Sometimes I just like to rub my hands over a painting to feel the bumps and lumps and grit of the acrylic texture. It makes me happy; it makes the surface mine; it shows my process.
The painting above is a small, 12×12″ canvas with lots of texture. I wanted to create a landscape minimal elements but with the look and feel of nature. The sky was painted; the mid ground forms were collaged using acrylic skins (a future blog post) and the foreground was created with fiber paste.
I spread Golden’s fiber paste over the bottom half of the canvas; let it dry, then painted the absorbent surface. With a drybrush of blue on top of the painted texture, there’s subtle tonal and value shifts and a more pronounced textured look.
The videos below show my process of working with fiber paste. The videos are only a few seconds long just so you get a feel for the application of the medium.
Unlike the painting above, where I applied the paste directly to the canvas, this series of videos shows me creating a fiber skin that I will collage onto a future painting.
As the video shows, I use acetate sheets for the process.
A cute product shot!
Applying the paste to the acetate sheet. Plastics sheets and bags will also work for this. And if you spread out the paste evenly and smoothly you can create something that looks like a sheet of rough watercolor paper. By the way, fiber paste is made with mineral fibers rather than paper or material fibers. It makes the medium more archival.
Odd little photo, but it shows me using a razor blade scraper to lift the dried fiber paste off the acetate sheet. You need to let the freshly applied paste dry overnight before removing from the acetate.
This is a three minute video that shows ripped and torn pieces of dried fiber paste being collaged to the painting surface. And you’ll notice I’m demonstrating upside down. That’s a skill!! I use soft gel medium to apply the fiber sections. Any of the gels can be used as a glue for collaging. The heavier the gel viscosity, the heavier the collage material can be. Notice I use a piece of waxed paper to press down on the glued fiber. By placing a clean piece of waxed paper each time over the fiber surface, and by pressing firmly and evenly without moving the waxed paper, you prevent gel medium from overlapping the fiber paste. If gel medium does cover the paste in sections, those sections won’t be as absorbent as the uncovered fiber paste. I wiped up excess gel with a paper towel.
Once the gel has dried and the fiber paste piece is firmly glued, paint the surface. You can also mix paint with the wet fiber paste before spreading and drying the paste. Heavy body or liquid paints can be used.
In this video, I drybrush blue paint over the surface creating a look similar to the one in the painting at the top of this post. The paint clings to the high spots of the texture creating depth and often contrast and vibrancy.Share this post:
“Shadows”; acrylic; 20 x 20″
Once again my backyard acted as model. But it wasn’t the landscape that captured my attention. Instead, it was the shadow in the lower right; a shadow cast by my studio. The shadow seemed to be leading the viewer in a specific direction and that direction was back into the woods, into the forest with its strong mix of shadows punctuated by brights spots of light.
Rather than being faithful to nature, I used my own color scheme – an analogous scheme which, to me, seems to create a quiet, peaceful mood. And I moved a couple of trees around to suit the composition!
Color palette for this painting was Nickel Azo Yellow, Raw Sienna, Napthol Red Medium; Transparent Red Oxide, Phthalo Blue (green shade), and Titanium White. And the paint was applied with a brush, painting knife, credit card and shop towel. The challenge was to make a simple color scheme work by using a range of values and temperature shifts with the warmer colors in the background to draw attention to that area. The shadows seem to be on the outside of the forest; the woods appear more inviting.
It’s always a bit of a challenge for me, working with warm colors. I prefer the soothing cooler colors of blue, blue/green with perhaps a touch of color from the warm side of the color wheel. But these hot humid days in the studio have inspired me to try warming up my palette. I want to create a series of landscapes using predominantly warm colors to reflect the current weather patterns.
This is the first in the series. So far it’s an untitled painting and it’s 12″ x 12″ painted with acrylics. I used my current standard palette of Hansa Yellow Medium, Napthol Red Medium, Phtalo Blue (green shade), Titanium White, and I added Transparent Red Iron Oxide to the palette to create some deeper warm tones.
Here’s the first step to the painting. I randomly brushed the surface with some cool colors…just to get rid of the white…then I used a painting knife to apply light molding paste. The molding paste has a bit of tooth and would allow me to use drawing media like graphite or colored pencil on the surface at any stage. But as it turns out, I chose not to add calligraphy. The texture you see in the final painting is actually the molding paste.
I covered the surface with a golden yellow then used an old, rough stain brush to apply the oranges.
I think the hot colors gave me a headache! I toned down the surface here by drybrushing mostly white over the sky area and adding a blue path.
Here I defined the path a bit more then brought some of that blue color up into the sky. To complete the image I added a few more lights, a few more darks and glazed the orange area in the front of the painting with several layers of Transparent Red Iron Oxide to tone and deepen the color.
Raindrops on roses and whispers on kittens might be some of your favorite things. But some of my favorites are applicators! You know – those tools you use to apply paint to a surface. I’d call them brushes, but I only use a few brushes, the rest are, well, applicators.
Many of these allow me to work loosely and quickly, establishing shapes and patterns, working from large shapes to small shapes until applying the last few touches of paint with a brush.
The photo above shows my hard rubber roller. I use this to apply random vertical, horizontal or diagonal shapes to a canvas near the beginning of the process. The hard brayer skims over the surface applying color to the raised bits on the canvas. I’ll also often use a soft rubber brayer to apply more paint more evenly and/or a sponge roller which gives me a more opaque and smoother layer of color.
