CORONA CROSSES MAKE BACKGROUNDS FOR CARDS!

For the last few weeks I have been studying and working on crosses as a design symbol.  It seemed appropriate during this time.  Now the most recognised icon in the world, the cross in pre-Christian times is thought to have originated from the ancient Babylonians, before spreading to other parts of the world.  To Christians, it is a religious symbol depicting the crucification, particularly at Easter.  Not only is it a symbol of death, but it is one of love, hope and resurrection.

Above are a few of the samples of textured painted crosses that I have been trying out.  The texture in this case was sawdust mixed with PVA, which was applied and allowed to dry before I added layers of paint.  I photocopied them to use as backgrounds for some cards, but they came out very subdued - probably because I was low on ink!  That suited me as I just wanted the crosses in the background with bright flowers as the main focal point. The cards would be suitable for Easter or I sent one to an elderly friend, who has been heavily involved in his local church, for his birthday...

MORE CUBE ART!

For these three art cubes (9cms),  I have layered and scratched through acrylic paint.  I started by priming the wooden cubes, before painting them in a single colour.  Once dry, a layer of gloss medium was added and allowed to dry.  I then painted layers of shades and tones of the complementary colour, and its neighbours on the colour wheel, over the top.  Marks were scratched using sharp instruments, creating an exciting contrast.  In places the top layers of paint were softened using surgical spirit to show the underlying colour.  Extra marks were added by splattering and sanding.

The cubes were varnished and waxed, so they are pleasant to handle. They can be displayed any way up and changed around for a different look...

SMALL IDEAS FOR LARGER WORKS

These six samples are postcard sized, and are inspired by doors and doorways.  I did them for a sketchbook that I started at the beginning of the year, looking for images or symbols representing each month, that I can use as a starting point for larger abstract paintings...

As January is named after Janus - God of the Doorway, doors seemed an appropriate subject to explore. The techniques used were, layering of acrylic paints, and scratching through.  To finish off, I covered both sides with clear acrylic wax, and added lines of machine stitching.  I can see that, some of these designs and colour schemes, could work as the basis for interpretation into much larger artworks...  

 

WORKING ON INTUITION!

I  have been trying to do some abstracts from intuition and imagination. These sets of pics show the progression in layers of each one.  Each layer represents a session in the studio, starting from a background layer, which I did not photograph.  The layers, from first to final, are shown from top left in a clockwise order.

I worked on A2 paper (42cms x 59.4cms), mainly in acrylics and oil pastel. I haven't decided what to do with them now.  I might cut them up, especially the one below, and use them as backgrounds for further works or I could mount the whole or part of them, ready to be framed...

I do find it hard to start a piece of work with no idea what the result will be. You have to keep making decisions - colour,  shapes, composition, mood of the piece as you go along!  I have recently been listening to interviews with the artist Robert Burridge.  Before he starts an artwork he writes a page in his sketchbook, listing his concept, colours to be used, composition, title and even what he wants people to feel when they view it!  When things are not going well or he doesn't know how to proceed he can refer to these notes to keep him on track!

I think I am going to try and see if I can get better results...

'FINDING A WAY'

'Finding a Way' (50cms x 50cms) mixed media on wooden panel

With tulips on the brain, I have just finished this artwork!  I did a number of layers of acrylic paint and collaged papers, until I achieved the depth I was looking for.  I also used oil pastels, alcohol inks and splattering with metallic gold paint.  I added the bee, as I felt something was missing, and I had recently done some for the window dressing in the gallery and was keen to use the design!

'HIDDEN MEMORIES'

'Hidden Memories' (90cms x 90cms), collage and mixed media on canvas.

I have just finished this large sale commission.  It is to complement another artwork I did 10 years ago, as it is to go on an adjacent wall.  Below is some of the stages it went through.  It is a mixture of collage and mixed media, mainly acrylic and oil pastels.  The papers with text, that I added in a crucifix shape, are photocopies of personal papers supplied by my customer.  Although at the end of the day only the odd word shows through they provide depth and meaning to the picture.  That is why I have called it 'Hidden Memories'...

