount for the time period.

For years his images of dogs playing poker while drinking, smoking, and basically getting into trouble graced bachelor pads, bars, and taverns around the country. The scenes always evoked feelings of something American and something modern. Recently, a pair of his poker dog paintings entitled A Bold Bluff and Waterloo, expected to go for US$30,000 to US$60,000, surprised the art world by selling for $590,00 for the pair.

More meaning for A Friend In Need:

A few theories about his art give more meaning than what initially meets the eye. One theory states that the painting A Friend In Need has great significance. “Coolidge’s painting was used in the Second World War to boost the moral of Dutch citizens. The dog with the cigar being Churchill giving America help (on his left hand side), which goes unnoticed. Russia (the most left dog) tries to attract USA’s attention, while Hitler (the dog with the pipe and the ‘big ears’ in front of the clock) watches anxiously.”

Poker enthusiast Jim McManus has stated, “[In] A Friend in Need, the blatant cheating refers back to the early nineteenth century, Mississippi riverboat days, when poker was mainly a series of opportunities to fleece the suckers.”

A specialist for Sotheby’s Auction House, Alison Cooney, says that people who dismiss the painting as simply “kitsch art” are missing the deeper meaning of his work. “It’s a humorous, ironic take;’ she continues, a jab at middle-class America; another way of poking fun at ourselves.”

Another theory suggests that the dogs were all aspects of C.M. Coolidge himself. Known to his friends as “Cash”, he loved a good bet and was something of a hustler. He wore a hat and often held a cigar, just as his paintings of dogs did. Other sources hint that he looked like the bulldogs he painted.

In a recent tongue-in-cheek article by Steven J. Rolfes, he writes “In this iconic work, we see a masterly representation of the Last Supper, with Christ (on the left) sitting conveying His wisdom to His followers. We see Judas to His right, with the bag of silver coins at his pawside.” He asserts that the painting A Friend in Need has deep arcane roots in a very secret society that even precedes the Illuminati called the “Prior of Dogbone.”

This important insight is one that Coolidge himself would appreciate.

After his success with painting dogs, a new idea provided him a profitable income. He started the invention of “Comic Foregrounds”, which are wooden life-size cartoon stand-ups with the face cut out so that one can place their head for funny photos. He completed hundreds of them, including the famous Man Riding a Donkey and Fat Man in a Bathing Suit. Some of these comic foregrounds had hand lettering at the bottom. He would often hire students to do them.

C.M. Coolidge was a bachelor for most of his life. When he was 64, he met Gertrude Kimmel, an art student who was doing some lettering work for him at the time. They were married in 1909 and had a daughter a year later.

A few years later, when Coolidge was about 70 years old, he fell and hurt his knee. According to an account written by his daughter Marcella Coolidge, he didn’t visit a doctor and was lame the rest of his life. He tried his hand at writing, but it didn’t take off. Still, Coolidge remained in good spirits. His wife went to work and he was strong enough to do work around the house.

Coolidge’s daughter has also said that his dog paintings were not taken seriously at home by herself or her mother. She said that she never liked them – that it was simply commercial. Furthermore, she relayed that they never had a dog, but that her dad was fond of them. This is clear as seen in the widespread influence they had in his art.

Andy Warhol was influenced by Coolidge’s work. Coolidge set a precedent for the weimaraner photos of William Wegman. Today, we find Coolidge’s canine posters at many places. If you have US$590,000 or more to spend, contact Doyle Auction House in New York to see when they will have another original Coolidge dog painting to auction.

