Assignment 5: A Series of Paintings on a Theme

Assignment 5: A Series of Paintings on a Theme

08/01/16

My initial thoughts over the last few days have been to create a series of paintings of a similar subject, becoming progressively more abstract. I am unsure what the subject should be, although I am leaning to a more organic theme. That may be a natural still life, a figure or figures, or a landscape.

I am being influenced by other areas of art such as music and dance, and am gaining an understanding of evolving styles from the traditional and classical inspiring experimental interpretations to create something original.

26/01/16

Have been struggling to decide on a subject still:

Have now discounted still life and although was seriously tempted to use a figure, maybe a life model – it was not to be overly practical as my life classes are every 2 or 3 weeks and on a Saturday. I do have many life drawings for reference though and I have sifted through them, considering how I could elaborate on them. However, finally, I think I will use a landscape. I think this will give me more freedom to experiment. My thoughts regarding the series of paintings are still focused on progressively working from realism to abstract, how to do this is another choice to make. We are asked to make a series of 3-5 paintings so I could go from realism to impressionism to expressionism to abstract giving me 4 paintings. There are various ways I could attempt this, the mark making, the paint treatment, colour variation, distortion, changing balance in the image and many more I am sure.

Whilst I was away over Christmas and New Year I visited another attraction designed by the Canarian artist, Cesar Manrique. This was the Cactus Garden on Lanzarote. The garden itself is extraordinary, I felt I was moving between Africa, the Wild West, the tropics and deserts in relatively small area. The shapes of the cacti along with the natural volcanic made elaborate shapes with dramatic shadows in the early afternoon. There were also a few paintings by the artist on display which was timely, as they show how he used splatters and splashes to recreate the “spikeyness” of the plants.

Although the paintings are behind glass and it was difficult to avoid reflections, the techniques used can still be seen. Something to bear in mind.

Now I’m almost certain to use landscape and natural forms, I need to decide which scene to use, I think it is important to use the same scene throughout the series to fully appreciate the intended evolution of each style. Do I use sketches I already have or something completely new?

19-28/02/16

What a journey my musings over this assignment have travelled between the beginning of this post and now. It seemed that not a moment past when I wasn’t running through options and ideas, from waking up in the night to doing the ironing!  I have gone through this section’s exercises and experimented extensively which has informed my decisions on how to proceed. I have:

  • chosen my subject – a series of paintings of my local market town Fordingbridge
  • chosen my supports – canvas board 24×20″ – 3 of
  • given myself an option to add 2 smaller paintings if time allows
  • decided to explore a) the decline of the small market town, b) the picturesque façade or “first impression” c) the regeneration of the town in modern times

I had previously made some sketches of my intended picturesque scene in the Landscape section of this course. These were not used for a final painting at that stage, however, I had noted that I would like to revisit it at a later date – this seemed the perfect opportunity to do so.

My initial plans and a tracing of the map of Fordingbridge, as noted in my sketchbook, showed my first idea was to have a textured large-scale map as the ground for each painting. As the first one took all afternoon to create I decided that this would be impractical. In addition, as I had planned to use painting knives to make at least one of the series, the map would have been obliterated. Therefore, I decided to adapt my plan to use the map as a painting in its own right. This worked out well as I was struggling to create a coherent image for the regeneration painting. My sketchbook scribblings confirmed that this would be a forced image and would not say what I intended so I cut this from the series.

Sketchbook plan for the Fordingbridge series with revisions.

Sketchbook plan for the Fordingbridge series with revisions.

Map Painting

I made a larger, freehand drawing of the traced map from my sketchbook onto the first canvas board – this was to loosen up and not be a slave to the original ordinance survey map. I used string to denote the main A338 road in double width and other B roads with a single strand. For the Avon river that runs around and through the town, I used impasto gel in a textured fashion to represent flowing water. I also had some large gauge embroidery “canvas” which I cut into shapes to represent rows of buildings, which was added to the town. Once the PVA glue and gel was dry, I painted over with gesso to create a matt, uniform effect. I left this over night to dry and contemplate how I was going to move this forward. As I initially intended to use this as a ground for another painting, I had to let my ideas simmer and come to the boil. Whilst this was evolving in my head, I began plotting my plans for the next painting…

Returning to the map, with some half-baked notion of using thin acrylic washes, I added a watercolour ground over the gesso to enable some wet in wet washes. This again had to dry overnight. Again I returned to the other painting…

Maps should give an idea of the terrain of the land, so in order to achieve this, I added a wash of acrylic and laid cling film over the wet paint. Moving the film around created creases, this was left overnight again to dry. In the morning, I removed the cling film and a pale landscape of fields, tracks, streams etc was revealed.  I repeated the process to deepen the colour, and then added more washes of green, burnt sienna and ultramarine to build up the geographical features. I also added blue/sienna/green to the river to bring it forward. This was a long process and I continued to work on the other two large paintings in tandem. I also had to take my time to assess where I was going with this. Finally, I grazed over some oil pastels in places to bring out the relief of the raised features – this is where I left it as complete.

