Dear readers,
I write this blog about Friday 27th, and it is Saturday right now. When I wanted to photograph this painting, I could not find my phone, so I could not photographe it. After a lot of searching I found out it was in my daughters schoolbag, so I could not use my phone the whole day until she got back. And by that time it was dark, so I could not photograph it…
So: now here is the text of Friday (and you will find the photograph to the right):
Today I worked on a strange format: 13/38 cm (or 5/15 inch). This size is because I had a leftover piece of mdf, and I cut out a piece of paper exactly that size.
This piece was not a struggle, but it changed a lot. I worked quick, but painted over the whole thing more than twice. Finally it came together.
I use a lot of ‘glazing’ these days. Never understood so well the use of it, but now I love it. I use Golden Quinocridone Nickel Azo Gold fluid acrylics (a lot of words for indeed a marvellous colour), and then I brush a very thin layer on it, which gives a kind of golden glow over it. For instance: the pink becomes a sort of warm orange. After that I paint the ‘pure’ colour over it again, so then I have the unmixed pink, and the warm pink+ quinacridone. They have become ‘family’, and that helps the painting come together.
Same story with teal and olive green. When I paint QNAG over it, it becomes sort of brownish green. And after that I paint the unmixed colour over it (or a mixture of teal and green). Because of the QNAG also the pink and the teal are closer, which helps the painting come together.
Okay, enough ‘theoretical’ stuff!
Bye, I hope everybody has a good painting or otherwise creative day!
Simone
Yes, it was Nicholas Wilton who mentioned it, but I think I tried something and afterward thought: hey, this was what Nicholas Wilton said too. I probably had stored it somewhere unconsciously. Because he works in oils, I thought: this is not going to work for me. But of course it works in transparant acrylics too!
Simone, happy to see this post a day after the fact. I like its unusual shape, and I like the feel of the painting. You have pops of color but they have just a slightly muted feel to them which along with some use of neutrals seems to give a soft overall feeling. I appreciate your discussion of making the color families through use of glazes. Was it Nicholas Wilton (or someone else) who recently did a post about that technique. I remember being intrigued by that ‘technical’ stuff—but I haven’t thought to use it yet.