Value in Painting - Black and White Boards

"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.

Current Abstracts in Progress

As you know, if you follow this blog, I like working on several abstract paintings at once. I do this to a certain extent with my other works but not quite so deliberately as with the abstracts.

Working on more than one paintings stops me getting bogged down on one particular thing. Making a concious effort to work in small blocks of time on a painting (1/2 hour is usually a long enough time to spend on one painting) allows you to approach each new pass with a fresh eye.

Working on several paintings also allows one painting to inform the other and grow ideas. Here are nine paintings I am actively working on at the moment - but the pile of unfinished paintings is much larger. This no longer bothers me like it used to, another benefit of working on more than one at a time.

Adding Calligraphic Marks using Acrylic Ink

One of the hardest things I find to do is scribble/calligraphic marks which seems to come so easy to many artists. To me, mine don't look natural and I have to manipulate them by painting over them, thinning the lines with paint or using transparent paint to make them 'sit' in the painting. 

I use a range of different tools - oil pastels, pencil and pen, but today I discovered I enjoy making these marks, and they look more natural, with acrylic ink direct from the bottle using the dropper supplied.

I'm great at purchasing art supplies (my favourite hobby) but often don't make use of everything I buy. I purchased some acrylic inks several years ago but only ever created a few ACEOs, so I am delighted to find another use for them.

Some of the marks on current works in progress

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Everyone Likes BLUE

A MOMENT IN TIME

Medium: Acrylic on Panel
Size: 30 cm / 12 inch x 30 cm / 12 inch x 5mm

AVAILABLE

It's always a little disappointing to discover you're average. Blue, along with teal and purple are my favourite colours. Teal and purple all contain blue of course.

"By the 1920s, researchers were just about ready to throw in the towel regarding that straightforward question, “What’s your favorite color?” People’s answers appeared far too idiosyncratic to study in any substantive way. But as statistical tools and color standardization improved during the decades that followed, a pattern slowly but surely began to emerge.

Everyone liked blue..."

Continue reading this article in Artsy Magazine
 

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Adding Texture to Acrylics Part 1

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 interesting results.

The first photo is the work in progress. The grey is layered on top of the cream which is on top of the base painting colours and the scraper has been pulled through the paint.

This is a closer look at the texture achieved.

In this photo I have added another layer of blue to the top right hand triangle and again dragged the scraper through the paint.

Could a Three Year Old have painted this?

Imagining Possibilities

30x30cm, acrylic on panel

AVAILABLE

Could a three-year old have painted this?

We’ve all visited a modern art museum and seen artworks like Kazimir Malevich’s ‘Black Square’ and wondered, my kid can do this, how in the world could this be art? While at first it might look like an unimpressive black square, it’s much more than that.
The term ‘Abstract’, when referring to an artistic style, is simply that - it’s abstract in and of itself. It might help to think of it as an umbrella term to describe art movements that do not realistically represent reality...
Continue reading this interesting article from ARTFINDER

Smell the Roses, framed painting

Smell the Roses

by Marion Hedger

30x30cm

AVAILABLE

Framed in a black floating frame, ready to hang.

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Autumn Gold, Writing Product Descriptiions

Autumn Gold

by Marion Hedger

24x30cm oil on canvas panel

AVAILABLE

This panting is featured in a Fine Art America (FASO) newsletter article on writing painting descriptions. Dave Gaeda of FASO is writing a series of articles on why painting descriptions should be written in the third person. He contacted me after I commented I would find it very difficult to do so. It was interesting to go through this process. Going forward I will use some of this in my new descriptions and gradually convert my present descriptions to follow a similar format, a daunting task.

Read the article and let me know what your thoughts are on this type of description.

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Works in Progress

Click here to view the slideshow

Three abstract paintings in progress
by Marion Hedger. 

I am on a circles theme at the moment.

These are acrylic on panels, different sizes

Visit my abstract collection

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A Place for Music

A Place for Music

by Marion Hedger

Acrylic on canvas, no need to frame.

AVAILABLE

CLOSE-UP OF THE DETAIL

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Which Way is UP?

Click Here to see the slideshow

Help me decide which way round to frame this colourful abstract.

Meadow Song

Intuitive Abstract Art

by Marion Hedger

Part of the 'Connections' series

Medium: Acrylic on Panel

Size: 30 cm / 12 inch x 30 cm / 12 inch x 5mm

AVAILABLE

Finished with a high gloss varnished and polished with wax to give a satin glow.

