"Surface Texture"

(unavailable.....4" x 6".......on 300 lb. HP......mounted on masonite)

"Texture reveals depth and complexity." It is so true that texture is appealing on so many levels. Otherwise, why would people pay good money to buy antique items with layers and layers of texture?

The funny story I have about texture has to do with the person who stained the concrete floor in my studio. He was very concerned about the "splotchy" surface created by oil stains and paint that had spilled. He was quite relieved that I thought he was doing a great job and that I was totally unconcerned about splotches. My reply was this..."Artists spend hours and many layers to achieve this look so please carry on!"

If you want the perfect segue into abstraction, start collecting your images of all kinds of surface textures. They provide the perfect jumping off point for a piece of art. In the case of today's posting, the image was some kind of industrial looking table with this hole that was probably used for a hose or something. That hole in the metal became the focal point for this small experimental work.  This is probably my most satisfactory way of creating abstraction. Texture is definitely a core part of my voice. If you feel the same way, this is a great exercise.

I began by painting two coats of heavy body black acrylic paint on a piece of 300 lb. HP. After drying these layers thoroughly, I mixed up a gray from Ultramarine Bl. and Burnt Sienna plus White. This mixture of gray is great because you can warm it up or cool it down quite easily. Sponge brushes were used for all of the paint application. After applying this coat of gray, I scribbled lettering and other erratic marks into the paint. Dried with a hair dryer.  Spraying alcohol and removing paint erratically with a brayer created the texture.  You might also use a paper towel to remove larger amounts of paint. The idea is to make it look convincing by abrading the surface as erratically as possible. The other two layers were applied and abraded the same way. They were Burnt Sienna and White Fluid Acrylics.

More marks can also be carved into the surface after the alcohol and brayering is done and before it's dry. As you can see, this technique creates a highly textured surface. It is well worth an experimental piece of your own. And there you have it...just a few more things to think about.

"Think" (sold)

(sold)

School has started and teachers have prepared their materials in hopes that their students will learn. But learning does not take place simply because a teacher teaches. The student also must have a desire to learn. This quote is a take off on another quote...."You can lead a horse to water but you can't make him drink." Learning doesn't happen by osmosis, it happens when we think and apply what we've learned.

White is a powerful color especially if it's white gesso. The ability of gesso to give as little or as much coverage as you desire makes it a powerful tool for transparent and illuminated images. This piece appears to be glowing and even more so as it is lit up on a computer screen.

I am experimenting with "veiled" effects and intensity of color. So you might see some unusual pieces as I go through this process. It has totally captivated my interest. This is a meditative process that can keep you engaged for hours.

It can be summed up in three points. First, practice applying gesso in different densities and stages using different sized segments of credit cards, shaper tools, or sponge brushes. Second, apply acrylics in very dilute layers with the same consistency as in watercolor. Third, use pens or pencils to create lines, lettering, or drawings either on blank paper or in between dried layers. Also try stamping into the wet gesso. By alternating or changing the sequence of any of these steps, you will come up with some interesting effects. Just something to try or think about.