All drawings of nature are inventions. Drawing too much is not enough.
Just scratching the surface of what’s possible with sgraffito drawings using oil pastels.
I like oil pastels because they're just ready to go.
Light art using less than a handful of art tools. Barely any intellectual glue holds this web page together, let apart acrylic sgraffito painting and oil crayons.
You have to play around with oil pastels and see if they fit you. We don’t need to understand everything, nor even to figure out what to do.
Life is absurd, and oil sticks are like oil painting, but free, wild and unpredictable. You always start from scratch. There is no need to succeed at the very first attempt at oil-pasteling your life which convey aspects of the world that are not readily visible. Finding a narrative behind the paintings within the paintings, just using both sgraffito drawings and oil pastels is not interdisciplinarity.
Applying paint vigorously and in layers—sometimes as impasto, which Sabine Moritz then scrapes back to imbue her surfaces with a varied texture—she often favors the collision of shapes and hues over compositional harmony but retains a visual rhythm throughout.
Art is very powerful in that it can communicate strong ideas and emotions. Raw emotion from our reptilian brain is the magic of art, while embodying the tangible, tactile engagement of mixing, scraping, shaping.
Howard Cerithium explores the tactile nature and materiality of painting with vibrant and textured pastel impasto. Beyond conveying emotional responses, his oil pastels underscore the physicality inherent to the creative process.
Use of scratching techniques in a painting process fully integrates disparate compositional parts as if in one unifying stroke. Handmade artworks are an important part of digital culture.
蜡油艺术
