Ken Bronikowski Landscape Demo in W/S oils at AC Art Association Monday 4/5/10

Here's some information on Ken.

• http://www.finelinedesignsgallery.com/artists/KenBronikowski.html
• http://www.riveredgegalleries.com/REGBronikowski.html
• http://www.cedarburgpleinair.com/judgesbios.html
• http://www.manitowoc.org/new.html

He uses Winsor Newton Artisan water soluble oils which can be found at Tradewinds & Utrecht. He doesn't dilute them, mostly uses them straight.

His substrate was masonite, coated with 2 coats of gesso using coarse brush for texture and acrylic burnt sienna sponged on.

His palette for landscapes is cadmium yellow light, cadmium red light, alizarin crimson, phthalo green yellow shade (used to use viridian?). Doesn't use black in landscapes. Combines alizarin, phthalo green & ultramarine for his darks.

His palette for portraits is titanium white, ivory black, cadmium red hue & yellow ochre. He combines the white & black to get a gray that passes for blue.

Usually initial session is about 2.5 hours. Tries not to overmix. likes to paint wet into wet for softer edges and a soft look to the piece. Then he'll look at it the next day and make any necessary adjustments.

After his painting is dry to touch (usually takes about 2 weeks) he sprays on a Krylon retouch varnish. Joe Stanke uses a brushed on varnish. He blends a gloss & matt varnish 1:1, then applies multiple thin coats brushed on with a 2" very soft sable brush in multiple directions.

Still lifes are like portraits in that they are a little more demanding with drawing skills.

He likes to use a limited palette to automatically get a color harmony. Paints darks more transparent and lights more opaque

He started by painting the dark abstract shapes first. Blocks in big areas first. He half closes his eyes (squints). He basically uses one fairly large brush so not get caught up in the little details. He rinses his brush with water in between colors. He likes to push the paint and paint with the side of the brush. He uses inexpensive acrylic/oil brushes from tradewinds. Uses his little finger to blend. Lets some of the toned burnt sienna show through. Likes to mix colors on the canvas for a more interesting effect.

His teacher, Moseby from Chicago, taught him not to change value until have to, instead change the temperature (warm/cool). White is your coldest color. Avoid using it too early, chalky.

Not a blue sky person so makes yellowish. balances warm & cool by how it strikes him at the time

Water reflections; Dark objects look lighter, light objects look darker. Lily pads a lot of different colors. Turn purple at end of year.

Tree skyholes are never as light as the sky about 1/2 value darker. If miss value, miss on the light side as it is more pleasant to look at.

Keep edges soft. Eye automatically goes to hard edges.

Occasionally uses palette knife for trees, brush & grass. However not like to use for entire painting because it gets boring, repetitious and looks the same with the same texture.

After retiring as an illustrator he wanted to loosen up his style so he practiced by doing 8x10" still lifes. He would set a timer for 30' and if needed would do another 30'.

Important to have fun. Use your artistic license. He uses the reference for structure but paints for effect. When painting don't be afraid to change things. Can always repair an area.

His friend Don Gearhart paints more realistically, models in costumes backlit at 6:30-7 pm. He uses the Andrew Zorn palette of red, black, yellow ochre & white