Framed in a black floating frame, it is ready to hang on arrival.

The overall framed size is 34x34cm and 3cm deep.

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Wonder, Intuitive Abstract Art

Wonder (5014)

Intuitive Abstract Art
by Marion Hedger
Part of the 'Connections' series
Medium: Acrylic on Panel
Size: 30 cm / 12 inch x 30 cm / 12 inch x 5mm

AVAILABLE

Finished with a high gloss varnished and polished with wax to give a satin glow.

Framed in a black floating frame, it is ready to hang on arrival.

The overall framed size is 34x34cm and 3cm deep.

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Abridged, Intuitive Abstract Art

Abridged (5006)

Intuitive Abstract Art
by Marion Hedger

Part of the 'Connections' Series

https://artbymarion.co.uk/workszoom/2437391

AVAILABLE

Finished with a high gloss varnished and polished with wax to give a satin glow.

Framed in a black floating frame, it is ready to hang on arrival.

The overall framed size is 34x34cm and 3cm deep.

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Work in Progress on my easel

Work in Progress

Both are 40x40cm

I am treating these two painting as a diptych at the moment. Time will tell if they will remain joined or go their separate ways.

Let me know if you think they should remain as a diptych or you can see them splitting up.

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Whispers, Intuitive Abstract Painting

WHISPERS
Intuitive Abstract Painting

by Marion Hedger

Part of the 'Connections' Series of abstracts

30x30cm acrylic on panel

AVAILABLE

Will they come closer together to hear the gossip? or drift further apart?

Finished with a high gloss varnish and polished with wax to give a satin glow.

Framed in a black floating frame, it is ready to hang on arrival.

The overall framed size is 34x34cm and 3cm deep.

Abridged, intuitive abstract

 Abridged

Intuitive Abstract

Part of the 'Connections' Series of Intuitive Abstracts 

AVAILABLE

Sometimes we feel alone, but there are always connections if we make the effort to try and connect

Part of the 'Connections' Series of intuitive abstracts.

Finished with a high gloss varnished and polished with wax to give a satin glow.

Framed in a black floating frame, it is ready to hang on arrival.

The overall framed size is 34x34cm and 3cm deep.

Beyond What we Know, intuitive abstract painting

Beyond What We Know

by Marion Hedger

Part of the 'Connections' Series of Intuitive Abstracts 

AVAILABLE

This intuitive painting is an interaction between the painting and viewer. Imagine what you can see.

Finished with a high gloss varnished and polished with wax to give a satin glow.

Framed in a black floating frame, it is ready to hang on arrival.

The overall framed size is 34x34cm and 3cm deep.

Intuitive Abstract - Escape Route

 Escape Route (5004)

by Marion Hedger

Part of the 'Connections' Series of Intuitive Abstracts 

AVAILABLE

Making connections is a good thing but sometimes we just need to escape to somewhere quiet. From her 'Connections' series,  this intuitive painting by Marion Hedger captures our interactions in a busy world.

"This painting shows the busyness of everyday life, look closely and you can see lots of activity. At the same time there are escape routes away from all the activity"

Finished with a high gloss varnished and polished with wax to give a satin glow.

Framed in a black floating frame, it is ready to hang on arrival.

The overall framed size is 34x34cm and 3cm deep.

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Imagining Possibilities

 Imagining Possibilities

by Marion Hedger
AVAILABLE

A contrast between light and dark. Imagine what possibilities this painting conjures up and let me know .

30x30cm (12x12") on panel

framed in a black floating frame and shipped ready to hang

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A Time of Promises

 

 A Time of Promises

by Marion Hedger

Connections Series of Intuitive Abstracts 

AVAILABLE

An intuitive abstract painting with a hint of nature. The blues and lilacs of this piece will fit into any decor. 

30x30cm framed in a black floating frame and shipped ready to hang

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Work in Progress on the Easel

These two boards (40x40cm) are on my easel at the moment. My idea is for a diptych with overall dimensions of 40x80cm (16x32) so I am working on both of them together. Whether or not they remain a diptych only time will tell.

