Jim O'Neil's photos with the keyword: multi-media

The previous sketch treated, 'fixed', with linseed oil and then painted with watercolors.

This is the previous charcoal sketch, 'fixed' with linseed oil, then painted on the back with acrylics, the colors showing through the paper which is now translucent due to the linseed oil.

OK, the picture preceding this is the sketch I did at last Thursday's life drawing session. This is the same sketch, I "fixed" the charcoal by applying linseed oil to the back of the paper, the oil soaking through binds the charcoal to the paper tightly enough it's pretty much archival. Then, after the oil dries the paper is translucent, allowing me to paint with acrylics on the back side of the paper, the colors showing through the translucent paper.

Ink and oil pastels on Bristol vellum paper, 11 by 14 inches.

Ink and Cretacolor aquastic on 11 by 14 inch Bristol vellum paper.

This is the same sketch, shown a few pictures back, with acrylics added. I've been doing a lot of playing lately putting acrylic washes atop charcoal sketches. I've found if I 'fix' the charcoal using cheap hair spray as a fixative, I can lay acrylic over it without smearing the charcoal. Most charcoal artists will tell you only archival commercial fixatives work, that hair spray will yellow your paper over time. Well, maybe so, but I've many charcoal sketches well over 5 years old, that I've fixed with hair spray, that have been hanging in indirect sunlight all that time, that show absolutely no signs of yellowing.

Just playing around with acrylic over charcoal. I first 'fixed' the charcoal to the paper with cheap hair spray, then applied the acrylic paint. The hair spray fixative did a good job of binding the charcoal to the paper so brushing acrylic over it didn't just create mud. Much of the acrylic was applied in thin washes, like watercolor, allowing both the black of the charcoal and the white of the paper to influence the resulting tones. Charcoal and acrylic on 11 by 14 inch sketch paper.

Just playing around with acrylic over charcoal. I first 'fixed' the charcoal to the paper with cheap hair spray, then applied the acrylic paint. The hair spray fixative did a good job of binding the charcoal to the paper so brushing acrylic over it didn't just create mud. Much of the acrylic was applied in thin washes, like watercolor, allowing both the black of the charcoal and the white of the paper to influence the resulting tones. Charcoal and acrylic on 11 by 14 inch sketch paper.

Just playing around with acrylic over charcoal. I first 'fixed' the charcoal to the paper with cheap hair spray, then applied the acrylic paint. The hair spray fixative did a good job of binding the charcoal to the paper so brushing acrylic over it didn't just create mud. Much of the acrylic was applied in thin washes, like watercolor, allowing both the black of the charcoal and the white of the paper to influence the resulting tones. Charcoal and acrylic on 11 by 14 inch sketch paper.

I did this at our weekly life drawing session. Ink and CretacoloR Aquastics on 11 by 14 inch Bristol paper.

Alaska willow charcoal and acrylic on 14 by 17 inch sketch paper.

Charcoal and acrylic on 14 by 17 inch sketch paper

Charcoal and acrylic on 14 by 17 inch sketch paper

Charcoal and acrylic on 11 by 14 inch sketch paper.

More playin' around. I did this originally as a watercolor and watercolor pencil work on Bristol paper, 11 by 14 inches and posted it a few days ago as 'The Picnic. Subsequently I've re-worked it using soft pastels. So! It's the same picture posted earlier but wit a layer of soft pastels added to the watercolor.

I am still thinking about the Silk Road. The Silk Road and the spice routes where the the main sources of exchange of goods, concepts, ideas between the orient and the occident. We, today, take for granted instant communication, overnight movement of goods, etc., etc., between the hemispheres. We tend to forget that at one time such took months, years and even decades with much loss and degradation of the products occurring in the process of transport. 'Oasis' is watercolor on Strathmore's 9 by 12 inch Bristol vellum 100 pound paper. 'Racing the wind' (and the sand storm) is the same painting as a multi-media work, -the watercolor painting re-worked using soft pastels.

Very multimedia: colored pencil, woodless colored pencil, children's markers, children's fluorescent colored crayons, children's fluorescent colored pencils on 12 by 12 inch card stock

The seven of them in Latin. Chalk it up to my early school years. I avoided at least a couple. Hey, 2 or 3 out of 7 ain't bad! :-) Oh yea, in Latin are listed the seven deadly sins. Mixed media (ink, markers, soft pastels) on 11 by 19 inch Bee's 'bogus rough sketch' paper.