Hi everybody, below is the last piece from Seasons mini-series:
This is “Summer”. Unlike my “Winter” painting, I didn’t have a problem doing this piece. Summer is my favorite time of the year. Summer is so beautiful where I live (Vancouver Island). It is warm to hot with no humidity. And the water is gorgeous:
In this detail, I hope you can see the thin layers of water atop the sand. This painting is obviously abstracted~ the water and sand does not look like that where I live, but it feels like that.
The sand and sun is all shimmering gold for me:
In the detail below, I tried to capture the golden light of the sun dancing on the surface of the water:
Here is a skewed shot of from the side:
You can see by the side shot that this piece is not as thickly built-up as other pieces that I’ve done. This is because the subject matter was very straight forward; I did not have to think long about what “Summer” is for me. When this stage of the painting presented itself, I didn’t want to add A thing. Compared to other paintings in this mini-series, it is the simplest and the fastest piece. But in the end, you have to accept when a painting is done.
I am looking forward to summer and I will try to endure the winter as well as I can. Anyone else feel the same?
As promised, here is another one from Seasons mini-series, “Winter”:
I had the hardest time with this one. A kind of block~ I don’t know if it’s because I really don’t like winter. As I get older, I don’t seem to handle cold and dark very well.
Anyhoo, for me, the good things about winter are being warmed by a hearth, rest, hibernation and sleep. I wanted to show a blanket of cold over a sleeping earth:
The hard earth below is done with many textured rocks built up into layers:
Over the earth, is a dark stormy sky mottled with forming snow:
And on top of the blanket of cold, through the veil of sleep, snowy sprinkles:
The white striations remind me of stitching on blankets.
I hope you like this piece, I am satisfied with its overall harmonious and calming feel despite the stormy clouds.
Here is the last piece in the Zodiac series:
Capricorn is my star-sign.
I wanted to use deep blues and one of my favorite colours, Payne’s Gray for most of the painting. It’s hard to see, but variations of blue are used along the edges.
It’s also hard to see the bluish iridescent highlights on top of the star-sign itself :
But, I do really like the abyss of blue space and millions of stars within:
I’m glad my family’s star-sign project is finally completed. We’ll see if they work as a grouping while having incorporated everyone’s preferences in the individual paintings.
Here’s my husband’s birth sign:
He requested to incorporate his favorite colour: green. So I complied with his request. It was used predominantly in the centre of the painting.
Then the green is extended by subtle edging on the sides:
Finally it was used as an iridescent highlight layer over for the star-sign :
Heres another detail shot:
Originally when I thought of doing these pieces, I wanted to do the star-signs in gold or silver metallic paint. I guess I could have done them here, but I thought it would be more harmonious if I kept the signs themselves white (since, they are going to be grouped together). Instead I chose to incorporate small variations, in the subtle highlighting of the signs via iridescent overlay. I guess we’ll see if it was a good decision or not when they are grouped.
Stay tuned for the last of this mini series featuring my star-sign😀
Have a good weekend!
Here is the Pisces piece from the Zodiac series:
This one is done with a fiery “nebula-like” centre by request of my eldest son.
To reflect the fiery “underpainting”, I decided to include a red line on the profile of the painting:
The sides of the painting are still matte black. I want to keep the matte black as a unifying feature on all four pieces of this series.
The sign part if the painting was done with white and an iridescent green to offset the warm centre of the painting. Again, it’s really hard to capture depth of these paintings in my photo. Moreover, it’s also hard to show the shift in the colours as the light hits the painting in various angles. Hopefully, you still get the sense of it.
Hello everybody, below is a painting from a small series of zodiac paintings called “cancer”:
This was done with acrylic pouring medium. I thought the medium would be perfect for this subject matter. Which, I do agree by the look of the finished product but it was by far, one of the most time-consuming paintings.
Here is a side view:
I decided to paint the sides in matte black. The painting wasn’t the only hard part but taping off the edges and trying to get a perfect edge is difficult (you have to cut off the acrylic layers with a blade).
The glossy, layered and highly reflective surface is great to illustrate the stars in the galaxy:
But it is really hard to keep the surface pristine and free from fingerprints, dust, bubbles and dents while working on the many layers.
More detail views:
It is mesmerizing to look into the different layers of the painting. But the layers are relatively soft and easy to mar until the piece is varnished at the end.
I decided to make only four of these, one for each member of my family. I thought they would be nice displayed as a grouping. My reason for limiting the numbers of these paintings is due to their laboriousness. They are also nerve-wracking to make: precise cutting of the edges, many layers of pouring medium and easy damageability during the making process. But, I’m glad it’s done and pretty happy with the result. This piece was for my youngest son.
Above is an acrylic pouring medium painting I’ve done recently. It is a personal piece that I had in my head for a while. I won’t go too much into detail but this painting is symbolic of a specific moment in my life.
The effect that I like most about this piece is the “honed marble” look. Again, please excuse my iphonography (but it’s really hard to show in the photo), the matte but smoothness of the surface:
It was achieved by applying matte varnish to the painting. The whole painting was varnished thoroughly in gloss varnish for protection, and then varnished superficially in matte for effect. If you look closely in real life, the gloss is still present in the crevices; this is why it looks like honed marble. The painting feels really nice to the touch. It almost feels counter-intuitive to use a high-gloss medium to achieve a matte product in the end. But, the pouring medium really adds to the dimension and layered aspect of the painting.
You can see the built-up layers from the sides especially:
And the undulating layers of the clouds:
Detail of dove:
I am really pleased with the way this painting turned out. Since, I’ve been mulling it over in my head for years on how to do this painting. It is really difficult to capture a feeling, the atmosphere and visual realities one had at a specific moment in time. In this piece, I was able to express what I wanted though the tactile and symbolic elements.
Here is another painting in the ‘Experiments” series called “Home”:
This piece is done with pre-mixed acrylic in the pouring medium; meaning all the colours were mixed into the pouring medium before it was applied to the canvas. None of the colours were dropped into the medium as some of the other pieces were.
In this painting, I wanted the image to be very simple using one technique. I also wanted to make a picture of a house that we all made at some point, in our childhood. I wanted a house that we can all identify, illustrated innocently. Hence, the use of bright primary colours and rudimentary depiction of house and yard.
I like the angled-slope created by the gravity pulling the medium down one side. The full-frontal look of the piece reminds me of those clay or glass tiles that have a glazed picture on them.
Here’s a shot from the side:
I find that entering into fall, we tend to nest indoors more. I hope you enjoy the coziness of your home and have a restful weekend.
Hi everyone, below is a study in the “Experiments” series:
I decided to use the traditional painting method of glazing with acrylic paint. The study features a basic sphere rendered by building-up transparent layers. I wanted to see what it would look like with a treatment of modern acrylic medium on top of it.
Here is a detail of the tonal values rendered on the sphere using the glazing technique. The good thing about glazing with acrylics is how fast it dries. You can get many thin layers down in a day. Whereas, in traditional oil painting, you’re lucky if you can get one layer done:
I really like the rough texture of the burnt umber:
I like the way the rough texture wraps around the sides of the painting. It makes the image more congruous as a whole:
Here is another detail:
Thanks for stopping by. I hope you’re enjoying the fall weather and it’s colours.