No Parking

"No Parking"
oil on linen on panel, 8" x 10"


Recently, in another post comment, Ed Terpening mentioned that he used a scanner to photo his plein air pieces. This one used a scanner, too. I had to buy a fax, scanner combo for business purposes, so this is a trial. The accuracy of this image is disconcerting because one can see every thread of the canvas! And one can see how thin the paint is.

This brings up a question . . .I need help from you readers . . . .I slobber on the paint (or so it seems) only to have it later absorb into the weave of the canvas or linen. Apparently, I am not putting it on thick enough. What do you artists do to get such rich texture and paint thickness? A palette knife? I see brush marks in all of Terpening's work, why don't mine come up the same? Do you first seal the surface in some way? Does toning the canvas set up a seal so that the brush marks appear and the paint sits on the surface? Comment, please!

This piece was done a few weeks ago and was dry enough to put into the scanner. It is titled no parking, because of the sign in the painting. In life, there are parking places just outside the frame of the painting. This is a common scene here in Santa Cruz . . . .cliffs, ice plant, surf and sand. And, yes, this is exactly how it looks . . .colors and all! Not a baaaad place to live and paint, eh? :-)

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