#getyourpainton (part one)

I have been doing a somewhat of a deep dive on composition in art for well over a year now, but really sat down this past month and went through my notes, looked at past paintings (mine and on the net) to see if I could finally comprehend it all.  Good new...I did and I do!

I have a journal full of notes, a binder full of printed pages for reference. So I planned out a week long self study on seeing how I could get paint to paper using what I hoped would now be more natural habits that I have instilled in myself after all the 'studying' and practice.  

I decided on a practice used by many instructors over the years where you take a sheet of paper and divide it off in sections using masking tape. I chose to use a quality Watercolor Paper as I knew it would handle what I was about to do to it. I also wanted to use different color palettes each day, mix up my brushes and at the end, I even changed up my paints for Inks.

I stayed with Golden Acrylics for the most part, but one day I did use some of my craft paint stash (Martha Stewart Crafts - seriously, I need to use this stuff up) and the final day was Daler Rowney FW Artist Acrylic Inks.

Here we go....

Day 1:

Strathmore Series 400 Watercolor 12x18"

Gesso - Liquitex Professional (White)

Golden Fluid Acrylics - Titanium White, Carbon Black, Transparent Red Iron Oxide, Titan Buff, Iridescent Stainless Steel (Coarse) and Iridescent Bright Gold (Fine).

Brush - Princeton Catalyst Bright #12 & #8

Stabilo Woody - Black

This was a palette I was using on another piece and I had a good amount out so thought why not start here. I decided to start off just making 6 squares (approx 6x6") and simply used limited strokes and tried my best to only stroke one at a time. I either would go in a single swoop or short swipe.  The more I added, the longer and larger my strokes seemed to get.  I also found that I got over zealous and was getting too much paint on the piece. 

Pretty interesting how by simply taping off a sheet a paper, the drastic change it can make.  I find it allows you to see everything in a whole new light.  It is like using a random viewfinder on your piece and then when you cut them into their individual pieces - is when the fun can really start.  If you look at the first image, you can see how I covered almost the entire 6" section, the white spaces really are not really visible until I remove the tape. The strokes are thick and somewhat random, but look at their direction. Color placement is there to give each one a nice focal point, but really noticeable until they are cut and standing on their own.

Here are a couple interesting points I have discovered to help simplify wanting to evaluate and understand my work. These are simply my translations and work for me and my thought process.  You may not think the same way, that's okay.

Elements are visual, look for them in your art. You don't need to have them all, but odd numbers are best. Principles are feelings. It is often how the artist uses the elements to create an effect and then in turn aid with the visualization of their intent. Principles are your tools of arrangement of the various elements. Elements are your building blocks that will influence your process. Their end result is to achieve unity in the composition of your art.

A quick check of the elements - does it have Line, Shape, Space, Form, Color, Value or Texture?  It doesn't need to have them all, but should have at least three.

A quick check on the principles - does is feel Balanced, is there Contrast (in color, value & texture), is there emphasis (focal point), is there Unity/Variety (in the elements), is there Movement (think line), is there pattern (marks, shapes, etc that create a pattern), or Rhythm (implied by repetition of elements)?

A painting does not need to have all the principles, but a successful one will have Unity, Variety, Contrast & Emphasis.  It will also be visually Balanced and will Move(ment) the eye around. This is good composition.

So back to my #getyourpainton study...

Looking at the last photo, you can definitely see line, shape, (visual) texture, value & color. You can also see emphasis on most, contrast, variety and balance. The other principles could be included as well depending on your interpretations of course.

Let's move on to Day 2:

Strathmore Series 400 Watercolor 12x18"

Gesso - Liquitex Professional (White)

Amsterdam Standard Acrylics - Yellow Green, Permanent Violet Light, Primary Cyan & Primary Magenta

Liquitex Basics - Neutral Gray Value 5 and Mars Black

Brush - Princeton Catalyst Bright #12 

Catalyst Wedge No.6

Stabilo Woody - Black, White & Lime Green

I wanted to challenge myself with the colors as these are not ones I use often at all. I will happily use them in my journals, just not in something I would 'paint'.  But since this was a study, why not.  I also decided to change up the taping this time.  I much prefer to paint large, so this is a great way to push my boundaries and push me even more outside my comfort zone. The main application of paint was by use of the Catalyst Wedge.  I love this tool and use it often on my larger pieces.  So using it here really provides some bold movement and impact.

I had a lot of fun with this one.  I found myself being aware of the tape. But I do feel that many of my placements are habits due to my many years of simply playing to see what happens - thus becoming intuitive/instinctive....for me. You will also note that I did my cuts a little different as well.  There were a few that I thought could use the addition of some extra white.  It almost gives them a mock polaroid look, which I am really liking.

Now - let's look for the elements. I see line, shape, space, color & texture for sure. As for the principles - movement for sure, pattern, emphasis, contrast and balance.

Day 3:

Strathmore Series 400 Watercolor 12x18"

Gesso - Liquitex Professional (White)

Golden Fluid Acrylics - Transparent Pyrrole Orange, Titan Buff, Naphthol Red Medium & Anthraquinone Blue

Brush - Royal SG700 3/4" & SG3010 #8

Stabilo Woody - Navy Blue, Orange & Pink

The one thing I haven't mentioned before is that I always gesso after I put the tape on.  I do this as I prefer the raw look of the paper after the tape has been peeled. The one other thing to note is the 'tearing' of paper when the tape is removed. It is dependant on a few things - the tape you use. Buy the good stuff, it is worth it. I prefer the Blue 3M Painters tape. Also, I have found in the past that if you tape on the smoother side of the paper (cold press), I never get tears/lifts.  Also, how hard you burnish makes a difference too.  I tend to simply rub my fingers along the inside edges and of course across the center intersections. I also do not load my brush up too much with paint.

I also neglected to take a photo of the sheet before I did the peel off, but I'm sure it doesn't make that much of difference to you aside from just not being able to see the comparison.

As I have done these for three days now, I am finding myself more and more aware of  the tape placement and look for the color variations within each section - after I have put the initial stroke(s) down. I was oddly excited about this one and did forget to do my woody scribbles before taking the tape off.  So I was more conscious of my marks and their placements as I did not want to go on my white borders. I am once again strategically cutting these to eye pleasing directions.

Let's check for the elements. I see line, shape, space, color & texture.  As for the principles - contrast, variety, emphasis, movement and balance. Always note, not every one will be a master piece, but the purpose it to just get your paint on the paper, practice your brush strokes, color combinations and compositions.

I will end it here today for part one of the series. Come back tomorrow for part two.

A Painted Collage

This is a format that I continue to work on. It is much harder than it looks.  I try hard to showcase the vintage ephemera that I apply, yet provide a balance for the painting to still shine.  It is hard.  I am a long way from perfecting, but I will continue to work at obtaining that balance I seek.

It usually starts with a basic idea on how I want the paint or collage to begin.  In this case, I had the idea of wanting to apply the collage on top of the blended base.  I dug back a ways on a class I took from Julie Prichard called Layer Love V2.0 where one of the lessons showed how to work with Fluid Acrylics and Open Medium to get maximum blend ability.  I have really been hung up on yellows for quite some time so wanted to try once again using it in a triad. 

I pulled Raw Sienna, Burnt Sienna and Payne's Gray (along with my neutrals Titan Buff and Titanium White). Raw Sienna tends to the dark the dark side, so I mixed with the Titanium White then with Titan Buff, simply looking for the perfect hue.  Each time, I am adding Open Medium with the paints and applying to one side of the canvas. 

I then repeated on the opposite half this time using Payne's Gray. 

I next tried adding the Burnt Sienna.  As amazing as it looked , it was simply not what I was after for this piece.  The white you are seeing in the photo below is not white paint, but rather the open medium, it does dry clear so I was not worried about it at all.  There are many pros and cons to working with open mediums where I live - it is not very dry, nor hot, and therefore each layer usually takes a day to dry.

