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Ed Paschke Large Works

August 29, 2021 by blogadmin

En Automne, 1991
36 x 40 Inches, Oil on Linen

https://www.edpaschke.com/paintings-1990s?pgid=jvycbm7d-8bcefc20-ff82-4cb0-85a9-d120033eb484

https://static.wixstatic.com/media/e1529e_9fe16d9548aa4cdc831ddbc3c0d695cf~mv2_d_2250_2028_s_2.jpg

I and Thou, 1992
36 x 40 Inches, Oil on Linen

https://www.edpaschke.com/paintings-1990s?pgid=jvycbm7d-6ccfbec2-2828-4927-8348-4de81323f3ca

https://static.wixstatic.com/media/e1529e_ba3234d61cbf472abff30422b2ec7395~mv2_d_2100_1884_s_2.jpg

EL Trains / Elevated Subway Trains

August 8, 2021 by blogadmin

here they are

View of the Third Avenue ‘El’ train tracks at night, with the Con Edison building in the background, 1950, New York City, (Photo by Morgan Collection/Getty Images)

View of elevated train track with el train crossing Lake Street and the Chicago River in summer

Elevated trains and tracks in Chicago’s Loop

Chicago, USA – June 9, 2015: Wells and Quincy Street L station entrance in The Loop, downtown Chicago. Steps to elevated railway. People on city street in background.

Subway train – Transportation in Chicago, IL.

34in_X2010_7_1_ 431

DIY Oil Painting Medium via Turp, Stand Oil, Linseed Oil

May 16, 2021 by blogadmin

Here’s a whole bunch of folks expousing pontificating and discoursing upon this critical subject:

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Cubism, Geometry Hits The Art World (aka Cafe Scene LOL)

May 16, 2021 by blogadmin

Here are a few options for research.

Here’s the first one. It appears that possibly engineering a cut off the snake’s head type of operation is required when dealing with the medium of oils, and invention or assimilation of the multiple style influences being considered. In depth sneak attack type of study. Stealthily studying by way of scouts the leader’s position and disposition. Studying way more. Breaking everything down way more. Establish all of the middle substance, the foundation.

A. Architectonic Form. As a superior form than Graffiti Letter work. And superior atmospheric coloration scheme.

B. That only certain graffiti “action lines” or combinations of complimentary yet asymmetric counter balances be used in a very light sense to add the cryptic / symbol / graf mode but not at the expense of the sublime.

It’s the technique that must be developed more. Beaming from a projector is not enough.

The research must be branched into multiple areas.

1. Continued drawings that become ink or watercolor or aqua-brush works. Or utilize higher end paints or drawing materials like high quality pastels.

To do this, you need to manufacture many many many surfaces. Like literally every single bit of plywood you have turned into a triple or quadruple or dual drawing board. It’s better to BUY these than it is to try to make them yourself and be heavily delayed. Also to protect your breathing passages and cut down on all of the noise, cleaning and other issues associated with woodworking.

2. Paint experiments in both oil and acrylic on all available canvasses that can help establish your techniques better. This is a major area where you have always been weak before. Don’t let it happen. In fact, also use the plywood technique here, but creating various sizes and finding a suitable “backing trim”. This will make actual real paintings that remove the “bounce” and make everything very portable as you work toward larger scale sizes.

The above moves establish a framework where you can BUILD and DEVELOP and EXPERIMENT and SOLVE so many aspects. And not have to deal with the “big canvas” issues. Also, you get to make works that are more saleable. More portable. Give you more space. More variety.