A palette knife experiment and KMP 14/100

I’ve used the palette knife rarely in these past years and then it’s been combined with brush work. Decided to rectify that by making a small piece using just a knife. Ended up using one large and one small. It was still difficult to maneuver and place the paint where i wanted it to.
Ticket Seller 2

This second piece was made exclusively with a brush. Because of the palette knife experience the work began with the filling in of the umbrella shapes and the drawing stopped there and the rest was just painted on. There is much more detail in the second one that I wanted.
Ticket Seller 2

The next time I shall try using both – the palette knife for the background and a brush to bring out the details in the pt of focus.

10″ X 8″ acrylic on illustration board


KMP’s are skill building exercises advised by Kevin Macpherson in his book Fill Your Oil Paintings with Light & Color. I started these in 2007 and am continuing with it in 2010. If you want to know more about this set of exercises click here.

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Mixed Media

When it is finished it’ll qualify for the title given to this post. So far it is in acrylics and today I plan to add oil paints to it. I’ve added a couple of layers of wash to the background and to the two male figures in it to make that part of the painting recede. Looks like a lot more of something is required before that happens. Any suggestions? Plan to add some texture to the woman in the middle to make sure that she is the focus of the painting.

P1010430P1010448P1010472

Update : Later in the day 😀 : one more wip. this time the layer with oil and two options using layers in art rage to make the background recede.

P1010477.JPGtesadtesad 2

Update : Feb 7, 2008 : This is the first piece in which I’ve used both acrylics and oil. Though I’d used acrylics to tone the canvas before starting in oil, it had never crossed my mind to make a more complete painting in acrylic and then add oil until Bob Martin suggested it. He helped me immensely by making a demo and posting a step-by-step to illustrate his process. I have to thank him for this piece. You can see the final version here.

Creative Drawing and Art Appreciation 3

Yesterdays CD & AA session was a discussion about using mechanical lines to draw. The orderliness, precision and the weight of such lines. We had a demo by Javed and then drawings of Juan Gris and Stuart Davis were shown and discussed. Both were influenced by Picasso and Cubism and expressed form in terms of line, plane and colour.

The exercise for the day was to make two drawings spontaneously using mechanical lines. We were to continue using black, wet medium – pen, ink, brush, markers etc. A third drawing was to be made using an office stapler as the take off point. I used a thick black marker for all three.

I am enjoying these sessions and the thrill of allowing myself to put whatever comes to mind on paper regardless of what it may mean. All this is a part of my subconscious mind and I am keen on learning to interpret them 😀
CD & AA CD & AACD & AA

Night : Artmakr Weekend

artmakr

A few weeks ago, I got an email from a friend talking about an impressive meteor shower and an hour filled with an extravagant display of shooting stars filling the skies.  I was looking forward to it and decided to surf a bit to find out more and was quite disappointed to discover that it was hoax.  The event had already occurred in August 2003.

For this piece, I’ve used a new digital software built for the Mac OS X platform with the lovely name of “Rita”  It doesnt compare to my reigning favourite Art Rage but I enjoyed trying it out.

Night is the topic of the week over at Artmakr Weekend.

Loosening up

September 16,2007 : The paint was wet on the first painting and I wasn’t ready to go back and finish the Ashulia Lady and so I decided to experiment some more. There was this beautiful, strong B&W photograph,taken by Anil, of a common friend. The thinking was that a monochrome painting would be different from what I’d been working on lately. I started off fine with a limited palette, mixing blacks and greys but one thing led to another and soon I was laying color over the black and white layers. It wasn’t an underpainting as I didn’t wait that long.

Getting a reasonable likeness was an important factor as I planned to gift it if it turned out well. My husband gave me good feedback both on likeness and the style I was employing. I had to stop as I was going out for dinner.

BS

I had initially planned on waiting till I got the colour reference from Anil. When we returned that night I couldnt resist taking a peek at it. The changes that needed to be made were shouting out at me and I couldn’t resist. Jumped right in and it was another very late night. 😀

BS BS

The first photograph was taken that night and the second yesterday evening. The actual piece is somewhere between the two. Closer to the second photo. I havent worked on it since Thursday. I’m quite happy with where it is now. Need to just fix a few of the features, like the ear, hair etc. and then I’m calling it done.

I would love to hear from you on whether you think this is looser than my earlier paintings? If you havent see any of the others, would you independently consider this to be painterly and “loose”? Whether you like colours to blend smoothly from one to another in a painting or prefer it to look painterly?

Comments and suggestions always welcome. I wanted to put in a poll to make things easier for you to give me some feedback but there doesnt seem to be an easy solution for a wordpress.com blog. If you know of one, do let me know.

Update : September 18, 2007 : I tried to do some major fixing and am now in a soup 😀 I did like it better at stage 2. Lucien Freud has been on my mind for a while and I think you can see his influence. I guess I’ll keep on going. The photographs below are from last night and this afternoon.

BS - wip 3 BS - wip 4

Photo reference copyright Anil Advani used with permission.

