ink on canvas art by martin sklar alternative media art by martin sklar sketches and studies from the martin sklar about the artist martin sklar contact martin sklar

Ink on Canvas
thought begins - ink on canvas painting decision - ink on canvas painting man on the plane - ink on canvas painting mkono - ink on canvas painting peek - ink on canvas painting  
Conservation of Energy - ink on canvas painting portrait of Jim morrison - ink on canvas painting future - ink on canvas painting yellow guitar - ink on canvas painting blue guitar - ink on canvas painting woman - ink on canvas painting
birth - ink on canvas painting geometry - ink on canvas painting pelican - ink on canvas painting climax - ink on canvas painting Johnny Cash - portrait - ink on canvas painting
  exodus - Bob Marley portrait - ink on canvas painting spirit - ink & acrylic on canvas painting sensual mind - ink on canvas painting jalapeno nun - ink on canvas
  tres guitarras harmony - ink on canvas painting Green Venus winter is coming
    Uso - ink on canvas time and direction - ink on canvas

 

The story behind ink on canvas

 I became inspired to work with ink by all the amazing tattoo art I have seen. I've even designed some for friends. My first attempt was a mixed media piece called "Your Decision", but the ink didn't adhere well to the canvas even if aided by a spray fixative. Then I noticed the piece of unprimed canvas I had been using to wipe brushes. The ink soaked in nicely yet still kept the integrity of the color. I decided to try doing an entire painting using ink on unprimed canvas.
That painting, called "Thought Begins", showed me there would be a learning curve to this. I learned ink cannot be applied full strength because it may not soak into the canvas very well and could crack and flake off. Ink also has a tendency to bleed unpredictably so at full strength there is no way to control it making it impossible to add fine details to a design. I have to water down the ink and apply it in coats or layers which also helps me control color tones and shading. The more layers the stronger the color or shading. I had to start using unprimed canvas scraps to test and develop techniques because ink is never completetly opaque, therefore there is no way to cover mistakes, each brush stroke has to be deliberate. Lots of brush work is needed to control bleeding, creating shallow grooves to contain the ink.
  Whites, in order to be bright enough or be more pure may need help so at times I had to add acrylic paint or white chalk to the white ink to get the effect I want.
 Since then I've become more proficient and more passionate with the technique. It is my hope that you enjoy viewing these works and are inspired to see them in person.

 

 
 
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