Landscape painting from the imagination…. winter


Winter (imagined)

Winter (imagined)

On Friday I took a small workshop on introduction to abstract art in acrylics. We discussed abstract art and googled images to see the diversity and degrees of abstraction. This is a painting I did on canvas board. “Winter”… the mountains just appeared… abstracted? This is not based on any real place or even an intention to paint mountains and snow. it just evolved ….. whenever I play with paint I am likely to end up with something suggesting a landscape. It is hardly realism but does it meet “abstraction”. I prefer the term” landscapes from the imagination” and as this started to emerge from the canvas I was reminded of a painting done about this time last year of Everest Base Camp. What I most wanted participants to do was to explore a multitude of ways to apply paint to a surface. This was primarily done with the palette knife. It is such FUN and even as adults we should give ourselves permission to “play” and “waste” materials as it is through doing this that we learn.

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Watercolour and Ink workshop… abstracting the landscape… student works


These are some of the works done at a one day workshop in Canberra today. The ladies had not done watercolour before and I was so impressed with what they achieved in this single session. We worked with a limited palette, primarily on Fabriano torchon extra rough paper so they could explore different textures. Some of the textures were created using a palette knife while othere were using traditional watercolour methods such as dry brush.
They responded well to the use of and appreciation of a variety of brush types …. one inch hake, goat hair
a small taklon rigger,
a number 3 squirrel teardrop wash
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20140726_152300and a taklon or sablon half inch flat or angle shader

Limited palette watercolour… landscape impression


This is a demo painting from today’s class, using quinacridone gold and Paynes grey (W&N) and Burnt Sienna (Maimeri) with a weak glaze of cyan (Maimeri) over the sky when the paint was dry. A bit of ink work with a palette knife and rigger brush on the dried painting to get the final contrast for “oomph”. My signature twiggy dead branches which are in windswept areas here. If you try it, do keep some whites with dry brush technique. Paper choice is important… soft and textured. I chose Langton 300gsm roughTwiggy