Natural Modelling paste B & C. Lascaux structura.
Oil paint glazes on aluminium.
I added beeswax to Purple Lake to make a buttery consistency and these denser areas of paint really stand away from the glaze.
Oil paint on aluminium & oil paint on burlap
Oil paint on canvas & oil paint and burlap on plywood.
I have learnt to make layers of glaze thin to begin with. This is what happens if the glaze is too thick. Prussian Blue oil paint on aluminium. But I can use this as it is a good ground to work on and layer up with more glazes.
When using a bought primed canvas do not size and gesso the surface as it will crack and the canvas becomes very taught. Just paint directly onto the canvas. On this large canvas I put a number of layers of a blue grey. Today I have put a thin white wash on to try and knock the colour back. I will add another wash when dry. I used a large brush and went against the grain for an even coat. I am going to add more layers of white glaze to then experiment with a Prussian Blue and Alizarin Crimson glaze. Keep following to see what happens.
Oil paint on canvas, plywood, burlap, aluminium and driftwood
I am reflecting on how the materials sit alongside each other and what they could represent. I am getting a feel for the different surfaces and how the paint adheres to them.
Collage, stone, gouache and coffee on heavy khaki paper.
I have been experimenting with different tones of the same colour.
Coffee and ink on Blotting paper.
I am playing with natural materials in preparation for working onto burlap. The experimentation of using coffee and ink onto blotting paper has been successful as it is giving translucent layering that relates to what I am trying to say in my work.
I have had a successful day experimenting with materials with some surprising results.