Once I was done my blending I added some 'sgraffito' marks in the wet paint using my trusty skewer hoping that it would give me a jump start.

After letting it dry overnight, I came in with fresh eyes.  I began applying some vintage paper ephemera in a collage format.

I knew pretty quick that the Burnt Sienna was not gonna stick around, but I was going to try to keep the yellow and blue in.

I once again added the two colors (blending with the open medium and neutrals).  It was getting there, but I knew it still was not what I was after.  It was too deep in the color hues and I felt the collage was getting lost.  I once again added more sgraffito marks and put it aside to dry over night.

Came back yet again and tried to include the Burnt Sienna - I believe this is where I finally decided to put that bottle away.

I brought the Payne's Gray back, but mixed it heavily with the Titanium White and added lots (too many) sgraffito marks. Used a lot of baby wipes and deli paper to pull back and move the blue - frustration was definitely setting in.

Time for it to be put away for the day once again.  There was a lot of paint on here.

I came back this day with an idea. I first added some more collage elements as some of my key shape areas were getting lost in the paint. I then pulled out something I probably haven't used in close to a year - Modeling Paste!  I mixed the Raw Sienna with the Modeling Paste and with a heavy hand, applied it to the canvas with my palette knife.  The big thing I took into account as I was mixing the two, is simply to not over mix it.  I used Light Modeling Paste and as it has the consistency of Buttercream icing, I find if you mix it too much you simply mix out the air (it deflates) I wanted it to be light and streaky. And you know what...it worked.

I once again added more sgraffitio marks, basically in the same areas as before as they had been covered with the new layers. I also wanted the blue below to pop through.  I was heavy handed in areas and then light in others. I also used my palette knife when needed to smooth over areas that were too rough.

You will note that there are different color variations on the photos, that is usually due to the time of day and/or if I had the light shinning on the canvas.

It was not time for it to dry and it was going to take more than a day!  Good thing we were headed out on a mini vacay to see family!

Back with fresh eyes and another idea I started to plan it out.  I knew I wanted to stitch on it, but wasn't sure if I wanted a twill, embroidery thread or jute.  As I was looking for my jute, I saw some brads...idea!

Now did I have the guts to do it?

Does that answer your question?  I took the time to measure them out and very happy with the results!

I decided on a simple loop lace up and really like the simplicity of it and of course the lines.

Currently it is sitting up on my desk waiting to be vanished, which I should probably do soon before I decide to add to it and change it totally! But for now, I'll move onto my next piece.

18x24x1"canvas

collage elements purchased from: PaperHarborCo, MadFoxStudio, SalvagenationVintageVanessaPope and RubyDogArt

All can be found on Etsy & Instagram

Color Trio Inspirations

I signed up for a class by Rae Missigman over on the Jeanne Oliver network called A Guided Word a while back and just didn't have the time to go through it.  I will say, I probably should have read more about the class before I bought it, but I will say, I still took something away from it....Color Trios!  Now this really is not something new, but honestly, something many do not follow or take into account when working on a piece.

As many of you know, I am a huge fan of understanding the product and the process.  I take many classes and read a lot (and I do mean a lot) of materials on everything about art. Many are intrigued by how and what I take on a class, book, article, video, etc.

If you have taken the course or want to - please be sure to look into it.  I took something totally different from it that I am sure was expected.  In all honestly though, that is the pure joy of art - it is all about perspective...your own. Your perspective, YOur perception, YOURr view, YOUR understanding, your take, simply....your way!

Rae worked her way through the course offering three different color trios to work with, I however; took it to a whole different direction.  I used the 'colors' in a way that was inspiring to me - more abstract - more in the way of Jodi Ohl inspired.

Follow along if you wish and see how I used the the color trios....my way.

