I used an old fracture-pour painting that I’ve never liked.
I then smothered it in Galeria heavy structure gel, which I had tinted with some resin inks (gold and metallic yellow) – this gave it a very soft buttery colour, mimicking the colour of beeswax.
When it was dry, it looked like this:
I then built up more texture with another coat of the gel, after I’d applied a tissue paper stencil of a Celtic symbol.
I dripped tiny little specks of Golden fluid acrylic onto the surface and sprayed with water and some iso-alcohol. I moved it all around a lot, spraying where I wanted the paint to go into the fissures and folds of the dried gel. I used Phthalo Blue and White fluid acrylic. This stuff is fabulous paint. When it was dry, I sculpted the surface with a tiny tweezer (I couldn’t find anything sharp that was tiny – so used the mini-tweezers).
‘Sapphire Tree’ – gels, pastes and fluid acrylics on a canvas panel – 20 x 20cm
I really like how this has come out – I was aiming to mimic the look of an encaustic painting and I think it’s been successful.
I am having a few issues with WordPress at the moment, don’t quite understand what’s happened but for some reason I can’t post from my phone anymore, which is a bit of a pain in the neck. Anyway, this is an update of work I’ve been doing lately …
I may not be posting here for a while, as I have quite a lot of course work to wade through in coming weeks.
I keep seeing this place in my mind and remember sitting on such a tree many, many years ago eating sandwiches and drinking coffee … we were on a road trip from Johannesburg to Cape Town. I’d never seen a petrified tree before, let alone sat on one, which was just casually dumped there on the side of the road. And to think that piece of stone, which once was a tree, was in the region of 300 to 250 million years old.
For this painting, I used Cobra oil medium with the pigments. Colours used: Trevellas Green, Burnt Umber, Fremington Yellow ochre, Peppercombe Red, Leswidden white, Fremington Grey, Bideford Black, Perranuthnoe ochre. Soft pastels. All on Arches Oil paper – CP Fine 100% pure cotton, 300gm. 23x31cm
Continuing my exploration into natural pigments and the theme of liminality – in my case I am exploring the threshold between raw earth pigments and commercially produced art materials. For this piece, I used: Earth pigments: Trevellas Green, Peppercombe Red Natural pigment pastels by Florence Paintmakers Sennelier Soft Pastels Montana Gold Professional spray paint – Bronze W&N acrylic paint and inks Resin pigment inks Charcoal Fabriano Unica 50% cotton 250gsm white paper (torn to size)
I am working on quite a few different things all at once. This is an experimental abstract piece, using inks and soft pastels.
The coursework for Painting 2.1 (Ideas Lab) through OCA is really fun and I’m having a great time messing about with stuff that I wouldn’t normally do. Here are a few images of latest work that was done using various media on canvas panels and monotyped paper – Glitch.cam app, encaustics, shellac, soft pastels, acrylic enamels, polyfilla, inks, tracing paper, A3 Lightbox …
I was asked if I would produce a canvas painting – the inspiration was an Internet sourced photo:
I’m always a bit nervy and unsettled when I have to do something based on someone else’s photo and ‘specially when it’s quite a complex image, as is the case with this one. That said, I really love this image and the feelings it evokes. I’ve looked up at trees like these many times, so it is a special feeling to be able to try and recreate that scene on canvas. I chose to make this painting on a 80x60cm linen stretched canvas. First thing to do was prime it in a burnt gold colour, before painting the ‘sky’. (The gold colour serves two purposes – it stops ‘painter nerves’ 🙂 and also makes the blue ‘glow’, so it’s not so flat)
I added some texture while the blue paint was still wet (dabbing it with a kitchen towel, which I didn’t realise had ‘heart’ shaped motifs on it .. duh.) Once the blue was dry, I started painting the main shapes, using acrylics.
For me, this subject matter works better with soft pastels. However, you cannot apply pastels to a canvas surface without first giving it some form of coating, other wise the pastels will just drop off. I discovered that Golden make a ground specifically for this purpose, so I purchased a small tub. I have never used this Pastel Ground before and wasn’t sure if it would provide enough surface grip or ‘tooth’ for the pastels but I have to say that this stuff is amazing! It is best diluted and applied with a sponge or large brush (I used a brush). I applied about three coats in various directions. It dries almost clear, so I could see the underpainting quite clearly. Then I started applying pastels.
I was still a bit unsure about the pastel ground, not knowing how much pastel I could work into it but really I am so impressed! I could also work the pastels in with a brush, using water. I included watercolour brushpens, fine markers and pastel pencils to create more definition of the shapes. I’ve resisted the urge to draw or paint in millions of tiny branchlets, as that is not indicative of my style. Anyway, I am quite happy with it, this is the end result today:
My client is very pleased with it, so I will now give it a few more coats of fixative and possibly also apply some Winsor & Newton matt spray varnish, as a final protective layer. This was great fun to do!
