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Part 1 Overlaying Washes

orange on red dry
second colour over first dried colur

 

red on orange dry
Something went wrong with this red over dried orange.

Above are various exercised tried out using wet in wet and wet on dry applications of paint

For this Exercise I was to use the dry papers from the last Exercise, make up the same colour mixes only this time paint the second colour over the dried wash that I set aside. I was to notice the different ways the colour behaved and make note in my learning log. For Example

Does this method give you greater control?

Have the colours merged in the same way?

How could I employ these techniques of building coloured glazes?

After I was to practices what I had learned with some of my other colours. I was to finish up by looking at Mark Rothko and the interactive tour with the Tate.

There are numerous factors that are involved in how this exercise goes, from thickness of wash, gradient of paper, type of paper, wet on wet, wet on dry.  Wet on wet if done on a slant mingles with the second colour and you get happy accidents within the mix as can be seen within the previous exercise. How well it mixes does I have found depend on the colour pigment used. The most definitely don’t all act the same way, even within type of colour Ultramarine Blue is far more grainy and unpredictable than Cerulean Blue which flows more even when doing a wash.

Working wet on dry is altogether different, rather than mixing and having a range of colours by merging mixes, you get a very vivid colour either end with a slight tint of the second colour and a gradation rather than a mix.

The exercise of wet on dry I tried out from my original paper didn’t work, I have no idea why although the orange over red worked better, the uptake on the paper was odd, it could possibly be because the paint was left in pots overnight and hadn’t fared well. However the orange and red both contained Alizarin Crimson a colour which didn’t work as well with the previous exercise. However I tried out numerous sheets of various applications and paper some worked some didn’t. I think Acrylic this watered down is far more unpredictable than watercolour paint, however like watercolour it does work better on watercolour paper. I painted one sheet of watercolour on some old watercolour paper I had and it works so much better when applying as a glaze, the piece I painted was wet in wet and can be seen second from the left top line.

Above are a selection of some of the exercises I have done including the two original ones that didn’t work.

Wet on Wet and Wet on Dry applications will have their different and similar effects which could be used for various reasons especially where a gradient is needed or wet in wet gives a feathery look which would be good in skies, petals, water whilst layered washes can give a glow from an under colour that just can’t be got by a single colour it adds depth and texture and will be able to be used for various reasons, like stone, paintwork, sky and so on.

I looked at Mark Rothko and whilst his work is not something I particularly like I must say after the exercise I can see the fascination on his use of colours.

Part 1, What paint can do, Tonally graded wash

 

For this exercise I had to set my paper lengthways choose a strong colour and with a small amount of colour work in water. With a medium wide brush work from the top to the bottom of the sheet with increasingly dilute mixes of the colour until, at the bottom of my sheet I had a very pale wash almost faded out to white. After practising find another colour that is close to the original in the spectrum and paint graded washes on at least two more sheets.

Next work wet in wet paint a graded wash onto one of the sheets that has the first colour. Keep the intense tone of the new colour at the pale end of the first colour and allow the colours to merge in the centre.

First I didn’t have any watercolour paper so had to use a mixed media paper, however it worked well enough to do the exercises. I taped them down to a board but on removal they are still buckled so didn’t work as well as a well stretched watercolour paper. I tried applying the colour to the paper dry on the first exercises then adding water as I went down to dilute the paint as I went, in the main this worked well and I got a gradual lessoning of colour. However it works better when the first line of colour is applied to damp paper as can be seen in the large wet in wet exercise sheet. The Crimson pigment in the dilute Acrylic didn’t lay that even so it wasn’t as smooth as I could wish, it was slightly better with the orange though it had a mix of Crimson and Cadmium Yellow so wasn’t perfect.

The wet in wet didn’t work too well as by the time I had turned the paper around the Acrylic had dried when my wash got to the merge stage. I had slight merging of colour but you could still see a dry line. I found a larger offcut of paper and tried again, first I wet the paper and then applied the Crimson, turned the paper around and applied the Orange and got some nice fingers of mixing colour in the centre, rather like high summer cloud washing over the blue sky.

I am finding the experiments fun and a great way to learn about the properties and art of using Acrylic paint. I think in future when I get my off cuts of watercolour paper I will repeat the process and see how the paint behaves on a better support.

Basic Paint Application-Painting with Pastels

 

 

 

pastel 1

 

For this exercise I was to try an exercise with pastels if I had them. Pastels are both drawing and a painting medium, and nowadays are used more in the latter category. The application of oil pastel and soft pastel is very different, particularly in relation to painting:

Oil pastel is usually used with turps and can be used to layer and blend.

Soft pastel picks up the tooth of the support and can be blended with paint using a damp cloth or brush and water scumbling techniques.

Large areas can be covered with the side of a stick, lay one colour over the other and blend colours and tones. The points can be used for linear details.

I was to practise making marks and blending with pastels and if I had time make a simple picture.

I had some old oil sticks which I had never  used and about 6 water soluble colours, but no turps.

A few techniques were attempted using sticks in various ways, making a number of marks using the point and the side of the sticks and blending with various methods, fingers, kitchen roll, baby oil (no turps), and water which I blended the water soluble crayons with. I also drew two rough pictures using just about all the above. The one thing I found was finer work without adapting the sticks or using turps was difficult and it made me use it vary lose in application.

I didn’t use chalk pastels as they are something I have used a lot in Drawing 1 so I wanted to try out the oil crayons as they were new to me and I wanted to try out using them. They are a lot more versatile than I realised, so will attempt using them again in the future.