The poppy field in the Haut Alpes are a lovely sight in spring and early summer. This was a nice change from the lavender fields. I used a palette knife and oil paint with a small amount of liquin mixed in to aid the drying. The liquin also gave the paint a nice consistency suitable for the palette knives. Getting a sense of distance is the hardest part, with the mountains just popping up in the background.
"The most important aspects of a painting is VALUE and DESIGN. These two trump colour, texture etc." Nicholas Wilton
Value is essentially the lightness and darkness of a colour. The correct use of value gives a painting (both abstract and representational) depth.
I must admit, because I use a lot of colour, the values can sometimes go awry and I have to always be very conscious of that. So getting more of a grip on this, is my goal for this aspect of the course.
The second assignment of the Art2Life course, was to create two boards using only black and
white. I based one on one of my failed paintings to see where I could
make improvements and the other was purely abstract.
This one still exists as shown, I have yet to put colour on it
The first one, received some limited palette colour:
I have not taken this one forward and I shall have to find it again in my pile of unfinished boards. I can see it is too busy (so obvious now) and it needs to be unified.
My visitors have all gone home and I am enjoy the peace and quiet lost in painting again.
As usual, I am working on several paintings at once but they all look a little flat so I am injecting some texture into them.
The best way to do this is at the beginning of a painting is using gesso or modeling paste. You can also use these on an in-progress painting but, as they are opaque, you will lose any colour already down.
One method I enjoy using, because it brings up a lot of unexpected surprise, is laying down two, three or even four layers of acrylics on top of one another and then scraping through the acrylic.
Use thick paint for the best results and wait for the paint to touch dry before adding another layer. I like to wait until the top layer is just touch dry before dragging the scaper through the paint. The effects are different according to how dry the paint is. Practice this to see the different effects. The wet paint also lifts off some of the dried paint underneath, giving in…
Throw Away board.
Or should I paint over it and continue with it?
Another concept introduce by Nicholas Wilton in the course is the Throw Away Board. Have a board by the side of you as you paint. Use it to wipe your brushes, try out ideas, put your palette paper over it (upside-down) at the end of the day - anything you fancy. Throw it away at the end, or maybe it might just turn into it's own painting.