Tuesday 5 November 2013

Abstract Fluid Acrylic Pouring - Untitled #2013-02

Untitled #2013-02 Ultramarine Blue, Blue Violet, Titanium White, Transparent Magenta & Pale Gold Acrylic paint pre-mixed with Liquitex Pouring Medium on 8x8x1/2 inch (20x20x1.3cm) stretched canvas
Liquitex Pouring Medium and Jo Sonja Flow Acrylics (pre-mixed in pouring bottles at 1:12 ratio) Ultramarine Blue, Blue Violet, Titanium White, Transparent Magenta & Pale Gold Acrylic.

First three colours were spread with painting knife a little and then canvas tilted for colours to flow. Then Next two colours were added and canvas tilted further until satisfied. When it was drying I thought the bottom right corner looked a little dead, but now dry you can see the gold more. But when painting is tilted the gold really sings (unfortunately it doesn't show in the photo).

Tuesday 8 October 2013

Abstract Fluid Acrylic Pour - Untitled #2013-01

Untitled 2013-01 - Red, Yellow & White Acrylic paint pre-mixed with Liquitex Pouring Medium on 8x8x1/2 inch (20x20x1.3cm) stretched canvas
Liquitex Pouring Medium and Jo Sonja Flow Acrylics (pre-mixed in pouring bottles at 1:12 ratio) Yellow Lt, Napthol Red Lt and Warm White.

Tuesday 1 October 2013

How to: Create texture using plastic wrap / cling film


Golden Fluid acrylic paint (ultra, magenta & white) & Jacquard Lumiere paint (Pearlescent Magenta & Pearl Turquoise) on 8x8-3/4x1/2 inch (20x25x1.3cm) stretched canvas
Suitable for:  acrylics, pigmented ink or watercolour

Requirements:
spray bottle of water
soft brush (optional)
painting knife (optional)
canvas or watercolour paper attached to board with painters or masking tape
fluid acrylic paint or watercolour tube paint
plastic wrap / cling film (plastic shopping bags can also be used)

Method:
  1. Spray canvas with water and use soft brush to ensure full coverage. You want the canvas damp but not wet.
  2. Drop colours randomly over canvas. I then use a painting knife to pat (sometimes scrape) the colours into areas without any colour - wipe off knife regularly to prevent colours muddying.
  3. Add more colour if desired (this is where I added the Lumiere colours to picture 1).
  4. Spray a light mist of water over canvas.
  5. Tear a sheet of cling wrap from the roll and gently drop over canvas manipulating it to allow creases. Use your fingers to push colour around (not too much).
  6. Cover with something heavy and leave to dry overnight.
  7.  When dry, gently remove the cling wrap.
  8. Leave to dry for a further few hours before sealing if desired. (Your painting may look dry, and even feel dry, to the touch but may smear if not completely dry).
As you can see from the following images, you can create very different effects using thicker paint, ink or watercolour on watercolour paper.

Art Spectrum Pigmented Ink (turquoise, blue, green, violet & white) on 8x8x1/2 inch (20x20x1.3cm) stretched canvas
Matisse Structure acrylic paint (aqua, ultra, southern ocean blue, indigo, cobalt turquoise & titanium white) mixed with Atelier Fast Medium/Fixer to thin paint on 8x8x1/2 inch (20x20x1.3cm) stretched canvas
Art Spectrum watercolour paint on Canson Montval watercolour 300gsm A4 paper

Wednesday 18 September 2013

Update - new home with the perfect "art studio"


After years of dreaming of moving to the Sunshine Coast, earlier this year I decided to take the plunge. I've always lived in the one area so this was a big move. At least an hour and a half away.
 
So I was fortunate to sell my house immediately with the option to rent for up to three months. However, finding the right home proved more difficult that I expected. With the long drive just to view houses, along with packing, planning, etc, it just seemed to slowly drain away energy along with creativity and any urge to paint.
 
The trouble was not finding the right area, location or even the outside of the house, but one with more than one large bed room. I wanted a "studio" where I could have a few areas to paint, room for jewellery making, polymer clay, paper crafts, computer & printer.
 
After two months I found the right place and settlement was on 30 July. I have been here for five weeks and now I finally feel the excitement of painting coming back.
 
This is my new "studio". Still a work in progress and a bet messy:
 

 

Wednesday 1 May 2013

Blue & White with Green

"Blue & White with Green" acrylic paint on 8x8x1/2 inch (20x20x1.3cm) stretched canvas
The canvas was painted with Jo Sonja background colour in Blue Lagoon. When dry, Matisse Structure acrylics in Titanium White, Jo Sonja acrylics in Ultramarine and Green Lt along with the background colour were spread with a painting knife until I was happy with the result. When dry the green wasn't as strong as I wanted, so I added a few more strokes with the knife.

The painting has been sealed with Atelier Interactive Fast Medium/Fixer.

Wednesday 3 April 2013

Abstract - Red & Black

"Red & Black" acrylic paint on 8x8x1/2 inch (20x20x1.3cm) stretched canvas
Matisse Structure acrylics in Matissa Red Lt and Carbon Black were spread with a painting knife, working from the centre out. When dry I added a few more strokes of the Red until I was happy with the result.

The painting has been sealed with Atelier Interactive Fast Medium/Fixer.

Wednesday 20 March 2013

Abstract - geometric shapes

Acrylic paint on 12x16x1/2 inch (30x40x1.3cm) stretched canvas
Texture was created with Atelier Interactive Gel Medium and a painting knife.

Glazes made up of Matisse Gel Medium (gloss) mixed with Matisse Structure acrylics approx. 1:1. Transparent Yellow Oxide, Yellow Oxide, Naples Yellow, Venetian Red, Raw Umber, Burnt Umber, Transparent Umber, Burnt Sienna, Transparent Venetian Red and Titanium White were painted in rectangles. Titanium White plus water was splashed all over and lines of Carbon Black were pressed on with a painting knife and ruler.

The painting has been sealed with Atelier Interactive Fast Medium/Fixer.

Wednesday 13 March 2013

Abstract Landscape - Blue Sky, Red Earth

"Blue Sky, Red Earth" acrylic paint on 8x8x1/2 inch (20x20x1.3cm) stretched canvas
A base of three layers of Atelier Interactive Napthol Red Lt was left to dry. I was trying to get a smooth layer for another project but couldn't so this canvas had been left untouched for months.

Jo Sonja Carbon Black was used to mark where the horizon line would be (just a little below centre). Matisse Structure acrylics in Transparent Venetian Red, Deep Rose Madder, Transparent Umber, a touch more of the Carbon Black (land), Australian Sky Blue, Cerulean Blue, Ultramarine and Atelier Interactive Mixing White (pearl/titanium) (sky) were brushed on roughly and leaving the red base to show through in places.

The painting has been sealed with Atelier Interactive Fast Medium/Fixer.

 

Wednesday 6 March 2013

Abstract - Blue & White Stripes

"Blue & White Stripes" thick acrylic paint on 8x8x1/2 inch (20x20x1.3cm) stretched canvas
A base of Jo Sonja Ultramarine Deep was left to dry.
 
Stripes of Matisse Structure acrylics in Ultramarine, Cobalt Turquoise, Cobalt Teal, and Atelier Interactive Mixing White (pearl/titanium) were placed from the tube onto the canvas then brushed roughly back and forth to blend slightly only.

Wednesday 20 February 2013

Mixed Media Abstract - Blue & Green on Gold

"Blue & Green on Gold" acrylic paint, impasto/modelling paste on 8x8x1/2 inch (20x20x1.3cm) stretched canvas
This painting started out as a comparison of Atelier Interactive moulding paste (top left), Matisse Impasto Medium (top right), Matisse Gel Medium (matt) (bottom left) and Matisse Structure Acrylic Transparent Venetian Red (bottom right) using a painting knife.

This was then followed by a layer of Jo Sonja Gold and when dry a glaze (colours mixed with Atelier Interactive Glazing Liquid (gloss) approx. 1:1) of Matisse Emerald. Several glazes of Matisse Structure acrylics in Emerald, Southern Ocean Blue, Cobalt Turquoise, Cobalt Teal, Prussian Blue and Atelier Interactive Mixing White (pearl/titanium) followed until I was happy with the result.

The painting has been sealed with Atelier Interactive Fast Medium/Fixer.


Friday 15 February 2013

Abstract - Colours of the Ocean

"Colours of the Ocean"Acrylic paint on 12x16 inch (30x40cm) canvas panel
I painted this last year when I purchased my first large painting knife (#11) from Liquitex's freestyle range. See my painting knives (my #9).
 
Paint was squirted onto the canvas panel straight from the tube and spread back and forth with the knife until I was happy with the look.
 
Colours used:  Atelier Interactive acrylics in Cobalt Turquoise Lt, Pthalo Turquoise, Pthalo Blue, Prussian Blue and Titanium White.
 
The painting has been sealed with Atelier Interactive Fast Medium/Fixer.
 

Tuesday 12 February 2013

My Painting Knives

Anything you can do with a brush, you can do with a painting knife. There are a lot of painters who only use a knife. You can paint quickly by covering a small canvas in minutes, create thin lines, scrape texture or lines, apply mediums, push modelling paste through stencils, the list goes on.