Peace : Artmakr Weekend

Well, since I’d said I was going to be doing the Ashulia series, I knew I’d be doing everything but that. Just inherent stubborness. Actually, what led me to this was that I found that once more I was blending the paintings too much for my liking. In these paintings I tried to get away from that. Let me know if you think I’ve been successful. The nice part is that there are two more paintings that I’ve started and I like the way they’re turning out.

The first piece was a jump start as there already was a piece of canvas with a pencil sketch of my friend, Sangeeta sleeping. It had been based on a sketch made back when I was visiting her in April. I had taken some photographs as references too. It seemed like a good project to “loosen up” with. I know now that I will not be using apencil again as it smudged and muddied up the colour that I was laying on top of it.
Peace wip PeacePeace

I need to tone down all the details that I’ve put into her shirt and concentrate more on her face. That is where I want the attention focussed. I’m also thinking of toning down the background a bit. Waiting for tomorrow morning as this will give me a much needed break away from it and a view in natural morning light.

I’ve sat down most of the time for both these paintings and I think that’s a mistake. Have to get back to my habit of standing and painting.

This painting fits in well for the topic of the week, Peace, at ArtMakr Weekend.

Wedding : Illustration Friday

Monotypes from a photograph of me on my wedding day. I revamped the plate for the second print. Basically moved the eye up a bit. Mostly added more colour 😀

I prefer the first one. Which of the two do you prefer?

Monotype experiment step 4

Monotype experiment - revamped

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Check out many more interpretations on        

My first Monotype

September 12, 2007 : I was quite determined to experiment last night and was eventually up till 3 am! Monotypes have been on my mind ever since I first came across them on Belinda del Pesco’s blog. I have a couple of large glass palettes ( 11″ X 14″ ) for my oil / acrylic paints. I pulled one out, wiped it down and then started painting on the surface with poster colors. The photo reference is one of me taken at my wedding. I did not feel the need to look for likeness for this experiment but boy was i much much thinner then! 😛

Monotype experiment step 1

Knowing that the print would get reversed I flipped the glass plate over and took a photograph. You can see all the poster colour bottles and the small ceramic mixing bowls that I used.

Monotype experiment step 2

Managed to locate some textured ( hatched, 11″ X 15″ ) paper which didn’t seem too thick but couldn’t find a big tray to soak it in. Ran it under the tap for a couple of minutes wiped off the excess water by pressing it between newspaper sheets. Placed it on top of the glass plate, added a newspaper over it to absorb any excess water and then pressed it down with a barren. Kept lifting it to see what was happening and began to realise quickly that the paper was too thick and textured to take the print.

I found out from a comment left for me on flickr that I need to use different paper and also needed to soak it for 10-15 minutes prior to blotting. My first print looks like the ghost (second) print. I’m planning on trying to add a few washes over this one but worried about whether the poster colours which are water soluble will allow me to do so.

Monotype experiment step 3

I did have some block printing paper ( bleached mulberry 9″ X 12″ 45 g/m2 ) which I did not use at first because it was much smaller in size plus probably something to do with my hoarding tendency – I only have 25 sheets and no easy place to source more from 😀 I ran this under water and it soaked immediately so much so that I was worried it would tear. Mopped up the excess water, placed it on the glass plate and tried to take a print. I spent much more time pushing down with the barren as with each peep I saw that it was accepting ink much better.

Monotype experiment step 4

I was a bit disappointed even with this print as it was soooo much lighter when compared with the original on the glass plate. Also it didnt have a buttery feel like the lithograph print did. I’m planning to put it on a toned surface to see if it brings out the colours better.

There’s still some paint left on the glass plate though not as much as it seems to look here. I’ve put it on a white background before taking the photo. But there’s enough left to make me feel sad about washing it off! I’m wondering if there are ways to revive it for another print!!
Monotype experiment step 5

I’ve read about painting on frosted glass a couple of years ago and this experiment has made me want to try that out too. I’ve learnt that I should use the right kind of paper and soak the paper for the right amount of time. I really did enjoy the experiment and am planning on more as soon as I get the paper.

Update: September 14, 2007 : I wrote to Belinda del Pesco asking her for help. I got a prompt reply and I’ve put excerpts below.

On my question about recycling the leftover image.

“You can absolutely add more pigment to the plate, and print again. And again. It’s never ending, and each one will be a new surprise.”

And so I did… but just one more 😀
Monotype experiment - revamped Monotype experiment

the spontaneity of the first attempt did not come through in this second one and so I’m not feeling bad at all about erasing what is left over. the print did take much better this time. I used the block printing paper again.

some more tips from Belinda

  • Try soaking your paper for 5-7 minutes, instead of running water over the surface.
  • Blot with clean, lint-free bath towels 2-3 minutes before you print.
  • I use BFK Rives Paper and Somerset – both are available online.
  • If the paper starts to mar from rubbing, lay a piece of wax paper over it before using the baren.
  • Since your pigments are water based, to help them release, you can dust the plate with a super *fine* mist of water before you print (rinsed & re-used hair pray bottles work well)
  • Even if the print comes out as light and ghost-like as your first one, it’ll just be begging for more pigments; pastels, paint, colored pencil, charcoal, ink, etc.
  • There’s a great book about monotypes by Julia Ayers, and you can find it used on Ebay frequently.