This was definitely an organically evolving painting – it wasn’t originally supposed to be one of the series but claimed its place. I think it works although, it does look tentative which is probably because that’s how I felt making it. It does give the series some introduction and it is subtle in the way that an introduction is not supposed to be the main event.

Final Painting Oil pastel in greys, blues, greens and browns to bring out the relief of the texture

Final Painting 24×20″ Acrylic and Mixed Media on Canvas Board
Oil pastel in greys, blues, greens and browns to bring out the relief of the texture

Decline of a Market Town

This is actually an idea I’ve had bubbling around my brain for some time, however, I wasn’t entirely sure how to execute it.  I had spent a very cold but sunny afternoon wandering around Fordingbridge taking photographs of anything that caught my eye. It was a sad reflection of how many closed shop fronts were evident, those that had been re-used were for charity shops, estate agents (ironically) and new clinics for various ailments! Fordingbridge is not a complete ghost town, it does have top quality family run shops such as bakers, butchers, seven hairdressers/barbers (!), a little exclusive boutique and a few shabby chic home-ware shops plus your obligatory mini-supermarkets and post office, a couple of banks – recently reduced by three. It did strike me that two of the most well-kept frontages were funeral directors – it seemed I should include at least one of these in my painting to make a point. Instead of creating a high street of boarded up windows, I decided to create collage of shop fronts albeit painted. I experimented in my sketchbook and added crumpled tissue over the painting with succeeded in giving the image a run down, abandoned effect which I liked and decided to use. I set out to paint pretty much straight onto the board and concentrate on perspective and tone rather that a perfect rendition of the subject – this also helped with the neglected effect I was after.

This was a departure from my usual carefully planned composition, in fact, again the composition evolved. I was really pleased with the experiment in the sketchbook but am not sure if the final work has that same sense of abandonment – should I have done less shop fronts? One thing I am unsure about is whether I should have put washes over the tissue – looking back at the sketchbook, I think I did there.

Decline of a Market Town Final painting

Decline of a Market Town 24×20″ Acrylic and Mixed Media on Canvas Board
Final painting

Picturesque Fordingbridge

My rough idea for this assignment was to produce this image in several differing techniques and styles. I decided not to do this as this is a complex subject and to be honest, I probably would have become bored with doing the same view several times in one week. As alluded to earlier, I had wanted to revisit this from the Landscape section previously. This time, however, I determined to produce a looser, more expressive painting instead of becoming embroiled in details. To achieve this and keep me true to my intent, I opted to use painting knives for the entire painting. The only brushes used were to lay down the bright red ground and a rigger brush to branches on the trees and some grasses and reeds in the foreground. I used a red ground to have some show through and give uniformity to the painting, however, most of it was obliterated with the amount and free use of paint.

This was great fun to do and real antidote to the other two large paintings. I literally scrubbed, scratched and smeared paint all over the place. I did adhere to one main rule though and that was ensuring the tones were working in all aspects of the painting. I think it works as when viewed from distance it looks right. This one helped inform my process on the small Down River painting by pushing me to avoid detail.

Picturesque Fordingbridge Final Painting

Picturesque Fordingbridge 24×20″ Acrylic on Canvas Board
Final Painting

Plan for small paintings and overall layout

Plan for small paintings and overall layout

 

After completing the three large paintings in the series, I was more determined to include the smaller two – I felt that their inclusion would give a fuller impression of the theme as a whole. I also wanted to give these a different treatment, yet still keeping them unified with the others by using the same palette of colours.

 

 

 

Town Hall Clock Tower

Whilst taking photographs of the Town Hall, I framed a composition of the various pitched roofs around the clock tower. Although it was only a quick snap, it was strong in my memory too and an idea was already forming. In fact, the memory was so acute, I didn’t recognise the photograph straight away as my basic composition was already set in my mind. I wanted to produce an abstracted version that was still recognisable, yet, could fool the eye.