#1 & #2 I have had for many years. They were bought for an oil painting class and the brand has rubbed off. These diamond shaped knives are thin and the most flexible I have with a small point.
 
#3-#7 are made by Mont Marte. They are not as flexible as my old knives, but I find I use the #3 the most. It is excellent for pushing modelling paste through stencils, mixing paint. At $2AUD each, these are a must have for me.
 
#8 is from Art Spectrum and reportedly excellent for creating the corrugated iron look but I haven't used this one yet.
 

#9-#11 are from Liquitex's freestyle range. The blades on these are as follows: #9 is 4 3/4 inches or 12 cm. #10 is 5 1/8 inches or 13cm. #11 is 8 1/2 inches or 22cm. I wanted to start working much larger, so I bought the #9 last year. It is just so quick to cover a whole canvas. #10 and #11 I just bought and have so far only used to spread gesso over a canvas. It is so much easier for this than a brush. These are $19.95AUD each, but worth it.


Wednesday 6 February 2013

My Acrylic Palette

This is my palette I use for all acrylic paints. This setup isn't completely air tight but I like that I can just flip the latch, open and start painting in seconds.

My palette is made from an A4 plastic folder (I bought this many years ago, but I have seen very similar in Officeworks), kitchen sponges cut to fit and a tile or freezer paper (I used Glad Go-Between Freezer Film). You just need to keep the sponge damp, depending on which paint is used either misting paint with water or pouring directly onto the sponge may be required.

The paint on the tile is Matisse Structure and has dried just around the edges of the puddles. The paint on the freezer paper is (from left to right) Jo Sonja Flow Acrylics, Matisse Structure Acrylics and Matisse Flow Acrylics and has been left for three (3) weeks with the sponge being wet a few times.

I have left Atelier Interactive paints on a tile for a month or more and they have been as good as using straight from the tube (if over misted they can get runny or if sponge is let dry out they will dry). However, the sponge seems to stay damp when using a tile.

My test with freezer paper has left the Matisse Structure as good as from the tube. But both flow formulas have become runny even without misting.

I prefer to use a tile as I can mix as roughly as I like, it is easy to clean and there is no setup time. This freezer paper is quite strong (I previously used wax paper, but it was too fragile and ripped too easily and also bled through to the sponge) but does required cutting to size each time but you have no cleanup, just throw it away.

Thursday 31 January 2013

January 2013 test paintings

A mixture of testing paint colours, mediums and styles on 4x4-inch canvas panels:


1 - 4 Liquitex Pouring Medium and Jo Sonja Flow Acrylics (pre-mixed) & canvas tilted.

5.  Jo Sonja Flow Acrylics. Base of Warm White with Turquoise Lt (Mix of Pthalo Blue, Pthalo Green and White) squeezed from a squeeze bottle in a circular motion around canvas.

6. Base of Matisse Brilliant Alizarin. Using a painting knife, Matisse Impasto Medium spread across canvas panel. Dried. Covered with Golden Glass Bead Gel. Dried. Painted with Jo Sonja Black.

7. Golden Crackle Paste (bottom left). Left until deep cracks formed (approx. 1 day). Painted with Matisse Ultra Blue (top right) and a watery black glaze brushed into cracks. Dry brushed with Matisse Red Lt.

8. Painted with Matisse Ultra Blue and White (top right) and base of Matisse Red Lt (bottom left) and dry brushed with black.


Wednesday 30 January 2013

Abstract - untitled - glazing and textures

Acrylic paint on 4x4 inch (10.2x10.2cm) Mont Marte canvas board

Texture was created using Matisse Impasto Medium (bottom left - shaping with a painting knife and impressing with a plastic lid) and Golden Glass Bead Gel (top right mostly).

Glazes made up of Atelier Traditional Glazing Liquid (gloss) mixed with Matisse Structure acrylics approx. 1:1 were painted in a pleasing design. Cobalt Blue, Cobalt Turquoise and Southern Ocean Blue (1st layer) and several layers of Pathalo Blue, Cerulean Blue and Diox Purple were used. A final thicker (more paint than glazing liquid) was added to a few ridge edges (particularly over the diox purple).

This started out as a test but I really like it so I'm thinking of mounting this on a large square of white board to provide approx. 4 inch (10.2cm) border. I will certainly be painting a larger version too.

Abstract - untitled - glazing and heavy gel

Acrylic paint on 4x4 inch (10.2x10.2cm) Mont Marte canvas board

Glazes made up of Atelier Traditional Glazing Liquid (gloss) mixed with Matisse Structure acrylics approx. 1:1. Diox Purple, Cobalt Teal, and Cobalt Turquoise.

