moving canvases

Artist- Loki Laufeyson

Originally posted by littlemisssyreid

Pairing: Loki Laufeyson x Reader

Characters: Loki Laufeyson

Warnings: N/A

Request: @garden-of-broken-stars Loki and “artist” x 

Word Count: 499

Author: Charlotte

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swimmycakes  asked:

Hello! I've really liked your art for a while now, as someone who's recently got into using acrylic paint do you have any tips or advice? (BTW I really want to buy something from you in the future, everything you make looks really good!)

hi! i made a previous post about that right here. but lemme add some more:

  • use the appropriate brush - this one is surprisingly hard to follow for me when i was starting out. i always wanted my brush size to be small, so that it’s more “precise”… but the problem to that is that when you cover large areas, it looks uneven. flat brushes = flat, even color. thats what i aim for in my style anyways…  
  • if you’re getting cheap paints, get various bottles of it. don’t stick to just primary colors since cheap paints gray out when too many colors are mixed
  • start small. its scary to start out acrylic painting with a large canvas, so its always best to start with buying acrylic pads, and then move up to mini canvases, and small panel ones… and then eventually you’ll feel good enough to do large ones! 

also thanks for being interested in my prints! i really appreciate it :0 

evaporatetallpeople  asked:

I wanted to ask the best way to get into oil/acrylic painting, I saw some of your paintings were done on cardboard, Would it be best to start with that? Instead of buying a bunch of canvas's only to find out oil/acrylic painting isn't my thing?

I only started painting on cardboard because I don’t like the bouncy resistance when I paint on a canvas, and the rigid structure pressures me to make “good” art.
Painting on cardboard personally suits me because its cheapness loosens up my tension and stress towards painting. Oil paints dry significantly faster on cardboard too, probably because the cardboard itself absorbs the oil in the paints.

The down side of painting on cardboard is that it will corrode way faster than a canvas. Canvases are made to last. cardboards are made to disintegrate. It also wasn’t meant to be a painting support, so I wouldn’t recommend it for beginners. ( I wouldn’t discourage it too much for acrylic paints though.)

A good alternative for both oil and acrylic paint is gessoed paper. I started out oil painting this way. (If you’re just looking for painting with acrylic, acrylic painting paper exists and can be bought in most art stores.)

Preparing gessoed paper

1.Get yourself heavy paper (“cardboard”, but the white art paper variety. why do they have the same name!?), gesso, and both fine and super fine sandpaper.

2. Mix 1:1 gesso and water, then paint the mixture evenly on the paper with a brush. (decrease the amount of water if it starts to warp the paper.)

3. When dried, paint gesso itself on top. Remember to paint in a different direction every coat. (↑→↑→↑ Like this)

4. Wait for it to dry completely then sand the entire surface in a circular motion.

5. Repeat step 3~4 two to three times.

6. Finally sand the surface again with super fine sand paper.

I hope that helps!
Painting on paper is great because you can easily cater to whatever size and shape you want to paint on, plus you don’t need much storage at all. It’s a great way to start out painting before you decide it is your thing and move onto canvases. Do remember painting with oil is going to feel REALLY weird if you haven’t done it before. Don’t be discouraged after a first few times doesn’t seem right.

A couple more tips for oil painting.

-The first layer of paint is better to be mixed with painting turpentine then painting oils. Dries faster and glides more smoothly.
-Buy painting turpentine instead of general turpentine. General turpentine is toxic and should not be inhaled.
-ALWAYS start painting, with oil paint brush cleaner in your possession. You don’t want to ruin those brushes.

Cleaning brushes (oil)

1. wipe extra paint off the brush with newspaper.

2. dunk the brush in oil paint brush cleaner liquid and swerve it around until all extra paint has been stripped.

3. Gently stroke the brush onto a bar of soap at a sink, until the rinsed water contains no paint.

4. Pat dry with a cloth.

Cleaning the palette (oil)

1. scrape extra paint off the palette with a painting knife. If you don’t own one, anything else will do.

2. soak a cloth with a little amount of whatever painting oil or turpentine you were using to paint, then wipe the palette clean.

*oil paints dries really slow, so if a large amount of it is left on a palette you may be able to use it the next day if it hasn’t dried completely.


-Both brush and palette can be cleaned with water. if paints have dried hard on a palette, leave it under warm water to soak before peeling the blubbery stuff off.
-If you feel acrylic paints dries too fast, a mixing agent called retarder will help slow down the drying process.

Happy Painting!

Art in A Petri Dish

entry for Tumblr Book Search:

for few years i have this Tumblr blog and i develop the idea and actuality of my art through out those years. my medium is Painting mediated by Photography on a Petri Dish, and i believe it is unique in its approach and practice.


In the last 5 years my work has gone through a radical change. Since the moment I was moved to introduce technology into the traditional process of painting, my work has been mediation between painting and technology.

Through the years I became acquainted to various technologies, like 3D scanning and digital photography, and led by the possibilities that this opened I explored change in the medium upon which I work moving from big canvases to small paper, and lately migrating from the 2D surfaces of traditional painting to the 3D depth and fluidity of Petri dish cultures captured on still camera. 

The Petri dish, in its symbolic power, reflects in my mind the growing powers of experimentation that characterize the beginning of the current century. As humans our civilization may soon be able to play with our inner codes and to reprogram the inner folds of ourselves, and we sourly lack the tools for direction in such new landscapes.

It is a dramatic discontinuity with previous lines of history and it is happening extremely fast. In the last few years I contemplate more and more the importance that ‘aesthetics’, intended as the values embedded in our emotional and sensory perception of the world, may assume in the transition phase, the possibility to read aesthetics more radically as the responsibility for the “curation-of-becoming” and bringing it to be a relevant voice in the ongoing debate about the future of our specie and life at large.

The way I work on each petri dish entails the assembling of interacting materials and a set of subtle interventions along the process as a form of guided self-organization. By the agency of the materials the Petri Dish becomes generative and pregnant with morphogenetic capacities, transforming itself into the very ground from which patterns emerge as complex structures and are captured through technological ‘eyes’. They emerge in a way clean from a priori meaning intentionality, allowing the kind of ambiguity in which the observer can be immersed in contemplating flickering qualities devoid of specification.

What I wish to provoke with this work is that becoming is fundamental to matter and that our tapping into that metamorphosis of our perception call for an aesthetic intelligence of shaping our becoming, I think of it as taking care of directionality.