This began as a detailed pencil drawing, using a 5B pencil. When the drawing was completed, I began to experiment with drawing in designs with a Sharpie directly overtop of the pencil. The shading from the pencil comes through, giving it a more realistic dimension. It is a fascinating, meditative process. Recently I had the good fortune to take a Zentangle workshop. There are so many designs to choose from.....you can even invent your own!!
This all began as a face doodle with watercolour using only 3 colors (Rose Madder, Ultramarine Blue, and Aureolin). The design just kept growing and before you know it, I had an entire page filled with half moons surrounding the face! It is a great color combination.
Another experiment at long last! I used three liquid acrylic colors (cobalt blue, quinacridone crimson, hansa yellow medium). Using plastic squeeze bottles, I mixed my colors with acylic polymer medium (gloss) directly in the squeeze bottles. Next I put a wash of quinacridone magenta on the canvas and let this dry. Note, this is a very messy process so I covered my table with a plastic shower curtain. Once the wash was dry, I began to squeeze out generous amounts of the paint/polymer mixture, beginning with the sky colors. The paint makes such interesting patterns when the different colors are allowed to run together. The painting was done from the top down. I allowed each layer to dry before applying the next layer. I did not use any brushes. I used the squeeze bottles and occasionally a palette knife to move the paint, and I tilted the canvas to allow the paints to run together. I slowly built up the layers. The paint kind of buckled if I happened to apply a layer over top of a layer that wasn't quite dry.....a very interesting effect. Even though it feels dry to the touch, doesn't necessarily mean it is dry underneath. Overall, this experiment was very enjoyable.
The base for this painting experiment is acrylic (always use Golden products now). I wanted to achieve a rich background. I started with a fairly thick coat of matte medium on the canvas. My palette was ultramarine blue, sap green, transparent red oxide and yellow iron oxide, quinacridone red, burnt orange and magenta. I smeared these mixtures on with a palette knife and smoothed out with a brush, again using matte medium to smooth the paint out. Once dry, I put on a thin coat of gloss gel (not sure why I used gloss but anything goes in an experiment). Once this was dry I put on washes (using water only) of the transparent colors, then a thin layer of matte medium, more washes, another thin layer of matte medium. During this process I discovered a wonderful Golden acrylic heavy body color "green gold", which I used on the leaves. My final wash on the background included some titanium white. Still looking for more richness of color, I touched up the painting, mostly highlighting with oil paint. I thinned the oil paint down a great deal with liquin medium. Once dry I applied a coat of liquin medium over the entire painting.
A very spontaneous and quick drawing. I applied one coat of gesso on a sheet of 140 lb. watercolour paper. Once dry, I spread on a mixture of Golden acrylic ultramarine violet and titanium white with a palette knife. While the paint was still wet, I quickly scraped in my drawing with the knife. The girl emerged. I let it dry. The next day I glazed on a bit of quinacridone magenta, hansa yellow light and a small amount of phthalo blue to bring out the girl. I suppose I could have continued with layers of glazing but I stopped with just the one application. It definitely was a fun experiment!
No, this has nothing to do with Hallowe'en :)
I started experimenting with acrylics and "adirondack alcohol inks." The inks kind of have a life of their own; they move and spread out in some interesting patterns. It became a bit of a mess so I decided to cover everything up with a couple coats of gesso. After the gesso was dry, I drew on the trees with charcoal, not easy to do on canvas. I ended up moving the charcoal with brush and water. The effect was great but I needed to protect the drawing so I poured a coat of self levelling gel over the entire canvas. Whatever the chemical reaction, the alcohol inks came through and I did not like how it made the trees look. So I painted bits of the trees with Golden Mars Black and Titanium White acrylic paint. What a mess. I then mixed up Golden Quinacridone Crimson and Cad. Yellow Medium with Golden Clear Tar Gel and poured this mixture over the trees. Another mess. Note that the painting had a high gloss finish. I next took sandpaper and sanded down the trees. Over the now rough trees I applied a bit more of Golden Mars Black and stopped. What you see is the end result!
Okay, this is the story. I first painted a board a pale yellow. Next I used a palette knife and smeared the entire board with Golden Light Molding Paste and quickly carved out the big tree with a small spatula. Light molding paste dries quite quickly. It dries to a fairly smooth surface, that is if you can keep your fingers off. I just had to keep touching it with my palette knife. The result, some rough patches showing up at the bottom of the board. Also, before it completely set, I made a dent with my finger and ended up with the sun.
Once the molding paste was dry, I began painting the background behind the big tree with Golden heavy body acrylics (watered down considerably), adding several coats of blue paint to paint in two more trees. Finally painted in the the evergreens and the yellow around the sun. In the gouges of the big tree I put in some Golden Clear Tar Gel, using a squeeze bottle. It made a nice line of shine, tar gel holds its shape. I also put a dab of gel in the round "sun" dent.
That's it for now. Stay tuned.