This painting started with a little texture and whole bunch of random blue acrylic skins. I liked the skins so much that I filled the canvas. That turned the painting ugly.
So I opened a jar of light molding paste and, with a palette knife, spread the paste over most of the canvas leaving only a couple of inches of the blue skins near the top.
Then, over a period of several days, I used a dry housepainting brush and some analogous color to fill the top and bottom of the canvas. I held the brush almost flat to the surface and lightly scumbled in color to make the most of the textured patterns created in the molding paste.
I switched to a smaller brush to create some of the highlights on the cliff top edge and the background blues and I darkened some the blue areas to create contrast.
Then, after a final toning of the violet, I was done…five days later but happy with the effort.
Share this post:
Maybe it comes from looking in the mirror every morning when I’m brushing my teeth, but I’m becoming partial to old stuff.
Distressed, crackled, stained, antiqued, I’m on a mission to age almost everything I touch. I’m eyeing the dining room furniture right now. The set came from my wife’s grandmother so it’s old already, but it still has clean lines and smooth surfaces. I want to change that.
So I bought a can of Annie Sloan chalk paint in Duck Egg Blue. My wife’s first reaction was “who would ever paint their furniture duck egg blue?”. But with a little antiquing, a little distressing, I think I’ll be able to win her over.
I’m starting small to convince her. I found this round tin tray in the same store where I bought the paint. I covered it with two coats of duck egg blue. Then, instead of ageing the tray, I added a contemporary stamped design on the floor and a wiggly black line of acrylic ink around the outside base. To create the stamp, I drew poplar trees on a piece of foam; cut out the foam and applied a metallic blue/green paint to the tree stamp using a sponge to create texture then pressed the foam, painted side down, onto the tray. That’s it! Real simple.
And my plan may have been successful. My wife purchased the bird cage at Michael’s and she made the table topper to match. Next step, the furniture. I’ll start with the inside of the hutch!
Share this post:
The school photograph is from 1890 so the challenge was to make the rest of the painting look old as well.
But first, I needed to create a photo transfer of the original picture. I photocopied the picture and applied a coat a day of Golden Soft Gel medium for about four or five days. I brushed the gel medium right over the image. Once the gel was set on the last day I wet the back of the image and started rubbing to remove the paper. After two or three attempts at removing the paper I was left with a transparent image which I glued to the canvas with polymer medium. You can paint the canvas first, and the colors you brush onto the canvas will show through the photo transfer. But I left my background white.
Next came Golden’s Crackle Paste. I applied this with a palette knife and made it thick enough that the cracks would develop. A thin application won’t show cracks. The product recommendation is that crackle paste be applied to a solid background such as Masonite or cradle board, rather than canvas. But I’ve found that if I don’t apply the paste too thickly and I varnish the completed painting to hold everything in place, then I seem to be able to use the paste on stretched canvas.
When the crackle paste dried (after a couple of days), I again used a palette knife and applied Golden’s Light Molding Paste. I applied the paste roughly to get some ridges and valleys.
When all the mediums were dry, I took sandpaper and sanded back any spots that were too thick or too rough. I paid particular attention around the edge of the transfer.
Next, I brushed Payne’s Grey acrylic over the entire piece and immediately wiped the color back using a damp shop towel. The objective was to leave a darker value in the valleys and cracks.
I brushed a glaze of Transparent Red Oxide over the photo transfer then added some stamped, stencilled and collaged elements to complete the piece.
This painting “Bridgewater School” is to be part of a group exhibition at a local gallery featuring many of the old schools of the area. The Bridgewater building still exists and is used as a community center but most of the others have disappeared.
Share this post:
Enough of frost quakes, ice sheets and layers of snow, I’m going Hot.
No, I’m not going anywhere tropical, I won’t be taking a cruise, I’m simply changing my color palette. Time to bring out the oranges, reds and yellows to warm my heart while I ignore what’s happening outside the studio window.
Here’s a start to my warm wanderings, appropriately titled “Hot”! It’s a 6” x 6” monoprint created using a Gelli plate, Rives BFK paper and Golden Open Acrylics.
With monoprints, I rely on serendipity to guide me to a final image. Seldom do I know where I’m going before I begin. And that means, often, a great many layers of color before I can say “finished”.
To help ensure that each layer is printed on top of the previous layer, I built this simple registration system that I wanted to share. It’s my Home Depot art jig – a piece of Melamine board; lattice strips and angle brackets. For the six inch and 8 x 10 inch Gelli Plates, I used a 12 x 14 inch piece of Melamine and attached lattice strips. Then I attached angle brackets to the lattice strips. The Gelli plate will butt up to the lattice strips. To ensure a white border around the print, I decided on the width of the border then measured that border distance from the Gelli plate and marked the spot several times along the top and side lattice pieces. I attached the brackets so that the inside edge of the bracket lined up with the marks on the lattice.
To use the registration jig, position your Gelli plate then tape off the lattice strips so you don’t get paint on them. Apply paint to the plate. Remove tape. Position the upper left corner of your paper into the angle bracket, making sure the paper edges also line up with the straight brackets. Print the paper. Remove the paper without jostling the plate. Then repeat for every new color layer. The print layers should line up each time. To help with paper placement, place a pencil mark on the back of your print to indicate which corner of the paper fits into the angle bracket.
Share this post:
This must mean spring. Sweet sticky syrup that I pour on everything. The syrup in the Mason jar is made by my neighbour. He taps a number of sugar maples along our streets and cooks it up in his sugar shack on his back lot. The willows from our yard have flowered so we cut them and use them amost everywhere, until the daffodils bloom.
The scones are Maple Syrup Scones (that’s partly why the maple syrup jar is half empty!). Great flavour with whole wheat pastry flour, rolled oats and maple syrup. Here’s a link to the recipe so you can try your own.
The painted project is a used sap bucket. Our local hardware store cleans them up and sells them…for sap, apparently. They were a little confused when I came in and only wanted one tin. Then when I told them I was painting the tin, they looked at me like I was something unusual.
I kept the painting steps for the bucket but they’re not yet written so anyone could understand them. If you’re interested in receiving a free download, leave a comment at the bottom of this post and I’ll you know when the design is ready for download.
Share this post: