Kaffe Fassett’s colour at Mottisfont

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Project 5.1: Shift to A3

The A4 size is quite limiting, so I’m shiting toi A3 for the moment. To do this I’ve bought some A3 perspex sheets. Although I only really need 1, I thought this allows me to do a few attempts before a full on clean up. I started out using different leaves, but following the concept of the “Balance of Tees” idea.

First I tried to think though composition:

Project 5.1: Balance of Tees experiment

I decided to try the tees idea out. Chose A4 grey paper. Decided to try two layers and using a stencil. First I thought I’d try using multi-colour tees:

Playing with watercolour

Sketchbook

Experimenting with how best to show form. See sculpture drawing series.

In the Studio: Yayoi Kusama

“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.

In the Studio: Ad Reinhardt

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