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Unusual Tool for Mark Making

I like to work on a ground that has lots of suggestions of colours and some texture that will inform what happens next and help to build up the overall finished painting. I add lots of lovely layers of thick paint in different colours and scrape them back sometimes with a spatula, sometimes with sandpaper or steel wool and sometimes using the magic tool in the video.

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New Abstract Series Published

My first series of intuitive abstracts, 'Connections' are all up and available on my website. Click on the image to view larger version on my site. I am still working on adding more to my abstract portfolio and I think I might be getting a bit obsessed with the proces. I love adding layers and scraping away to reveal previous colours.

 

To keep up to date with my latest paintings (I added a new one today) as they are released, use the "Get New Art Alerts" link in the website menu.

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New Work Releasing tomorrow

A snapshot of my new abstracts are releasing on Monday to my newsletter subscribers. Subscribe and be amongst the first to view the work and benefit from free shipping. They go on general sale the following week.

Sign up here

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It's Only Paint

Not only is my course about painting it is also about getting yourself into the correct mindset and not limiting yourself. We are often our own worst enemy, I know I am. That little devil on the shoulder saying 'You can't do this', 'No one will like it' 'What will people think?' etc. You've probably been there as well.

At the end of the day it is only paint on board, canvas or paper. The more you do it the better you will become. Some days you will produce good ones and other days not so good, but don't let this limit you. Enjoying what you do comes with letting go and not being afraid and when you feel good in yourself the world looks a much happier place.

This also applies to life in general don't you think?

Work in Progress

12x12 inch

Acrylic on 5mm board.

No Rules only Principles

Work in Progress (5012)

12x12in

Acrylic on 5mm board

In the course Nicholas Wilton always stresses that what he is teaching are PRINCIPLES not rules. They are there to be used and should underlie the art but they are only guidelines.

A piece of serendipity this morning when I read Brad Teare's interesting post on debunking the myths on rules in art. I am so guilty of this, I read something and think 'Ah yes, I must do that'. Sometimes it takes me a while to realise it is not my way or my style etc.

Throw Away Boards

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.

Play Boards and loosening up.

The first assignments on the course were to creat an inspiration board and a desire board.

It will be no surprise that my inspiration board included the landscape of Provence, trees, flowers, spring and wildlife. These are well represented in my current art.

My desires - well this was harder. What was it I really wanted - make better art obviously but on top of that I want a larger studio, I want to feel confident enough to enter shows including juried shows, loosen up on my landscapes but without loosing the feel of them. The idea behind this is that if we don't say these things they will never happen, but somehow saying them makes them more likely to happen.

Our first painting assignments was to create two boards (12x12inch) by just putting paint down and not overthinking everything or even thinking about it. We were to call them play boards. In effect this is a loosening up exercise and fun to do. I often overthink my paintings before I start, and changing those ideas as the painting progress is hard.

These are my Play Boards

The two boards have a different feeling to them and are designed to show that it doesn't matter how you start as they will be worked on later and covered over with paint.

Fear - and taking an art course

I've been busy since our return from Namibia, catching up with a 12 week course I've signed up to. I missed three weeks while I was away but I am now on track.

It's a course run by Nicholas Wilton with a team of experienced artist. It is aimed at giving you the confidence to be certain and happy with the choices you make while painting and improving your skills. The graphic above was from a conversation between Nicholas and Cheryl Taves about 'Overcoming Fear and Resistance'.

To quote from Nicholas

"Fear and Resistance seem to creep up in our art process and grab us by the throat, often when we least expect it. It can derail our art making efforts and cause us to feel lousy about ourselves."

This is quite a strong statement but I have found elements of this in myself just lately - not knowing how to take the next steps on improving.

I find the above quote quite motivating, so perhaps taking the course is already having an effect!

Join me in my journey.

Back from our safari

I'm back from my three week break. Once again enjoyed Namibia with the added bonus of going into Chobe National Park in Botswana. We were on the go all the time, with lots of drive, lots of game watching, lots of early mornings and broken nights listening to the night noises.

I could bore you all for hours, but here are a selection of photos to give you a flavour:

This little creature is a Pangolin. One of the most endangered animals. He was rescued from a restaurant about to become the main course for some Chinese businessment.

Water buffalo. A mean looking fella

About to be charged by an angry elephant... but I think he was only warning us for being too close

A more even-tempered elephant.

this guy posed for us

 And our prize photo. Such a shame they have to be dehorned