Copyright © 2008 Melanie Light

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Source by Melanie Light

Safavieh Lighting Collection Art Moderne Clear and Brown 15.75-inch Table Lamp (Set of 2)

Safavieh Lighting Collection Art Moderne Clear and Brown 15.75-inch Table Lamp (Set of 2)

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Streamlined and sophisticated, the art modern crystal table lamp by Safavieh is both architectural and sculptural. This handsome set of two lamps is strongly geometric, with rectangular shades of brown linen topping bases of clear solid crystal. Use these lamps to brighten a dark corner or hall, in transitional and contemporary spaces.This lamp is crafted of crystal
This light uses 60w bulbs
Perfect for a living room, bedroom, den, library, study or office
For over 100 years, Safavieh has been crafting products of the highest quality and unmatched style
To clean, wipe with a soft, dry cloth; Avoid the use of chemicals and household cleaners as they may damage the finish



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Oriental Furniture Geisha Canvas Wall Art

Oriental Furniture Geisha Canvas Wall Art

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This beautiful wall art print is a colorful reproduction an unattributed Japanese wood block of a 19th century Geisha, queen of the “floating world”, the Ukiyo. Writers have been moved by the institution of the Geisha for hundreds of years; hang this bright beautiful artwork in your home or office. Each piece is carefully cropped, formatted, and printed onto a art quality canvas, then fitted and stretched onto pine frame for easy wall mounting. Amazingly affordable, outstanding quality wall art shipped right to your door.Approximately two feet wide by approximately two and a half feet tall
Brilliant reproduction of an Edo period wood block print of a Japanese Geisha
Lithographic printed canvas stretched onto a mitered pine frame
Ships stretched and ready to hang, as shown



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An Introduction to Tattoos


Tattoos… Everyone has a different reaction to that word. It always got my attention. I think the first one I saw on a live person, was my cousins. I must have been 7 or 8 years old. He had a funny caricature of a devil on his arm with “born to raise hell” written over it. I was amazed by it and although it wasn’t until my mid 20’s when I christened my skin, I wanted one the second I saw that little devil.

Today, tattooing is far more accepted in society than it was back in the 60’s, still; there are people that frown upon the idea of marking your body with ink….forever. Whether it’s a religious issue, or their own personal preference, they can’t deny that the tattoo is almost as old as civilization itself.

The word tattoo is derived from the Tahitian word “tatu”, meaning to mark or to touch something. The earliest known tattooed person is the infamous “Iceman” found in 1991, in the Otzal Alps, located in Italy. Carbon dating proved that he had lived about 5,300 years ago. Fifty-eight tattoos were noted on his body!! Archaeologists think he was an important figure in his society. The tattoos were charcoal and water based.

Ancient cultures used tattoos to ward off sickness or bad luck. The Egyptians were the first to use needles to tattoo the body. Archaeologists exhuming tombs, have even found children’s dolls decorated with tattoos. Tattooing spread through Greece, and Arabia, and By 2000 BC., the tattoo had arrived in Asia.

The Japanese first used tattoos to identify criminals. Later it was transformed into an art form, producing some of the world’s most beautiful tattoos. The Yakuza (Japanese mafia) use their tattoos to intimidate their rivals. Japanese style of tattooing has influenced hundreds of artists today.

Polynesians have also contributed greatly to the art. Their instruments consist of sharpened pieces of bone, or ivory, tied to a stick. They “chisel” the ink into the skin by hitting the top of the instrument with a mallet type object. The tool might consist of one sharp object, or a whole row of objects, resembling a rake.

Members of certain tribes underwent grueling hours tattooing their bodies as a right of passage. Those tools are still used today, for those same rituals, but it is a dying art form, performed only by those preserving their culture. They also developed a facial tattoo called the “Moko”. This facial tattoo consisted of lines drawn about the face that would tell that persons life story.

Centuries ago in Europe, it was common to have family crests tattooed on the body, but when the Normans invaded in 1066, tattooing disappeared. 600 years later, a sailor named William Dempher, ran into Prince Giolo, known as the Painted Prince. He was brought from Polynesia to London, put on exhibition, and became a sensation.

In the 1700’s, on one of his many trips to the South Pacific, Captain Cook came across Oami,a heavily tattooed man, whom he also brought back to England. The English were amazed, and soon tattooing became a fad amongst the upper class. Still it would be another 100 years before tattooing would have an influence in America.

