Tag: acrylic

Water Thaw – 4 (Final Version?)

Water Thaw 4 – Final Version??

The end! Or is it?

Anyway, as I mentioned yesterday, more blue in the lower front, some other touches, and then let it sit overnight.

This morning I took another look at it, and the only way I can describe what I did was to refine it. I increased contrast in some areas to create harder edges. Other things were designed to lead the eye toward the center of the painting, toward the whitish rock at the top of the water. I also looked for areas that just didn’t look right, somehow too symmetrical or distracting. In the end, little bits here and there made it better to my eye. But – that was during morning coffee when I was trying to wake up!

I have never worked on a painting – a watercolor – for this long a time period. Total time is probably 8-10 hours. Time was spent laying down frisket, colors, letting things dry. Then frisket was rubbed off. Water was sprayed at different times and salt sprinkled. Rubbing alcohol was also sprayed on. I think the last round of frisket took about 30 minutes to rub off, along with salt. The result, though, are transparent layers of color which I could not have accomplished otherwise.

While the perspective seems a bit off – or maybe we are looking down into the water from above? – I like this painting. It’s a new adventure for me in watercolor, and while bright, I don’t think it is overly so. I deliberately did not use any orange!! New ideas are coming to mind for painting in a transparent medium. Mood and impression work here for me – not realism, but suggestion. So, spring thaw, melting ice, new leaves.

In this final version, I cropped it and changed the perspective a bit in Lightroom. Post-processing artwork is much like post-processing a photo, an din the printing industry it is done all the time. You can see the uncropped version in the gallery below.

Arches 16×20 140# CP, acrylic, gouache, watercolor.

Water Thaw – 3

Water Thaw – 3

Getting there, but not quite.

I added more frisket, colors, salt. I also began adding acrylic paint thinned down quite a bit. Now, another night of letting it stew, but I already think I know what I want to do with it. For instance, I want to add more blue in the lower left foreground in that rather large white blob. Perhaps some sense of geometric texturing by adding tape and then painting over it. White streaks for snow on trees? It’s hard to tell.

Waiting is a good thing to do.

Royal Poinciana Tree

Another tribute to The Highwaymen of Florida.

The Royal Poinciana Tree is native to Madagascar, but because of its vibrant red flowers, it has been transplanted throughout the world. It prefers temperate to semi-tropical climates, so the heat and cold of where I live make it an unlikely candidate. However, we do enjoy the vibrant purple jacaranda tree!

That said, I gessoed Arches 140# CP paper and used acrylic paint this time. I spent hours on this painting, and attempted to do a rather more primitive approach, working for a type of simplicity I seldom employ. Not having painted for some time in acrylics, I needed to work at it. One thing I did do was not the default dabbing I seem to gravitate toward with acrylic. I saved that for the flowers and leaves, in the tree and on the ground.

I am so tired I have no idea if this is a “good” or “bad” or “mediocre” painting – but does it matter? This painting took a lot out of me. The scan, too, is poor – the colors are too extreme – the reds and oranges and greens dominating. Adjustments are not really successful in LR. So, here I think we are limited by the software and its interpretation of such colors in the scan. Still, it’s here for your perusal . . .

Late Summer in the Olive Grove

I started this painting a couple of months ago at least, but because of life and cataract surgery, I didn’t finish it until today. There have been several iterations of it. The subject itself was inspired by van Gogh, and I had thought to try to copy his style of painting, but found that it was far more difficult than I anticipated.

The painting itself is done on an 11×14 canvas panel by Arteza I gessoed over its primed surface, in part because I like the process of preparing a surface for a painting, in part because I never like something already prepared by someone else. From there, the surface was neutralized with a pale underpainting of yellow ochre and burnt sienna, very thinly applied.

One of my primary issues in painting of ay type is depth of field. Easy to do in photography, but not in painting! Thus, this was a goal in this painting. In general, I think I made it, but had to work and re-work the surface of the painting. This is the pleasure of acrylic – once dried, I can paint over what I don’t like.

I used a variety of techniques, one being glazing to dull own areas by using a cool glaze, and to bring others forward using a warm glaze. It worked, but I realized I needed to go further by using a dullish grey-green for the tree on the left, and a brighter, warmer green for the olive tree in the foreground.

This is the first painting – artwork of any kind – I have done since I had my cataract surgeries in July and August. With new lenses, in my eyes and in my glasses, my sight is much better. However, I may still need a newer prescription in a month or so as it was hard to see what I was painting with my new glasses. Time will tell with this.

Altogether, I am pleased with this attempt. First, I like the painting. I am going to let it stew a bit before I apply any varnishes. So, letting it sit is “second” – already I can see areas which are a bit illogical. Finally, the entire process was fun to do. Acrylic, as with all media, has its good and bad qualities or frustrations, or whatever, but the simple doing it is delight. Painting just removes the outside world and transports me into another dimension which is pure bliss.

Rush Creek in 15 Minutes

Seemed appropriate that a 15-minute study should be of a place called Rush Creek up in the Eastern Sierras!

Aspens, calm water, reflections, and done. I also used this as an opportunity to check out a new spray fixative (for me). This is an acrylic semi-gloss.

The problem with pastels is they smear if touched, so storing them and framing them can be a bit tricky. Smearing was attenuated well here, but it did take about 8 applications, some of which were a single coat, and the last about 4 or 5, back and forth, out of impatience.

Fixatives often dull colors or darken them, and whites can be especially vulnerable. This one seems to have done okay, perhaps turning the white of the aspen trunks to a creamy color, but the white trunks on the middle right seem to be doing okay.

Interesting thoughts arise . . .