Category: In The Artist's Studio

Artistic Techniques & Secrets

Each of our artists have their own unique perspective and style when it comes to their art-making. Some artists utilize special tools, some execute specific techniques, and others incorporate interesting supplemental media. Our artists use these skills to perfect their craft and produce work of which we just can’t get enough!


Maura Segal

If you look closely at Maura Segal’s paintings, you can see texture and patterns in the foreground and background. Those shapes and lines are actually hand-cut pieces of paper that add an awesome dimensionality to her pieces. 


Liz Barber

Liz Barber’s approach to her canvases is very experimental. She likes to pour paint around and let it take on a life of its own. She also works chalk, charcoal, and pastel into her paintings. Barber enjoys seeing how the mediums interact with each other. The heavy pours of paint mingle into one another beautifully, especially juxtaposed with her other mark-making. 


Raul De La Torre

Raul De La Torre’s first step in his process is to paint linearly with select colors on a canvas or paper. After that, he carefully cuts out sections of the canvas, interrupting the connection of the painted lines. Finally, Raul sources thread that very closely matches the color of his paints to embroider the gap and connect the painted lines once again. Like Audra Weaser, De La Torre’s process is special and amplifies the uniqueness of his art.


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Audra Weaser

Audra Weaser tackles her work through layering and then navigating back into the canvas using a sanding process. Weaser uses this technique to depict motion and allows for an interesting exploration of the movement of light in naturalistic motifs, such as water. This excavation process adds a lovely poetic note to Weaser’s serene canvases.


Hunt Slonem 

Hunt Slonem loves repetition, as seen by his multitude of rabbits, butterflies, and finches, but also his method of adding texture. His technique for creating texture is executed by sharpening the back end of a paintbrush to make lines in his impasto surfaces. This effect is most clearly seen in his landscape paintings and in the backgrounds of his butterfly pieces, giving them an intriguing illusion effect.


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