|More brushiness. I'm beginning to understand|
that paint is crucial to achieve this effect.
Cloth alone won't get me there.
|I found that generally the piece is more successful|
when the shapes of each colour coalesce into a single mass,
rather than being scattered throughout.
|Having one colour predominate seemed to work best.|
As I explained in the previous post, some of these began as a painted background, with collaged shapes on top. Further painting and collage often ensued. Others started as a collage with paint applied as a second layer.
|A piece of cotton with black and white polka dots was stiffened |
with Golden's GAC 400 so that it would cut like paper and not fray.
Some of these were begun before the workshop, others were started at the workshop, and a few were begun and finished in the days following the workshop. It was important to me to have a cohesive set of ten new pieces for our local show, and I was able to complete these just in time.
|These four shapes include a good range of size. |
The large orange-red shape began as painted tissue paper
and offers an interesting, wrinkly texture.
As I worked on these, I tried to use contrast of scale, hue, value, hard and soft edges, etc. Using blue and orange automatically ensures the contrast of warm and cool.
|Multiple layers of paint contribute a sense of depth.|
|This one was much improved when blue paint was added to the central blue area,|
making a large blue shape.
|I think this one would be improved with more value contrast.|
I was seduced by the soft, limited range of mid-tone values in the background.
I still intend to translate some of this abstract imagery into cloth, but I am more and more persuaded that paint will also be needed to achieve the "lost edges" that I find so appealing. Meanwhile, I am having great fun exploring what paint can do.