I actually quite like this technique for abstracting a subject and I think this works in its own right, however, my doubt is whether I have done enough to integrate it into the series of work. I used the same palette although the colours are flat, maybe, just because it’s a series it doesn’t have to fit? I suppose that’s down to my objective. Although I have to admit my objective was to have the series work together and for each painting to work by itself.

Town Hall Clock Tower Final painting with revised colourway

Town Hall Clock Tower A4 Acrylic on Paper
Final painting with revised colour-way

 

Down River

The second small painting was pure indulgence, I stood for some time on the little bridge watching the offshoot stream from the river. It was sunny and cold, which made the light bounce of the trees and bushes beautifully. I was, as seems to be usual, drawn to the long shadows across the water and I chose to paint this just because I liked it! I made explicit notes to treat this simply when painting and although I started well, I began to fiddle with detail – so having a strong word with myself, I painted over the fiddles with flat brush marks and just about pulled it back.

 

I am pleased with the tonal treatment of this painting, and am getting better at keeping detail to a minimum. I never thought I was a detail person – yet I think I like to “tidy” up a little too much so I made myself stop before it looked too neat.

Down River Final painting

Down River A4 Acrylic on Paper
Final painting

Arrangement of the Series

I had a few ideas on arranging the paintings and although I didn’t commit to producing 5 paintings at the beginning until I knew I had enough time, most of the plans involved 5.

I considered putting the paintings together as if they were one large painting in a group, (see first sketchbook plan). After completing them all, I preferred them in a line and played around with the order. I was certain that the map should be in the centre so that the others radiating out from it. I also decided that I wanted to break up the urban/abstract with the landscape focussed paintings, so the final layout would be:

Self Evaluation

This last section of the PoP1 course has been very enlightening for me. Previously, I felt I lacked creativity, I was comfortable drawing or painting what I saw in front of me, yet I felt totally unoriginal. In fact I was starting to despair – any exercise that said to evoke mood and atmosphere, left me cold. I couldn’t get in the zone and any attempt looked forced. The different techniques here, although I was aware of them, made me lose my logical head and allowed me to just do. I enjoyed all the dribbling, splashing and pouring, absolutely loved using painting knives instead of brushes and the abstract exercises were a revelation. I felt I was being creative and artistic not just copying and reproducing. I absolutely understand that I need to learn all the usual drawing, tone, colour mixing, perspective etc but it’s been great to have that underpin such freedom. One small step…

 

Exercise: Abstract Painting from Man-made Form

16 & 17/02/16

Exercise: Abstract Painting from Man-made Form, 

With the same degree of close scrutiny and analysis, study a man-made object. Focus close in on one part of it and try out different viewpoints… until you have an abstract composition that you can develop and enlarge into a painting.

Casting my eye around the room, I found a few contenders and I was drawn to the stapler. However, I began to get embroiled in the angles and perspective in my initial drawing before remembering this is to be an abstract painting. I accept that this drawing is a little off but it is sufficient for my objective. As this man-made object is a little more complex, I again, drew compositional frames around sections, but this time I cropped photographs around them to see them away from the entire object:

 

 

Being much happier with the omission of black and sticking to primary and secondary colours, I continued with an A3 painting in acrylic pigment. I painted the image the same way round as the coloured pencil study. However, again, once I’d removed the masking tape edges and brought it away from the board, I turned it this way and that, and finally found it more pleasing upside down. This is because it made more spatial sense to me. The large, dark shape on the diagonal in the foreground seemed close and in focus, whereas the yellow at the top receded giving the entire painting depth. I am also pleased I included the squares as they give a horizontal foil to the diagonals. I had to add a little white to the yellow as it was a transparent colour, and also to the purple as it was too dark initially, and maybe, the orange could have been a little brighter. On the whole, though, I think it works and has a good balance.

One thing I really have taken away from these abstract exercises, is that I felt much more creativity in working this way. I have always been a “draw or paint what’s in front of me” painter, which I was beginning to find boring and unimaginative. This has been, in my opinion, my main point for improvement and I feel I may be making some progress.

Final painting Acrylic on paper A3

Final painting
Acrylic on paper
A3

 

Exercise: Abstraction from Study of Natural Forms

15 & 16/02/16

Exercise: Abstraction from Study of Natural Forms

In this exercise you can abstract by looking very closely at a familiar natural form and expanding what you see in an arrangement of lines, shapes and colours. 

