Layers and Layers

Hot Trees

I started by creating a monoprint using a 6″ x 6″ Gelli Plate and Golden Open Acrylics. You can see the print in the image. Search in the middle for the two rough vertical white lines and the horizontal white line. The sky is a combination of yellow, green, blue and white. The trees are red and orange and blue with some scratched trunks. The land was the same color as the sky…but clearly I changed it!

I then wanted to develop the idea a little further. I applied Golden Crackle Paste to a 10 x 10 cradle board. I use these wooden supports instead of strectched canvas when I want a firm support. And the crackle paste needs a firm support.

After drying the crackle paste overnight I washed it with a green acrylic mix, and, after the green dried, I sanded a little off the paste to create a smoother surface.

Then I brushed Golden Soft Gel gloss over the entire surface and laid a French script from The Graphics Fairy on top. I let this dry overnight then removed the paper by misting then rubbing with a nylon scrubby until all paper was removed and only the black type was left behind.

After tearing the edges of the monoprint to create a rough white outline, I applied soft gel gloss to the entire surface again then laid on the print. I place a piece of waxed paper over the entire surface and gently rolled with a brayer to make sure no air bubbles were left behind, and the print was nice and flat.

I let this dry overnight then I added some paint, extending the tree line and creating a new foreground color. Another coat of gel medium, this time regular gel gloss and, after the gel dried, a ¬†topcoat of varnish and it’s done.

Share this post:FacebooktwitterpinterestmailFacebooktwitterpinterestmail

Deciding What To Do With The Skins

Tree line

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.

Tree line 2

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.

Tree line 3

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:FacebooktwitterpinterestmailFacebooktwitterpinterestmail