Abstract Grunge

My first color trio was Teal, Green Gold & Luminous Rose (and of course Black & White for tinting, shading and accent). This would be known as a Split Complementary on a Color Wheel. I painted on a 12x16" Canson Canva ArtBoard.

I applied all the paints using either a brayer, Catalyst Tool or Wedge. The further I got into it, I pulled out some brushes (Brights in varying sizes) to allow me to get better definition along the center of the piece.

Made marks using my flower pick or edge of rubber brayer. Created the black lines using a very old American Crafts DIY Patterned Brayer (Stripes). 

Splattered the three main colors that were mixed heavily with water using my 1" Bright brush.

I scribbled using a water soluble Graphite pencil  as well as a Charcoal pencil when I did not want the seepage.

This was a very fast and simple piece that was done in less than an hour. Really love how it cam out. Using the textured brayer was a great blast from the past - do you have a favorite tool from year ago that you still love to use?

Abstract Color Blocking

The next color trio I used was Deep Violet Purple, Luminous Rose & Granny Smith

I once again used a Canva ArtBoard to create this piece.

Creating an 'under' image is something used by many artist to simply get something down on the canvas when they often fear the white of a canvas.  I do not have this issue, this base was an older piece I just didn't like so covered with heavy black gesso.  Once it was dried, I wrote out some lyrics from a song I like using a Liquitex Paint Pen in White.  Once it was dry, I used a water soluble crayon to sketch out the basis for my blocking.

I filled in my spaces with a mix of the paints - some pure, some mixed with others, some mixed with white (heavy body or translucent)

Using a brayer, a sheet of deli paper or a baby wipe - I adjusted the amount(s) of paint on each area to get it to a depth I was happy with.

I scraped, scratched, spritzed and splattered along the way.

I would often use the baby wipe and pull away a good amount of the paints in order to show the words beneath.

As you can see by the number of photos along the way, there was a lot of adding and subtracting along the way.

This is how is sits now.  Really liking the vibrancy it has - so unlike me with the brightness, yet so me with the grungeness.

More Abstract Gunge

The next color trio was a tough one to work with.  They are all transparent! Quinacridone Nickel Azo Gold, Quinacridone Magenta & Transparent Pyrrole Orange.

I once again did the writing on the canva board, however this time I used the white base and wrote with a black paint marker.

I missed taking several photos along the way - could have to do with me now liking how it was coming along.  I painted over the entire piece a couple of time using Liquitex Soft Body Titanium White Acrylic Paint. Always using my brayer to apply and my flower pick to scribble.

I used some of my vinyl number stash to attach a meaningful number combination. Then continued to apply more paints as well as take away when needed.

You can see I once again used the American Crafts DIY Brayer to add some much need visual linear texture.

I continue to apply layers using one of my smaller brayers, adding little color patches along the way.  I will sit back look at it and decide where it needs a pop of color or a push/pull back of color.

Blending with a brayer is one of my favorite ways to work a piece.  If you use the brayer too much on a wet surface you will often get a strong pull right from the bottom - hence a pulling/tearing of the substrate.  Sometimes it is okay, others it can ruin your piece...so be cautious.

Needing some definition, I pulled out a graphite pencil and started making my own definition - as seen here with the 'cross' which aided in dividing the colors and therefore creating a new focal point.

Here are a few close ups to see the amazing texture I was able to get along the way.

Will say not one of my favorite combos, nor final outcome, but will say I learned a good thing or two along the way....which always make me happy.

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You can usually find me more often over on Instagram or one of my Facebook Pages W2 Scrapbooking Mixed Media & Art Studio (only until end of 2018 then it will be removed) or the newer W2 Studio Arts (be sure to like & follow).

Don't forget to check out the online store - there are loads of great deals to be had with this being the last year - stock is moving fast! Be sure to use the coupon codes, they can be found on the home page.

until next time...

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REMINDER: The shop will be on 'vacay' for the first two weeks of June.  Even though you will still be able to submit orders, I will not be filling, shipping nor replying to emails.