Again, it’s raining cats and dogs outside so fell back on my box of objects that may be useful for still life work. I have collected leaves, stones, fir cones the usual stuff and more unusually, dried bodies of hornets, flies and my prize possession, a small rat’s skull found whilst gardening. You never know when they will be useful.

 

After careful consideration I went with the rat skull. The process I followed is below:

 

I painted the entire image as per the study i.e. on its side from the original drawing. However, on completion, although I liked the landscape bias, turning back to the representational orientation made more sense to me. As Frank Auerbach said in the film at his recent exhibition, finding an expression in objects is a useful tool. I am a novice in abstract art, both viewing, understanding and most definitely in making it, I’ve found I need to find one thing to make sense and then everything else follows.

I am pleased with the outcome of this exercise, particularly as it’s a completely new experience for me. I like the colours and tones and the overall effect works for me. Even my husband, who when I tried to explain the process asked if I’d overdone my cold medication, liked the finished image and said I should do a really large version. Maybe I will, when the pressure is off.

RAT! Final painting in acrylic on paper 30x30cm

RAT!
Final painting in acrylic on paper
30x30cm

 

Exercise: Mixing Materials into Paint

13 & 14/02/16

Exercise: Mixing Materials into Paint

Experiment with mixing materials from the landscape to build texture into your painting,

Unfortunately, it’s been pouring with rain incessantly, so bringing mud pies in from the landscape is not going to be appropriate. I have collected various bits and pieces from around the house, greenhouse and general bits and bobs.

Over these two days I have had great fun playing and experimenting with all sorts of materials, paints, inks and glues. I’ve used egg shells, gardener’s grit, netting from lemons, hand-made paper, raffia  and many other materials I have found and hoarded.

These are great to keep as reference for other projects.

 

Exercise: Preparing a Textured Ground

13 & 14/02/16

Exercise: Preparing a Textured Ground

Prepare one or two grounds in some of the ways suggested or use your own ingenuity to create textured grounds. Then prepare the whole surface with the appropriate primer.

When you come to devise your textured ground, you may find it helpful to have a title in your mind to help you select materials and effects. Think of your own or use one of these:

Urban Jungle  –   Rough Sea  –  Autumn  –  Ghost Town

I decided to use the suggested titles purely for speed and convenience as my assignment deadline is looming over me and I’d like to put my time into experimentation at this stage.

Preparing a Textured Ground Selection process for subject of a painting

Preparing a Textured Ground
Selection process for subject of a painting

After reviewing the thumbnails and going through the process I decided to go for the title Rough Sea. I prepared some acrylic paper with gesso mixed with impasto paste and attempted to put in the texture of rocks, waves and sky. However, I was unprepared for the amount of time it would take for this to dry – considering how cold and damp it has been and my studio space is in the summerhouse at the end of the garden – I had to leave it overnight. In the meantime I began the next exercise “Mixing Materials into Paint”.

So next day, I returned to the textured ground much more informed by the leaping ahead and experimenting with adding in other materials. The following gallery shows the progress of this exercise – materials used were tissue paper, fruit netting and handmade paper stuck down with PVA glue. I have to admit that I missed the instruction of using a primer over these before painting, however, as I was using acrylic paint, hopefully nothing untoward will happen.

I decided to play with the perspective slightly as the painting progressed.  There is a feeling of looking down onto a beach from cliffs, yet the sea is being thrown up as high as the cliffs.

The final painting enlarged to show the texture.

Adding colour, deeper tones and more mood

Adding colour, deeper tones and more mood

 

Research Point: Abstract Expressionists and Tachism

03 & 08/01/16

Research Point: Abstract Expressionists and Tachism

Pinterest Pin Board for this research point Abstract Expressionists and Tachism link: https://uk.pinterest.com/ginaemmett/abstract-expressionism-and-tachism/

Below is a selection from the Pin Board that caught my eye:

Hans Hartung (1904-1989)

T1989-U40, 1989 - Hans Hartung (1904–1989):

T1989-U40, 1989 – Hans Hartung

Hans Hartung at Cheim & Read:

Hans Hartung

Franz Kline (1910-1962)

Painting, 1950 by Franz Kline:

Franz Kline – 1950

Jackson Pollock (1912-1956)

jackson pollock:

Jackson Pollock

The Deep by Paul Jackson Pollock:

The Deep by Jackson Pollock

Hans Hofmann (1880-1966)

