As the Project calls for “an abstract image on the theme of balance” I’ve been reflecting on the connotations of that. Initially my thinking was “Balance of what?” Continue reading “Project 5.1: Reflections on balance”
Used Corel Paint Essentials to do a bit of painting directly onto the image. Although this is off-spec for the brief, I’m expecting to need to do some of this to help blend the drawn figures into the landscape. No real attempt here to make high-quality drawings. More a case of playing with the medium.
Started by inking up the plate and adding a combination of grass, feather and a dried leaf on an acrylic plate. Applied a textured watercolour sheet and used a second roller to print. Continue reading “First play with print”
What have I learnt?
My tutor (Emma Drye) labelled Jackson Pollock as a “Painter’s painter”, and I think I am beginning to understand this statement. Much of this work is about the act and experience of painting. The observer is expected to understand this – at least to a degree. I was close to the point when I wrote about “Art as Materials Study,” though that is only an element of the overall meaning. Add in a dose of an artist trying to get you to spend a significant amount of time on their work, whether in appreciation or struggle. The observation of this work becomes an experience in itself, and that is beyond the encoding on meaning into the symbolism of a flower. Continue reading “In the Studio: Reflection”
“Infinity net painting.” Oil over acrylic works, not the other way round. – Big douse of black, with a bit of colour for interest. Think what to do with edges. Kusama often left them primed. Making the ground very smooth, rather than having brush strokes visible. Allow to dry then sand with 120 grit. Provides a less glossy surface and exposes the weave slightly. Continue reading “In the Studio: Yayoi Kusama”
Ad Reinhardt worked in Oils, and needed good quality specific paints to achieve the effects he wanted. He produced a very matt quality of paint by withdrawing medium. Impressionists did this by taking paint and putting it on absorbent paper, but Reinhardt mixed prime colours 9Red, green and blue) into larger amount of black to reduce the value and get very deep blacks. He used a small amount of pigment, then 10-25 times as much Mars Black. He dissolved this in a lot of solvent, very thoroughly mixed. This is sealed in a jar and left to settle out, so that most of the binder is in the solvent. The solvent is now decanted. Repeat the medium extraction until the consistency works well. May need 3 repetitions Continue reading “In the Studio: Ad Reinhardt”