What does thomas kinkade use to paint

Thom and Windsor each did a sketch. Worked for his company for 11 years as a masterhightler and consider it the best time of my life. We suggest contacting our appraisals department at appraisals parkwestgallery.

My wife and I just purchased 12 Thomas Kinkade pieces this past week from Parkwest. They will be great a addition to our home. They will be a great addition to our home. David Bussink January 24, Vi Rieger January 25, Thomas is definitely one of my favorite artists. Jo Ann Murphy January 28, Thank you, Thomas, for your incredible gift. I have prints, books and jewelry. Love your work! Gladys Marie January 28, Thom should be here still; so much more to give.

Frank Yorita January 29, James Merideth January 29, Ian Hawkins January 30, Janelle Singh Ramdial February 25, Rick regan January 30, Colleen February 1, Stephanie Guy February 1, Helen Pritchett February 5, Love all his paintings!

Chere February 7, I have a few of his paintings and he is by far my favorite artist. Meredith Jordan February 9, Joseph Dunbar February 10, Carole February 10, Interesting question.

Kinkaide originally was a scenic painter for movie sets, so I think he carries over some of the value study he learned there. The ones that are good at it are masters of value. Good to do monochromatic studies.

Parrish did a lot of this type of work. People who are really good at this can get it color and value at one stroke alla prima, but they are usually ones that work directly from life.

Remember you have only the range from your darkest dark to lightest light and to get something to glow you need to get it to stand out against the dark. The old artist squint gives you a feel for the soft overstated values your looking for where everything is in its proper relatioship. Also color refraction can help with this, which kinkaide uses some cools agains warms to intensify glow. Try glazing and pulling out lights with your brush. That gives you a really fast sense of the soft value you are looking for.

There is no real trick to this one. Its one of the things that can give a painting its real mood and poetry. If you would like to see the ultimate use of chiaroscuro ie mind blowing luminosity through lights and darks check out the works by Albert Bierstadt!!!!!! After studying his and many other glowing works of the masters I have found that the secret is NOT usually using color straight from the tube but rather the exacting control of VALUE!!!!!!!

If you look at many of the masters works they do not have tremendous amounts of color hues but the perfect control of values makes them illuminate. I feel T. Kinkade relies to heavily on bright hue rather than perfecting values in each picture he does not use the complete value range in most cases. He gets his painting to glow by getting his values down and then hitting you between the eyes with Cad. This does work but I feel it is harder to control.

The short of it is this; If you get your values down perfect, use the full value scale from white to black, and put your lightest lights next to your darkest darks, your painting will glow. I want to thank everyone who tried to help me answer this question. It seems as though I have my work cut out for me. Thanks again!! Where you attempt to show your light, surround it with dark values. Also use warm oranges and yellows to simulate light. In other words, with a tendency of darkening most of the areas and then he pops in highlights using warm colors in windows etc.

Make sure your strongest light-dark contrast is in teh focal point. Looking at the works of art side by side, it is clear that very different techniques were used.

The production of a Kinkade painting is a long process. He often sketched his ideas first, and then used a machine to blow up the sketch image or sometimes he even printed the images directly onto the canvas. Once the sketch was on the canvas, the painting began. Various brushes are used to get the desired affects. After painting with acrylic or vinyl based paints, Kinkade finished his work with oil paints.

There is a waiting period during the transition from acrylic to oil paint so as not to ruin the image. The oil paint is used to add depth to the detail. Kinkade also used a fine point air brush for hairline detail and accents. Although Monet also used oil paints, his style was a la prima meaning all in one go. Unlike Kinkade, who mixed his colors on a pallet, Monet mixed his on the canvas.

Colors could mix because they had no exact location. Monet liked the way the colors blended together which is why painting over an area that was still wet did not disrupt his finished product. However, Monet never thoroughly mixed his colors; this created the blend of color that Monet wanted. Monet was also very limited in his color selection which is why blending paints on the canvas was a good way to make more colors visible.

Also, Monet only used one brush to create his painting. The flat ended brush had just been invented, and this is what Monet used for his marks.