Hans Hofmann (1880-1966) was a German-born American abstract expressionist painter one of the most important figures of postwar American art. Celebrated for his exuberant, color-filled canvases, and renowned as an influential teacher for generations of artists—first in his native Germany, then in New York and Provincetown—Hofmann played a pivotal role in the development of Abstract Expressionism.:

Hans Hoffman

Clyfford Still (1904 – 1980)

Clyfford Still (1904 – 1980) was an American painter, and one of the leading figures of Abstract Expressionism.:

Clyfford Still

Helen Frankenthaler (1928-2011)

Helen Frankenthaler, Haiku:

Haiku – Helen Frankenthaler

I am not going to wax lyrical about the above as it seems to me that Abstract Expressionism is a personal thing. A work either appeals or it doesn’t, the artist has a personal process to produce something that pleases them – the viewer may connect, they may not. My personal reaction is associated with colour, tone and balance – this is a more emotive form of painting and viewing, relying less on representational association. For those images that appeal to me, I want to look more and often and analysis is left at the door.

Exercise: Dripping, Dribbling and Spattering

29 & 30/01/16

Exercise: Dripping, Dribbling and Spattering

Look at the work of Jackson Pollock whose paintings are explosive in effect. Think of how these colours have been applied and work out how you could create your own effects by dripping, dribbling and spattering paint. For this exercise, prepare a large sheet of paper or cardboard and spread around plenty of newspaper.

Dripping, Dribbling and Spattering 6 x prepared A3 sheets of acrylic paper

Dripping, Dribbling and Spattering
6 x prepared A3 sheets of acrylic paper

I prepared 6 sheets of acrylic paper, two with black, one with a neutral dark grey, one with a red coloured ground and two left white. I was hoping to see which would give a dramatic effect and any other observations I could notice.

 

Using acrylic paint I mixed up pots of colour with water and five of the prepared sheets of paper – I left the neutral grey ground until the next day due to space. Scratching around in the studio I collected some simple implements to use: a couple of wide flat brushes (3 & 1.5″), a round size 12, a smaller jar for pouring and a small plastic cylinder (a bristle/hair cover for new paint brushes) about .25mm in diameter – think short straw!

I began with spattering using the widest flat brush and flicking the paint across the paper. I tried holding the brush thin side ways on, which gave a range of elongated spatters, radiating out in straight marks, the same but thick side ways on made thicker marks. All was going great until I tried the dribbling by pouring paint from the pot onto the paper. It refused to make the long trails that Pollock was famous for. The consistency of the paint appeared to be crucial, along with the thickness of the spout/pot it was poured from. I only seemed to succeed in making elongated blobs! So instead I tried blowing through the small cylinder to make the paint travel about on the paper, similarly to when we made blow-straw paintings when we were children.  This didn’t work too well either as I think the tube wasn’t long or small enough in diameter. I used a mixture of paints such as: acrylic mixed with differing amounts of water, acrylic inks, acrylic mixed with poster paint to thicken the consistency. However, I had fun with this and realised I’d spent a good couple of hours “playing”! It then became apparent that the paint needed to dry before much more could be done.

Whilst experimenting on day one, I made mental notes of what else I could use. For day two, I collected an old tooth-brush, a couple of straws, plastic spoons and a couple of plastic bags into which I would snip a small hole to dribble paint through.

 

Below are the results of each of the paintings, some are very different to the end of the first day as they didn’t quite dry and the paint may have moved, or, if they did dry, more was done to work on them. The last piece of paper with a neutral grey ground was also begun. It is interesting to see sections of the paintings too, as cropping can achieve successful compositions where the whole may not have worked so well. Some photos are close-ups to focus on the paint effects that occurred.

Painting with Red Ground

I managed to enlarge and crop a previous photo to show how this looked at one stage on day 1, this was very different in the beginning and was very wet so the paint ran a lot.

 

Painting with Black Ground 1

Black Ground 1 With white paint, dribbles, spatters and drips

Black Ground 1
With white paint, dribbles, spatters and drips

 

I actually liked this as it was – it gives an impression of outer space with all that goes on there. There are sharp spatters with a large brush, differing sizes of drips that gives the feeling of distance. The consistency of the paint was just right in this instance, although I didn’t have the right vessel to allow thin pouring of paint.

 

 

 

Black Ground 2

The second black ground painting was started day one with bright colours. However, as the consistency of the paint was a little too thin, this vibrancy receded and became dull, the blue was probably the most prominent and worked well against the black. On the second day, I had adjusted the consistency to being more creamy and using the new tools, particularly the plastic bags to dribble paint, the colours did eventually come through. This is one of the instances where cropping would probably improve the composition.