Ahhh, my most favorite applicators. My painting knives (and I have many in a great assortment of shapes and sizes) are used to mix color on the palette, and to apply that color onto the surface. They give a textured application of color.
Blue shop towels, grouting sponges, bamboo skewers and popsicle sticks can all work magic with a design. I can blend and smooth, and erase, with a dampened shop towel; wipe color or pounce color with the sponge and I use the wooden utensils to apply small dots and strokes of color.
I use the drywall and wallpaper tools to apply large sections of broken color to a surface. Great to use over a gelled surface. The applicators just skim the tops of the gel peaks laying down thin, random spots of color.
Catalyst tools are used to add color, move color and remove color.
Old credit cards and room keys serve the same purpose as the drywall applicators, but I use them for smaller spaces. I often use the edge for tree trunks or field highlights in a landscape.
And finally, my bristle brushes. I use these for small shapes where I want some control and for adding any final details to the painting.
Funny how paintings can change over time. One gets completed; you live with it for a while and seem to enjoy what you created. Then, some time down the road, you realize a few nips, tucks and tweaks can make a stronger image.
The painting above is the current result of an image I’ve changed a few times. The image below shows the former look. The orange tree poking up through the forest just became annoying.
I knew I had to do something with that tree, and the photo below shows what I did – I got rid of it! With acrylics, that’s easy to do.
I mixed the sky color which was Ultramarine Blue, Titanium White and a touch of Indian Yellow and brushed into the sky, over the offending tree and down into the tree line a bit. I didn’t adjust anything in the bottom half of the painting but did soften the tree line, made the highlight on the grass a little thinner and less intense and move the tree into the front of the forest.
I built the tree with layers of ultramarine blue and yellow creating values of yellow-green. Then I just kept adding color and switched the hue, and the tree, to blue-green, which I liked better. I added a few more touches of the blue-green throughout the image and I’m calling this painting done!Share this post:
My morning start. If I work small, if I work quickly and loosely, I can stir up whatever creative genes I possess to pump up the excitement, pump up the skill set for a day of painting.
This is my current sketchbook. It’s filled with watermedia sketches created in a matter of minutes once I turn on the lights in my studio each day. I start with watercolor and often add casein. The watercolor is transparent; the casein helps me resolve the image with some opaque color.
I use a coil bound Field Series Watercolor Journal with 140 watercolor paper. Although I haven’t tried this Iexpect the journal would also work well with mixed media technique. The size I use is 6″ x 6″ but it comes in a variety of sizes and different cover colors. Here’s mine:
I use Qor watercolor paints from Golden Artists Colors and Shiva casein available from Richeson Art. And today, I seemed to be extra enthusiastic so here a couple more sketches from this morning’s start up session.
Look quickly. This video will take you through a painting from start to finish in three minutes. I only wish I could paint that fast! I wanted to show you how I paint several of my images using a palette knife and shop towel, and I wanted to show that process from start to finish.
I painted the background an all over red-orange to begin, thinking the color would glow through in the final product. It doesn’t, but I learned long ago not to fall in love with any particular color or shape in the painting process. It’s all subject to change.
The video shows how I work back and forth between foreground and background and how I soften some of the sharp edges using a shop towel (with a little water if I’ve left the paint too long and it starts to set up before I can manipulate the color).
I mostly work from light values to dark values. I mix the color value with the knife then just kiss the surface of the painting with the knife to apply the paint. I work wet in wet when I want the colors to blend on the surface but I’ll let the colors dry when I want crisp, clear color changes.
"At Dusk", acrylic and image transfer on a 12" x 6" cradle board.
Somewhere beneath the layers of paint is a photograph of my backyard.
And what started as an image transfer became something else.
I wanted to create a soft spring look so I covered the surface with pale greens and yellows. But the image I transferred to the top third of the surface was a copy of a winter shot of my backyard; no snow but lots of bare trees and darkness. So I changed direction, changed color palette and moved the feel of the painting from spring to autumn using lots of Sap Green and Transparent Red Oxide.
The image transfer contained evergreens with a centre focus of birch trees. It was the birch trees that attracted me to the scene and it was the birch trees I wanted to save. But I felt the rest of the image could disappear. I kept some of the birch trees from the image but decided to expand upon what attracted me in the first place. So I covered most of the transferred image with painted texture using a painting knife and I built the birch trees out from the image and into the painting making them the subject.
Only a small part of the original image shows at the top of the painting, buried under paint and texture inspired by the image.
For a while, it’ll be three colors and three colors alone. The same three colors over and over to create paintings with rich and varied color. I’ve been focusing on teaching “limited palette” classes lately. So I decided I would try it myself.
I limited my palette to three colors plus black and white.
The three colors I’m currently using are Hansa Yellow Medium, Napthol Red Medium and Phthalo Blue (green shade) plus Mars Black and Titanium White. The painting above uses all of these colors. Each mixed color contains a little black to dull the intensity then as much white as is needed to create the tone/value I want.
The limited palette is a great exercise to force you to work with values. And it’s amazing how varied the colors can be.
I keep books of color mixes. This photo shows one of the pages of just one of my books
with a toner added to the three current colors in my palette – Burnt Umber for some of the colors, Raw Sienna for others. The book is a great resource if I need a little nudge. Sometimes the color chips will be the start of a new painting.
And just to show you how varied your paintings can be using a limited palette, here’s a picture of a small still life painted with the same three colors.