Inspirational Walks during Lockdown

 

 

 

ROAD TO UNSEEN DESTINATIONS and HINTERLAND SPIRIT 

These two paintings make a great duo and really shine against this unusual dark background.

Both are 30x30cm acrylic and mixed media on deep canvas.

Inspired by my favourite walks up on the plateau of our nearest mountain Col de Vence which is just on the right side of our 10km limit for exercise during the current lockdown here in France.

Turquoise and orange is one of my favourite combinations of colour and a combo I keep returning to. There is something uplifting about these two together that evokes a happy and 'satisfied' feeling in me.

The colours, although bright, have been harmonised with a hint of the other colours in each which stops the colours being overwhelming.

Tell me what your favourite colour combinations are in the comments below.

Both are available on my Artbymarion website

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Sunday Photofunia Fun...

I like to use photofunia to play and enlarge my paintings, just to imagine how they would look large.

I have never painted this large, but a commission would be interesting ...

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Most Asked Questions at the Art Fair

THE PATH IS NEVER CLEAR

40X40cm on cradled panel.

Framed in a white floating frame

AVAILABLE

Over 4000 visitors visited the Surrey Contemporary Art Fair. It was very busy most of the time from the time the doors opened until about an hour before closing. I'm pleased to say that many of them visited my stand and several stopped and chatted about the paintings.

Similar questions came up time and time again:

How long did it take you paint that?
I became quite adept at explaining that it was difficult to say, as I worked on several paintings at a time for weeks and I won't have any new paintings ready for a while and then several become finished within a short time frame.

Is it collage?
Perhaps it is because I labeled them 'Mixed Media' but possibly also because the layering can make it look as though there might be paper underneath. The 'Mixed Media' tag was used because various media was used in the mark making, e.g. oil pastel, ink, pencil, coloured pencil etc. Perhaps next time I will just say 'acrylic'. I'd be interested in your take on this.

How do you get that gloss finish?
The paintings are finished with a layer of self-leveling get which is brilliant gloss. This is knocked back by a layer of buffed wax to reduce the shine, although it is still quite shiny. This is a finish promoted by Nicolas Wilton and I am still making up my mind on whether I like it or not - my preference is a satin finish.

There were more questions, which I will save for another post.

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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.

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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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.