 

Painting with Neutral Grey Ground

In retrospect, the ground was a little too dark – my intention was to use a traditional colour as a base ie burnt sienna/ultramarine blue/white. My mix was a little too blue with insufficient white – lesson learnt. This attempt was done all on day 2, hence I had a better array of tools to use although, more could be done and will be if time allows. This was the most successful result for dribbling paint a la Pollock, the yellow worked well, however, the blue was a little too thick. I dropped in some red which started to merge with the other colours itself, then I used the straw to blow the paint around a bit. I also used the toothbrush to flick the paint on the paper with my finger/thumb. This proved a little tricky to get right, and gave a very fine spray of colour. It was particularly nice on the yellow paint as it gave pinkish flecks although could only really be seen close up.  At this point I decided to let the paint dry – from the experience of the other paintings, I knew this would take at least overnight, so I call this one unfinished.

Painting with White Ground 1

This one was done in one go hence only one photograph. I also think it worked well straight away and didn’t feel I had to do much more to it. It’s a shame I didn’t have a larger piece of paper or position the top of the pattern a little lower, however, when you’re not sure what’s going to happen it’s not easy to plan. Some of the dribbled paint is the right consistency to swirl quickly over the paper which gave an attractive arc, however, it was also a little thin for a larger amount and pooled unintentionally. In the end though it looks pleasing. I was also happy with the colours and tones that materialised. The colours graduating from yellow to orange to red to violet seem harmonious and the splashes of green lift it and complement.

Dripping, Dribbling and Spattering Spatter, drip and blow paint on white ground - first day

Dripping, Dribbling and Spattering
Spatter, drip and blow paint on white ground – first day

 

Painting with White Ground 2

With this one I struggled with the paint consistency a lot. Dribbling the paint ended up with pooling and no discernible lines. The spatters worked so I allowed the paint the merge and blend as it wished over the top of them. This was fascinating to see it evolve, a couple of times I had to move the paper to give me more room to work on something else, this disturbed the fluid paint and changed the appearance quite considerably. I used some thin and some thick paint along with some acrylic ink, applied them and just let it get on with it. The paint still wasn’t completely dry 24 hours later, so as a skin had formed on the top of the paint I used a hair-dryer to speed up the process. This in itself was interesting as the still wet paint under the top skin moved in response to the warm air and seemed almost alive and breathing. I tried to video the reaction, however, by the time I’d sorted out the camera, tripod and angles the paint had begun to congeal and dry so I missed the opportunity to record it. The photos below include some close-ups to show the variety of effects caused by the differing paint consistencies and accidental colour mixing.

 

Lessons Learnt

  • The consistency of the paint has to be appropriate for the effect wanted – thinner paint is needed to let paint run, a single cream equivalent for dripping and swirling, thicker paint for more impasto/3 dimensional effects etc.
  • To achieve a continuous dripped line, use an appropriately sized vessel to pour and don’t hold it up too far from the support.
  • To avoid unwanted pooling, use a solid support or stretched paper.
  • Consider whether you want the support to have absorbency or not.
  • Different coloured grounds give different effects, darker ones may be more dramatic with bright colour, mono-tone/single colours can be effective, coloured grounds with complementary pigments can be eye-catching, plain white grounds can give a luminosity with certain colours eg yellows, oranges, pinks.
  • When using darker grounds consider the opacity or transparency of the paints used.
  • Working large can be more successful as less limiting.
  • Look for everyday objects to use as tools eg plastic bags, straws, toothbrushes.
  • Consider the effects required and whether to work wet in wet or to let layers dry.
  • Different paints may be used eg oil, acrylic, household paint, enamel, poster etc.
  • It’s not as easy as you would think!

How could you exploit some of these paint effects your future work?

  • They could be a good starting point to a painting by allowing freedom and fluidity.
  • Atmosphere and texture may be created by using some of these effects depending on colours and tones.
  • They themselves could be used as a ground to a loose painting.
  • Maybe use fixed pastel as a ground to build layers and then add spatters etc.
  • Keen to try them out and loosen up.

Going back to Jackson Pollock, below is one of my favourite paintings of his. I first saw this as a print that I had to measure up to send to the framers for a customer. This photo, unfortunately, does not really show the vibrant colours that make up the image. It makes me think of a fresco of long limbed African native dancers and is joyful to see.

jackson pollock art - Google Search: