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Quest for Love Concert Group

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Lucas Cook
Lucas Cook

Ken@Work - Above The Surface |BEST|

Dr. Lepinskas was raised in the Phoenix area and attended the local high school, Brophy College Preparatory. He completed a B.S. degree from Santa Clara University in 1994. Following his service in the U.S. Army as a medic, Dr. Lepinskas wanted to find a profession he was truly passionate about that offered a challenge and was above all, fun. This desire was realized within the profession of dentistry.

Ken@Work - Above The Surface

Virtually any flat surface that has been properly primed for acrylic painting will be suitable for acrylic pour painting. Some artists prefer to work on traditional stretched canvases, whereas others may prefer canvas boards or painting panels that are easier to store. The choice is up to you! Each have their benefits. There is more information about prepping your canvas below.

You should also make sure to protect your workspace with a protective surface, as this technique can get messy quickly. Old sheets, newspapers, plastic sheeting and bin bags are perfect for this purpose.

It can also be handy to have a selection of similarly sized tins or jars available to stand your canvas or board on whilst you are pouring. Elevating your boards above your workspace will prevent any excess paint from sticking to the bottom of your painting.

You will also need to make sure that your canvas or board is on a completely level surface. Uneven surfaces can cause your colours to pool and shift, creating an irregular paint film. You can use a spirit level to double check you workspace if you are worried.

Many artists choose to begin their work on a white ground, but you may prefer to colour your ground before you paint. This can be any shade that you like, but you should bear in mind that the paints you pour on top will be affected by your choice.

Level drying is the key to the success of pour painting. Uneven paint film caused by an irregular work surface can cause weakness in your paint film. If you find that your paint is pooling in particular areas you can bolster your canvas supports with wedges of folded card or paper. Just make sure your painting is stable!

If you are doing multiple pours on a single canvas make sure you allow sufficient drying time before completing each successive layer. If the first layers are not fully dry before a new fluid layer it applied it can cause cracking and crazing on the surface of your work.

If you notice bubbles appearing in your poured artwork there are a couple of techniques you can use to reduce them. If there are only a few you should be able to pop them with a toothpick or pin. A fine mist of isopropyl alcohol can also break the surface tension of the top paint layer causing the bubbles to pop. Some artists also use heat guns or small blow torches (like the type you would use in a kitchen) to get rid of bubbles. This method can generate new cells in your painting but also risks patchy and uneven drying. The area that has been torched can dry at a much quicker rate, which will cause it to move and crack as the rest of your painting dries.

Another useful thing to know is that you should tilt your canvas until the paint runs off the side to get the best effect. This is why it is important to prepare your surface to protect it from the acrylics.

Thank you for your comment. Silicone Oil can be added to the prepared colours before pouring. This is one method to create cells. When you pass a blow torch over the paint on your surface it causes the oil and the surrounding paint to flow better. The oil rises to the surface bringing colours with it and making the paint move even more which it what creates the cells.

Hi Levon, thank you for your message. We do make a number of recommendations in the blog post about what to buy to get started with acrylic pouring, but the basic things you need are a canvas/surface, some pouring medium and some acrylic paint. The thinner the better for the paint so it is easy to mix with the pouring medium, so either s soft body paint, like Liquitex soft body, or Golden Fluid, or an acrylic ink, such as Liquitex Ink. -acrylic-pouring.htm

Can acrylic paint pouring work on card/paper? If so, are there any preparation steps I should consider ? Once dry, can the finished painted surface be cut into desired shapes or sizes, or will this cause cracking? I was hoping to use small pieces of my poured art surface for card embellishments. Thanks

Superior gluteal vessels and nerves pass above the piriformis through the suprapiriform foramen, while inferior gluteal vessels and nerves pass below the piriformis through the infrapiriform foramen. The piriformis is innervated by the nerve to piriformis (S1-S2).