SINGING BIRDS!

One of my fellow makers at the One Craft Gallery, who is a wood turner, gave me some paper thin sheets of bark which had peeled off a silver birch tree.  They had lovely markings and inspired me to make some long thin cards depicting trees with singing and perching birds.

I treated the bark in exactly the same way that I would treat paper.  The background was collaged papers and tissue.  On the next layer I used the bark and then put another layer of cutout paper before adding the birds which were cut out of some art papers left over from another project - it pays to keep everything!  Some  further details were added using acrylic paint and thin black marker pens.

The bark not only provided authentic colour and markings, it gave an interesting texture.  I am now hoping to use the same subject and papers to make a larger artwork on a wooden panel.

FINAL SAMPLES

The on-line course with Jane Davies is finishing.  I have posted my last samples - a series of abstract landscapes using acrylics and oil pastels. They are all large - (33 x 23.4 inches) and are on paper.  Next step is to do some large abstracts on canvas or board...

ABTRACT LANDSCAPES

Here are some more samples from the on-line course I am taking with Jane Davies.  I have used large paper (33 x 23.4 inches) with acrylics and other media.  This time I was investigating abstract landscapes with a definite horizon line and atmosphere created by layering with transparent and opaque paints.  The line divides the work in two.  I treated each half differently but they had to relate to each other.  I changed the position of the horizon line in each.

EXPLORING SHAPES

I am continuing to work big - all of these are on A1 paper ((33 x 23.4 inches).  These latest samples, from my on-line course, explore shapes onto a background that has depth and layering.

I like the contrast between the bright and more subdued colours, and the sharp and soft edges of the shapes.  I had a love/hate relationship with each one as they went through their various stages.  I kept adding layers until I achieved a result that I could live with!

IS IT FINISHED?

This piece of work had many layers before I finally decided it was finished, (for now anyway)!  I used two of my favourite techniques for getting some of the colours underneath to show through.  They are -  scraping, usually with an old credit card, and scratching through, using an old craft knife.

It is always difficult to know when to stop with a layered piece - you could go on and on adding marks and details, but then there is a danger of losing what you were trying to achieve.  During the layering process there are times when I leave it to dry, or I have gone as far as I have inspiration for.  I then look at it from afar.  Sometimes, I prop it up at the end of my bed so I can wake up to it and look to see what needs to be changed or added. When I can look at it for a long time without the urge to make changes and can't think of anyway to improve it, then I call it resolved.

Sometimes I am not happy with an artwork at all and cannot see a way forward.  In that case, I store it and bring it out, maybe months later, and look at it with fresh eyes.  By then, I have had the experience and techniques of other works, so new ideas often emerge to find a different approach to finish it.

  

LANDSCAPE ABSTRACT

This work was turned several times until I decided that it should have a landscape orientation rather than portrait.  At one time it became rather dark but I read somewhere that if you go darker by adding black it will lighten the other colours.  I found this to be a successful ploy and I now have a moody abstract as a result!  The size of this piece is 30cms x 42cms.

MORE LAYERS

Since my on-line course has ended, I have been putting into practice what I have learnt.  For the moment I am sticking to abstract concepts and increasing my layering of paints, collaged papers etc.  I always did put a number of layers into my work but now I am not so afraid to cover things up and make radical changes.  The work below changed many times.  You can just see some of the underlying shapes and colours showing through. Instead of working on A4 sheets of paper, I have gone bigger (42cms x 30cms).

MORE TRIES

These four started with the first layer being blue and/or turquoise paint and layers added.  Scratching through and rubbing techniques, as well as stamping, collaging papers and making marks were added to create a depth of colour.  A small area of 'something else' was added for extra interest.

All these samples have a bright background of yellows and oranges.  Each one was then treated with different colours using various techniques. Three of them have a bit of the bottom layer peeking through and for the other one I added browns and reds to the mix and purple strips were collaged onto the top.