More practice with "less is more" . . .
Saturday, October 27, 2012
Thursday, October 25, 2012
These were the most uncooperative models! I had started
this painting with another arrangement only to find they
had completely shifted overnight. I painted the rearrangement
on top of what was already there and focused on their unruly
personalities. It was an opportunity to practice leaving stuff out.
By the time I got to the flower on the right, it felt right to mix
the grays, then use a few bright strokes and decide it was enough.
Monday, October 15, 2012
Trying to work on getting a more subdued overall tone . . . I think I
forgot the highlights. I toned the surface with yellow ochre, then used
viridian to block in the shapes and wiped out for the lights—trying to
get away from filling in outlines.
Saturday, October 13, 2012
Very thick paint and a mindset to leave out detail and not "pretty
I love Stanley Bielen's work and visit his galleries' sites often but
have never seen this one before:
Friday, October 12, 2012
Monday, October 8, 2012
Saturday, October 6, 2012
Tuesday, October 2, 2012
When I woke up yesterday, I didn't feel my usual drive to paint.
But then the alternative would have been to clean house and there
was no drive to do that! I needed a shot in the arm and had read about
painting on mylar so thought I'd give it a try. The surface isn't that
different from gesso but for some reason, it gave me permission to
focus more on the paint than the subject—experiment rather than produce.
When I look at this, it feels like I didn't paint it. Which might be a good
thing to clear out old preconceptions about how my paintings "should" look.
Thinking I'll use PVA glue to mount this to a gessoed panel . . . if anyone
has experience mounting mylar, please let me know what works best.