Gracilis is the most superficial and medial muscle of the group. It is a long, strap-like muscle which descends from the ischiopubic ramus of the pelvis to the medial surface of the tibial shaft. At its insertion, the tendon of the sartorius muscle lies anterior and the tendon of semitendinosus lies posterior. This combined point of insertion is called the pes anserinus. In order to remember the muscles that comprise the pes anserinus you can use the following mnemonic;

The lateral and medial condyles are two bony projections located at the distal end of the femur, which have a smooth convex surface, and are separated posteriorly by a deep groove known as the intercondylar fossa. The medial condyle is larger, more narrow and further projected than its lateral counterpart, which accounts for the angle between the femur and the tibia. The roughened outer surfaces of the medial and lateral condyles are defined as medial and lateral epicondyles, respectively. Along the posterior aspect of the distal femur, there are paired rough elevations above the medial and lateral epicondyles known as the medial and lateral supracondylar ridges.

The tibial plateaus are the two slightly concave superior surfaces of the condyles located at the proximal end of the tibia, and are separated by a bony protuberance known as the intercondylar eminence. The medial tibial articular surface is somewhat oval shaped along its anteroposterior length, while the lateral articular surface is more circular in shape

The articular surfaces of the tibiofemoral joint are generally incongruent, so compatibility is provided by the medial and lateral meniscus. These are crescent-shaped fibrocartilaginous structures that allow a more even distribution of the femoral pressure on the tibia.

The patellofemoral joint is a plane joint formed by the articulation of the patellar surface of femur (also known as the trochlear groove of femur) and the posterior surface of patella. The patellar surface of femur is a groove on the anterior side of the distal femur, which extends posteriorly into the intercondylar fossa.

The joint capsule of the knee joint is one of a composite nature, mainly formed by muscle tendons and their expansions, forming a thick ligamentous sheath around the joint. The capsule is relatively weak and attached to the margins of the femoral and tibial articular surfaces. The anterior portion of the capsule features an opening, whose margins attach to the borders of the patella. A second gap is also present in the lateroposterior portion of the capsule to give passage to the tendon of the popliteus muscle.

The capsule is formed from an outer fibrous layer (which is continuous with adjacent tendons) and an inner synovial membrane that lubricates the articular surfaces, reducing friction in addition to providing nourishment to the cartilage. The joint capsule forms several fluid filled pouches called bursae, that reduce friction within the knee joint. Notable bursa of the knee joint include the:

The fibular collateral ligament is a strong ligament that originates from the lateral epicondyle of the femur, just posterior to the proximal attachment of the popliteus, and extends distally to attach on the lateral surface of the fibular head.

The menisci are fibrocartilaginous crescent-shaped plates found between the articular surfaces of the femur and tibia and serve to provide their congruence and shock absorption. The menisci are thick and vascularized in their outer one third, while their inner two thirds are thinner and avascular. Additionally, the inner two thirds contain radially organized collagen bundles, whereas the outer third contains larger circumferentially arranged bundles. Thus, it is believed that the inner portion is more adapted for weight-bearing and resisting compressive forces, while the outer portions are suited for resisting tensional forces. The menisci are divided as follows:

During movement of the knee from flexion to extension, the femoral condyles roll and glide posteriorly over the tibial plateaus owing to their greater articular surface area. The posterior gliding motion is important because without it, the femur would simply roll off the tibia before full extension is complete. Additionally, as the articular surface of the lateral femoral condyle is less than its medial counterpart, the posterior gliding of the medial condyle during the last degrees of extension results in medial rotation of the femur on the tibia.

In the patellofemoral joint, the main motion is gliding of the posterior surface of the patella over the patellar surface of the femur as far as the intercondylar notch. The main function of the patella is to provide a larger moment arm for the quadriceps femoris muscle, which is the distance between the axis of the muscle and the center of the joint. It does so by acting like a pulley for the quadriceps femoris, increasing its mechanical advantage and providing greater angular force.

As the knee joint is a complicated structure subjected to significant biomechanical stress every day, it is a common site of injury. As it is primarily stabilized by the ligaments mentioned above, any unnatural movement of the knee such as twisting, pivoting, sudden change of direction, or a forceful blow can cause injury to these structures. Common conditions include: 041b061a72


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