Texture was created using Crafters Workshop Ringlets stencil and Atelier Traditional Heavy Gel (gloss).

A couple of glazes of Diox Purple (and wiped off the high levels).

This started out as a test but I really like it so I'm thinking of mounting this on a large square white board to provide approx. 4 inch (10.2cm) border.

Thursday 24 January 2013

Abstract - untitled - glazing over texture using red/yellow oxides

Acrylic paint on 12x16 inch (30x40cm) stretched canvas
Texture was created using a stencil and moulding paste, Golden Crackle paste, Golden Clear Granular Gel, & Golden Glass Bead Gel. (You can't see the stencil in the finished work but in the close up you can still see the shape of the crackle paste). Matisse Deep Rose Madder was watered down and poured over the canvas, leaving a red stain in places.
 
Glazes made up of Atelier Traditional Glazing Liquid (gloss) mixed with Matisse Structure acrylics approx. 1:1. Paynes Grey, Indigo and Permanent Maroon along the bottom (I should have thinned these much more and I went too dark too early and couldn't get all the colour back in that I wanted).
 
Many layers of glaze followed with Deep Rose Madder, Venetian Red, Transparent Venetian Red, Matisse Red Lt, Yellow Oxide, Transparent Yellow Oxide, Yellow Mid (Azo), and Australian Sienna (reds to the bottom and yellows to the top mostly, but with just a little crossover to unify the colours).
 
I haven't decided if I will layer some more so I will varnish with a thin layer of acrylic gloss in the future to protect it.
 
Close up of texture:

 
 


Monday 14 January 2013

Abstract "Hidden Lane"


Acrylic paint on 8x8 inch (20x20cm) stretched canvas
This is a reused canvas which has been covered with modelling paste with a painting knife. There are a few ridges and rough spots.
Matisse structure acrylic (naples yellow lt (1st layer only), Australian sienna, red oxide, yellow oxide and burnt umber) mixed with gel medium (approx 1:1) was brushed in two layers of horizontal and vertical lines. It was actually painted up the other way and looked like a 'U'. When I was about to add a 3rd layer I turned it upside down and loved it.
The painting currently hasn't been sealed or varnished, but a coat of satin will probably be added to protect it.

Monday 7 January 2013

Abstract using plastic bag to mix colours on canvas

Acrylic paint on 8x8 inch (20 x 20cm) stretched canvas
A thin layer of Atelier Interactive acrylic paint (pthalo blue, pthalo turquoise, cobalt turquoise lt, pthalo green and titanium white) was randomly brushed all over the canvas.

When dry, these same colours were placed in globs straight from the tube around the canvas. A sheet of freezer paper was crumpled and then covered the wet paint. I gently pushed all over to mix the colours together. The freezer paper was removed while the paint was still wet leaving a ridged texture all over. The paint was quite thick and a lot came off with the freezer paper.

The painting has been sealed with Atelier Interactive Fast Medium/Fixer.

Wednesday 2 January 2013

Looking back at 2012

Just a few of my painting experiments for 2012. A mixture of testing paint, mediums and styles on 4x4-inch canvas panels:


  1. Liquitex Pouring Medium and jo sonja flow acrylics (pre-mixed) & canvas tilted.
  2. Image printed on tissue paper, jo sonja crackle, glazed with acrylic.
  3. Liquitex Gloss Medium & Varnish mixed with Atelier Interactive paint mixed in squeeze bottles.
  4. Golden Clear Tar Gel dribbled and acrylic paint.
  5. Atelier Interactive paint and dried with plastic bag pressed into surface.
  6. Liquitex Pouring Medium and Jo Sonja flow acrylics mixed with water.
  7. Atelier Interactive paint pushed into place with plastic bag.
  8. Atelier Interactive moulding paste pressed with cutters, fork and glazed with acrylics.
  9. Liquitex Pouring Medium and Jo Sonja flow acrylics (pre-mixed) & canvas tilted.
  10. Liquitex Gloss Medium & Varnish & Golden Fluid acrylics. Knife used to spread paint and then canvas tilted.
  11. Testing Matisse Structure acrylics.
  12. Circles made with Golden Crackle medium and painted.
  13. Liquitex Pouring Medium and Matisse Structure (deep rose madder) and Flow (Australian sienna) acrylics.
  14. Abstract Geometric painting style.
  15. Golden Crackle medium and glazed with brown.
  16. Jo Sonja Crackle. ATC stamped and Liquitex Pouring medium.