Seasoned Painters Step Outside Their Comfort Zone

… and try painting with egg tempera, instead of their usual media (oil, acrylic).  It was a joy to share my favorite medium with my critique group (Ellen Holtzblatt, Monica Sageman, Gabriella Boros, Colleen Cox and Jackie Eddy.)  We enjoyed the hospitality of Cindy Jevon’s PerficalSense Studio and Art Salon.

Egg tempera can be purchased in tubes, but the traditional (and most rewarding) way to use it is by mixing pure pigments (the color ingredient in all paints) with the yolk of an egg on a glass palette.  A little water is added to thin the paint, and the result is a brilliantly vivid, water-soluble paint that allows for transparent glazes and layers, opaque paint when desired and incredibly fine lines for detail.

Here are some examples of how I have used egg tempera:

… more can be seen on my website.

4 responses to “Seasoned Painters Step Outside Their Comfort Zone

  1. Thanks for the post.

    I came across your blog whie doing a search for Colleen Cox.

    I was forwarding an image of still life painting by Colleen to a friend recently, and remember seeing one of her paintings at a group show in a gallery near FAO Schwartz in New York about ten years ago.

    Over the years economic conditions have forced me to trade in my pigments for pixels. I’m currently doing website design in an environment where the word “design” seems to take many twists and turns.

    I’d love to get back into painting some day!

    Feel free to visit my site at, or read one of the articles on my blog at

    Be well.


  2. Thank you for your remarks, Alex! Colleen Cox is an extremely talented painter, and it’s nice to know that you’re keeping tabs on her. I enjoyed visiting your website, and your blog is fascinating. I enjoyed your discussions of design in the context of historical works. I was fortunate to have a fabulous professor, Marjorie Kreilick, for my design class at UW-Madison (back in the day.) So much of art is subjective, but the principles of good design really provide us with a structure to hang our creative hats.


  3. Judith, thanks for visiting my site. Please feel free to add a comment on my blog.

    I did an online search for “ketubahs”, and found them to be very interesting. There’s a wonderful interplay between the text and the imagery. It seems to me that website designers (who regularly work with typography) could draw from this kind of connection.

    Many of the sites that I see have text and images that get automatically reshuffled based on the size of the viewers window, so it doesn’t really feel to me like there’s a stable composition. This is where I think my challenge comes in. How can I bring composition into this electronic “medium”?


  4. Alex, you bring up an interesting point. It’s challenging to consider the redesign that happens automatically across different digital formats. Also, web design is grid-based, which imposes parameters that ketubah artists don’t have to adhere to. Although if one is working with lengthy texts, a horizontal orientation is second-nature. It was years before I broke out of that, with the influence of Marc Chagall’s floating composition, and treated chunks of text as facets in a cubist composition. I don’t think web design allows for such free-floating design yet. I anticipate that may be one of the next big break-throughs!


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