The first electric tattoo machine was invented by Samuel O’Rielly in 1891. It evolved from an electric pen that Thomas Edison had invented a few years earlier. This machine is very similar to the one used today. With this invention, it was very easy to obtain a tattoo, so the upper class gradually turned its back on the art, and by the 1900’s the glamour of being tattooed had lost its appeal. Tattoo artists found themselves working the seedy areas of neighborhoods, and tattooing went underground. Only by word of mouth could someone find a tattoo artist, or even see tattoo art. Tattooing became a secret society.

Once again, Samuel O’Rielly to the rescue. He moved from Boston to New York City and opened a tattoo shop in very popular Chatham Square, the Times Square of its day, and the birthplace of American style tattoos. There he met Charlie Wagner.

O’Rielly taught Wagner the art of tattoo until Sam’s death in 1908. Charlie then met Lew Alberts, a wallpaper designer. Alberts incorporated his designs into tattoo art, and started making flash designs. Tattooing flourished in Chatham Square for nearly 20 years, until the depression hit. The soul of tattooing then moved to Coney Island. Shops opened up wherever military bases seemed to be. Mostly sailors would get tattooed, and each tattoo brought a different story from a different place.

After the Second World War, tattoos were less popular. Their association with bikers, and jailbirds had a great impact on the decline of tattooing in American culture. An outbreak of hepatitis in the 1960’s brought tattooing to its knees. Needles weren’t being sterilized, and reports of blood poisoning flooded the newspapers. New York outlawed tattoos and shut down its shops in Coney Island. Tattooing moved to New Jersey, Philadelphia, and all the way to San Francisco.

Today, tattooing is legal again in New York, and just recently made legal in Massachusetts. Artists hold international conventions, where they display work, perform work, and give seminars on tattooing. Many have an art degree. Cleanliness is an unwritten rule in the business these days. Shops would not survive if the proprietors did not keep a clean place of business. Tattooing has once again reached the upper echelon of society. Movie stars, rock stars, and corporate executives now grace their bodies with tattoos. Every tattoo has a special meaning for the one who wears it. Whether it’s a tribute to a lover, or a child, mom or dad, a simple line or a detailed body suit, tattoos have made its mark in the history of the world.

R.Scott

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Source by Robert S. Desena

School Of The Arts

School Of The Arts

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T Lavitz – Piano;
Frank Gambale – Acoustic Guitar;
Steve Morse – Acoustic Guitar;
Jerry Goodman – Violin;
John Patitucci – Acoustic and Electric Bass ;
Dave Weckl – Drums and Percussion

Cutting-edge compositions, beautiful sinuous melodies, and massive chops make School of the Arts (SOTA) a truly rare confluence of influences and musical styles, pushing jazz and jazz-fusion into another dimension.

The brainchild of keyboardist extraordinaire T Lavitz (Dixie Dregs, Jazz Is Dead), SOTA culls the supreme talents of such fusion and progressive instrumental music heavyweights as drummer Dave Weckl (Chick Corea) bassist John Patitucci (Corea, Herbie Hancock, Wayne Shorter), guitarist Frank Gambale (Corea, Vital Information), electric violinist Jerry Goodman of Mahavishnu Orchestra, Shadowfax, and Dixie Dregs fame, and T s longtime friend, Dregs mastermind, and Magna Carta label mate, monster axeman Steve Morse.
School of the Arts is different from every album I ve ever done as a leader, says Lavitz

With SOTA, Lavitz (with four decades experience in the music biz having played with such wide-ranging musicians as Widespread Panic, Bill Bruford, Billy Cobham, Nils Lofgren, Pat Benatar, Jefferson Starship, Mother s Finest, Dave Fiuczynski, Peter Himmelman, Dennis Chambers, Jeff Berlin, and Scott Henderson) is top dog, playing acoustic piano (an instrument close to his heart), and composing most of the material for the band s debut.

Underscoring Lavitz s empathy and musical instincts, is the keyboardist s ability to spearhead and hold together the SOTA project, despite each member s busy schedule: Morse is constantly touring with Deep Purple (occasionally with the Dregs); Jerry Goodman is an in-demand electric violin trailblazer; Patitucci and Weckl crisscross the globe with various artists and solo work; and likewise for Gambale, who recently finished a tour with Billy Cobham.

