This is another composition in which I introduced a streak of quinacridone burnt orange into a field of ultramarine blue. I really love the rust/green/yellow hue that results. My first, steady stroke into the wet ultramarine diffused away from the center to create a narrow, wedge-shaped leaf, or root-like image. (I proceeded to paint another […]
The idea today was to further explore the interaction of two colors: ultramarine blue and quinacridone burnt orange. I began with a swath of blue. I drew a brush loaded with burnt orange across the wet blue field, pausing at intervals for the pigment to bloom into the background. Before executing the composition above, […]
Yesterday’s post was, in part, about rescuing one of my compositions that had some technical errors. I solved my problem by adding some dark (Mondrian-esque) lines to cover my painting mishaps. However, I made a copy of my work before I applied the lines. With the help of Photoshop, I smoothed over the mistakes. I […]
I had fun with acrylic ink drips today. I dropped them on wet paper. The first one was a red splash that made a sunburst (if the sun were that color). The other inks were metallic; I didn’t form any pattern consciously. The ‘sun’ inspired a horizon line. In keeping with the iridescent nature of the […]
I started today with an odd-sized piece of watercolor paper. It was the last one on the pad and I thought it was time to make use of it. I broke up the wide dimension by using masking tape to divide the paper into three sections. I penciled-in arcs and sharp angles in the middle section and painted […]
Below is another composition based on the round form. I placed a band of quinacridone burnt orange between the central dark blue and an outer perimeter of turquoise (that I later glazed with the reddish ultramarine blue). I left the paper white for a interval, just right of center and added flatter, unsaturated colors along with a […]
I began with a pale blue egg shape in the center of the page. I did this because I wanted this portion of my circle to look far away. Pale blue appears to be associated with distant background (i.e., in landscapes, blue recedes into the distance). Hans Hofmann formulated his push/pull theory, positing that adjacent colors have […]
I used a stiff brush to paint the initial blue curve. I have much more control with brush bristles that do not yield. I also like the dry-brush effect. The curve beginning with the dry brush ended with a gradient from dark blue to light. The darkest blue is at the edge of a teardrop-shaped […]
I will leave the reader to discover the visual metaphors in this piece.
This is another study done on very heavy (246# linen textured) paper. I began by cutting curved lines into the surface. These curves serve as the scaffolding for subsequent brush strokes and the trough for the green ink I introduced while the paper was wet. I moved the pigment around on the wet paper with an […]