This is a piece I did recently on a recycled canvas, which had been previously treated to considerable abuse (i.e. covered in concrete and God knows what else). I used soft pastels, inks, pens and then decided to use black acrylic enamel for two of the tree trunks, as I wanted a really black, black for the trunks. I was told that this appears to be a bit on the sinister side, that wasn’t my intention when I did it but I can see that now. Anyway, it’s larger than most of the stuff I’ve done lately.
I’m also using this post to test out whether it connects and posts to my FB/ Instagram feed. Who knows hey?!
I’m busy trying my very best to do art every day at the moment, it doesn’t always end up being anything I can display on here but I’m working, that’s the main thing. in any event, I am busy with these two pieces at the moment, they are both about 50cm x 40cm on repurposed stretched canvas (that was a process in and of itself let me tell you!).
I have used acrylics, pastels, inks, alcohol, red tissue paper collage. The tissue paper was used by OCA (Uni for Creative Arts) to package up my coursework manual. I knew i’d find a good use for it one day.
This little piece was inspired by the wonderful Norfolk coastline. I used superior grade encaustic beeswax and damar resin medium (sourced and imported from the US), as well as resin pigment inks and encaustic paints. The wave effect was produced using a thin application of imported shellac which was then heated to produce the delicate lace-like patterns as seen in the close up image below.
I am falling for this encaustic technique – so will be working on some more pieces this week, while I have the house to myself!
You can find this piece in my shop. I. don’t charge for shipping or packaging.
Well, we have at last settled into our new house. My painting space is very limited but I’m managing to scrape a hole big enough for myself and the paints … the large one below [abstract seascape) was painted mostly outdoors, great fun that was in 32 degrees C, trying to keep the acrylics wet!
The others were kinda commissions – Bay scene (Devon) was requested by the lady of our house and is now enconced in our seascape themed downstairs bathroom. Photo is crap, ‘cos there’s not enough room to stand back and get it in the camera frame properly. Never mind. The poppies was requested by a friend of mine, hope she likes it.
‘Seascape with sand texture’
Acrylics, inks and texture paste (sand) on stretched canvas.
120cm x 100cm x 4cm
Acrylics and inks on stretched canvas 100cm x 39cm
‘Poppies and wheat’
Acrylics and inks, gel pastes, structure pastes on stretched canvas. 45cm x 35cm
There are many things influencing my outlook on life at the moment – some very positive (like moving to our own house very soon – yay, no more renting!) and others not quite as positive (like waiting to find out if we will be able to permanently care for my baby granddaughter – we will only know the answer to that one at end of July). My youngest son is also now seriously making plans to move over to the UK to be with us all – so that thought is very much at top of mind all the time and I was thinking about that a lot when I started painting this abstract. It was great to get back to canvas and something larger than the work I’ve been doing lately.
I used a lot of layers in this work, using inks mixed with structure gel and acrylics mixed with gloss gels and other medium. It was a cathartic experience, no matter what happens in life, family are the most important – at least they are to me. And sometimes family comprise people who are not your blood relatives. I hold them all close to my heart, they give me light …
Acrylics, inks, gels, structure gel on stretched canvas.
Quite some time ago I started working on a series of paintings relating to the South African landscape, for some reason I didn’t finish that work. I decided to go back to one of them over the weekend and this is the result, might still do a bit more tweaking (as always!). This area holds a very special place in my heart (and psyche). It is one of the most beautiful parts of the world, glorious in any weather. This is a view of the ampitheatre from the river below. (My own reference photos)
For this one I used acrylic inks, soft pastels, then oil pastels on mixed media paper. Paper size is 16.5″ x 11.5″ (A3), painting takes up all surface of the paper.
I’ve titled this one, ‘On her way’ – it is inspired by the devastating mental health struggles my youngest daughter is currently experiencing after the birth of her baby almost three months ago. These last few months have been extremely traumatic for all of us but last night, when I went to visit her with her older sister, it was like she was back to her old self again. There is still a lot more work needs to be done but it was the proverbial light at the end of the tunnel I saw last night, as she walked away from us down the corridor to her room. She seemed to be surrounded by a golden glow and that’s what I wanted to get across in this painting.
“On her way”
Acrylics, inks, soft pastels on Daler Rowney system 3 acid free acrylic paper.
I am using this post to test out connection to my existing blog community on WordPress. I am not certain that my website is visible to you all and I’d appreciate comment if you can or can’t see the website via this post.