The music is definitely interactive, Lavitz says. When I take a solo, there s Frank Gambale answering me, like something you d hear on a gig.

Case in point: the Afro-Latin acoustic jazz tune Gambashwari. Sinewy guitar and piano chords/notes weave around one another in syncopated patterns, stating main, contra and counterpoint melodies. It s breezy, not cheesy, jazz — the kind that possesses sophistication without being elitist, boring or unlistenable. It s utterly infectious jazz-fusion with aspirations toward chamber or classical music, with rock s reckless abandon simmering just under the surface.

Other tracks include, High Falutin Blues (an appropriate title for a song that crosses the boundaries of country, blues, and jazz), Like This (listen as Weckl locks into Patitucci s sparse bass line all the while commenting on Goodman s and T s jazzy/bluegrass-esque soloing acrobatics), and Teaser (a Chick Corea-style acoustic rocker, complete with trill-filled piano performances, blanketed by Weckl s silky stream of beats). Dave Weckl laid down some of the best drum tracks I ve heard in a while, Lavitz says.

Despite the obvious and some might say inevitable chops heard on this record, the high level of musicianship never detracts from the overall flow of the compositions. In fact, the record has a ring of newfound freedom; of a songwriter allowed to spread his compositional wings, which recalls the artistic creativity and motivation that drove Lavitz to create his 1986 solo debut, Storytime an album produced in the wake of a Dregs breakup. I am very excited about this, because not only did I get to write the bulk of the music, but I produced, played and played only acoustic, says Lavitz. While it has elements from other recordings I’ve done, it seems, at least to me, to stand out as being very different.



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Bob Ross Oil Painting Technique – Frequently Asked Questions


The following is a list of frequently asked questions about the BOB ROSS Oil Painting Technique and some instruction about the use and care of the materials.

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This technique refers to the softening of hard edges and most visible brush strokes by blending the wet oil paint on the canvas with a clean, dry brush. In blending, an already painted area is brushed very lightly with criss-cross strokes or by gently tapping with the corner of the brush. This gives colors a soft and natural appearance. Not all oil paints are suitable for this technique – most are too soft and tend to smear. Only a thick, firm paint is suitable for this technique.

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To mix paints to a marbled effect, place the different colored paints on the mixing area of your palette and use your palette knife to pick up and fold the paints together, then pull flat. Streaks of each color should be visible in the mixture. Do not over mix.

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When mixing paints for application over thicker paints already on the canvas, especially when adding highlight colors, thin the paint with LIQUID WHITE, LIQUID CLEAR or ODORLESS THINNER. The rule to remember here is that a thin paint will stick to a thicker paint.

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Painting with the wet on wet technique requires frequent and thorough cleaning of your brushes with paint thinner. An empty one pound coffee can is ideal to hold the thinner, or use any container approximately 5″ in diameter and at-least 6″ deep. Place a Bob Ross Screen in the bottom of the can and fill with odorless thinner approximately 1″ above the screen. Scrub the brushes bristles against the screen to remove paint sediments which will settle on the bottom of the can.

Dry your larger brushes by carefully squeezing them against the inside of the coffee can, then slapping the bristles against a brush beater rack mounted inside of a tall kitchen trash basket to remove the remainder of the thinner. Smaller brushes can be cleaned by wiping them with paper towel or a rag (I highly recommend using Viva paper towels because they are very absorbent). Do not return the brushes to their plastic bags after use, this will cause the bristles to become limp. Never clean your Bob Ross brushes with soap and water or detergent as this will destroy the natural strength of the bristles. Store your brushes with bristles up or lying flat.

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Use the 2″ brush with long, firm vertical and horizontal strokes across the canvas. The coat of Liquid WHITE should be very, very thin and even. Apply just before you begin to paint. Do not allow the paint to dry before you begin.

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I suggest using a palette at least 16″x20″ in size. Try arranging the colors around the outer edge of your palette from light to dark. Leave the center of the palette for mixing your paints.

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To fully load the inside bristles of your brush first hold it perpendicular to the palette and work the bristles into the pile of paint. Then holding the brush at a 45 degree angle, drag the brush across your palette and away from the pile of paint. Flipping your brush from side to side will insure both sides will be loaded evenly.

