Pieces like Italian Decadence is a bit harder to choose. If I have a piece like Tea with Milk that is mostly cool colors, I'll choose the grey board because the little specks of grey in the grain will influence the overall tone of the piece. ![]() I prefer working with one of the colors and choose the color based on what I think will look the best in the grain of the piece. The white is just too white when seen in dark areas of the composition, throwing the values of the piece off. The grain is quite large on Pastelbord so whatever the color the board is, that color will show in the "grain" as dots in the finished artwork. I find the white board unusable for my techniques unfortunately. I've tried quite a few surfaces for colored pencil that can be framed without glass, but my favorite is Ampersand Pastelbord which is described as "a clay and gesso coated hardboard panel with a granular marble dust finish comparable to a sanded pastel paper." It was first recomended by my friend/artist Louise Sackett who thought I was a little nutty trying to make my own sanded board with grit, paint, etc. to bypass the perils of framing with mats & glass. ![]() to make pictures seem more approachable/intimate.ΔΆ. Most of you know that my still-lifes are framed without glass. This blog post will explain what I do to finish off a piece of art, but first I'll have to explain the process and supplies I use. Why? Because I needed to finish off and frame the 2 pieces I just finished and deliver them to the gallery. ![]() Today is an art working day, but no new artwork has been worked on.
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