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Colour Field Studies 2 - Blue, day 24 of the 30 day challeng

I ran out of steam a bit today. As they say life took over and my enthusiam dipped to a real low! I use a lot of blues in my paintings and wanted to explore different elements around that. This is all I achieved today. I have decided to move on and leave my colour studies until I have time to plan them properly. It is a fascinating subject in its own right and needs time and thought as well as the thinking time to absorb the effects.

With only a limited number of acrylics and mainly transparent ones, when I return to studying them, I will use oils which I can handle much better. Mind you, it would be a good excuse to do more art shopping for better acrylics. I think I need a range from open acrylics to heavy body.

One way to do these colour studies is to paint severL one colour sheets of paper and use those cut up and placeS on one another to see the effect before diving into the paint. Or, perhaps they could then be collaged together as references going forward.

I played around a bit with yesterdays two paintings:

Amazing what using a black or white border can do to youR perception of size as well as colour. The two right hand halves also show how lost edges can be created by colour with a similar tone. Just shows how when you DO IT, there is always something to learn.

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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.

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 in…

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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