(NOTE: When the bristles come to a chiseled or sharp flat edge, the brush is loaded correctly.)

For some strokes you may want the end of your brush to be rounded. To do this, stand the brush vertically on the palette. Firmly pull toward you working the brush in one direction. Lift off the palette with each stroke. This will tend to round off the end of the brush, paint with the rounded end up.

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Place the tip of your brush into the can of LIQUID WHITE, LIQUID CLEAR or ODORLESS THINNER allow only a small amount of medium to remain on the bristles. Load your brush by gently dragging it through the highlight colors, repeat as needed. Gently tap the bristles against the palette just enough to open up the bristles and loosen the paint.

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With your palette knife, pull the mixture of paint in a thin layer down across the palette. Holding your knife in a straight upward position, pull the long working edge of your knife diagonally across the paint. This will create a roll of paint on your knife.

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There are no great mysteries to painting. You need only the desire, a few basic techniques and a little practice. lf you are new to this technique, I strongly suggest that you read the entire section on “TIPS AND TECHNIQUES” prior to starting your first painting. Consider each painting you create as a learning experience. Add your own special touch and ideas to each painting you do and your confidence as well as your ability will increase at an unbelievable rate.

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The BOB ROSS technique of painting is dependent upon a special firm oil paint for the base colors. Colors that are used primarily for highlights (Yellows) are manufactured to a thinner consistency for easier mixing and application. The use of proper equipment helps assure the best possible results.

Liquid Clear is a particularly exciting ingredient for wet-on-wet painting. Like Liquid White/Black, it creates the necessary smooth and slippery surface. Additionally, Liquid Clear has the advantage of not diluting the intensity of other colors especially the darks which are so important in painting seascapes. Remember to apply Liquid Clear very sparingly! The tendency is to apply larger amounts than necessary because it is so difficult to see.

13 colors we use are listed below:

*Alizarin Crimson

*Sap Green, Bright Red

*Dark Sienna

*Pthalo Green

Cadmium Yellow

Titanium White,

*Pthalo Blue,

*Indian Yellow

*Van Dyke

Brown

*Midnight Black

Yellow Ochre

*Prussian Blue
(*indicates colors that are transparent or semi-transparent and which may be used as under paints where transparency is required.)

HOW DO I MIX COLORS?

The mixing of colors can be one of the most rewarding and fun parts of painting, but may also be one of the most feared procedures. Devote some time to mixing various color combinations and become familiar with the basic color mixtures. Study the colors in nature and practice duplicating the colors you see around you each day. Within a very short time you will be so comfortable mixing colors that you will look forward to each painting as a new challenge.

SHOULD YOU USE JUST ANY ART PRODUCT FOR THIS METHOD OF PAINTING?

Possibly the #1 problem experienced by individuals when first attempting this technique and the major cause for disappointment revolves around the use of products designed for other styles of painting or materials not designed for artwork at all (i.e. house painting brushes, thin soupy paints, etc.).

All of the paintings for this technique were created using Bob Ross paints, brushes and palette knives. To achieve the best results from your efforts, I strongly recommend that you use only products designed specifically for use with the Bob Ross wet-on-wet technique.

HOW LONG WILL IT TAKE MY PAINTING TO DRY?

Drying time will vary depending on numerous factors such as heat, humidity, thickness of paint, painting surface, brand of paint used, mediums used with the paint, etc. Another factor is the individual colors used. Different colors have different drying times (i.e., normally Blue will dry very fast while colors like Red, White and Yellow are very slow drying). A good average time for an oil painting to dry, when painted in this technique, is approximately one week.

SHOULD I VARNISH MY PAINTINGS?

Varnishing a painting will protect it from the elements. It will also help to keep the colors more vibrant. lf you decide to varnish your painting, I suggested that you wait at least six months. It takes this long for an oil painting to be completely cured. Use a good quality, non-yellowing picture varnish spray. I personally spray my paintings after about 4 weeks and have not had any problems.

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Source by Gerald Scott