Studio day 01 Feb

I finally started painting yesterday. It was worth the wait. Although the ‘final pieces’ were hopeless, the journey to them was really fruitful.

The boards sanded down great and presented a really flat surface.

Stewart suggested I get some nylon brushes – which I did – and these were a revelation. They create a fantastically flat surface with solid colour, no ridges or marks. I also bought s brush that had Vs cut into the bristles to experiment with textures – which was also great to play with.

I enjoyed painting on the boards. It was easier to paint straight lines than on the texture of canvas. I tried using masking tape on the boards as Stewart suggested. I could get crisp lines with the tape without having to seal the edges BUT, I obviously didn’t let the paint dry enough first as it peeled the first layer of acrylic off the primed board. This was an interesting happy accident. I tried to remove the later layers of paint to reveal previous ones – but still it went down to the primed board. Quite unpredictable and one take I liked and the other I hated. So not sure how I feel about it. But it is something to keep in my arsenal.

The first experiment came out a bit ‘vanilla’. I used the colours in order from the diary – starting from the bottom layer. The composition feels rather contrived. But the use of the palette knife and masking tape removal was interesting. It was also easier to create torn edges on the board – so that is something else I can bring from monoprinting into this now I am working on board.

Nothing exciting about this, but a good way to test out the new base material and brushes. I added the drippy bit as I have one of my favourite drippy paintings hanging in the kitchen and I just love the interplay of colours on it. I wanted to see how drips work on board. Not as great as on canvas it turns out.

I then used the remaining paint on the palette to see how I could blend etc on the board. I then tried using my new V brush to make the greyish mark across the top – I really like the effect. I put masking tape on and peeled off to reveal the base and varnished over this. It is what it is. But is nice and flat!

photo 3

This is an accidental photo I took whilst walking across the kitchen. Really like it!

photo 2

I then tried to see what a ‘lined’ drippy painting would look like on board. Not good I think, in summary!

The lines are just too prominent and I think the whole thing looks really amateurish. However, the drippy thing is something I might consider resurrecting. I would be interested in seeing how this would work now with the colours from my diary. I have several of the long format canvases left, so I think it is worth trying. Having spoken to Stewart about scale and size I think there is something quite intimate about these despite them being quite large in size. I enjoy doing these and the happy accident aspect of these works is always interesting. The use of the diary for colour and ordering gives these more of a ‘reason’ than just picking colours I like and allowing the colours to mix as an accident is far preferable to blending the colours myself.

I then did one final test piece. I put an ochre base on this board – but mixed a metallic gold into it to create an interesting shimmer. This did give another element to the colour. I then decided to experiment with the Vs brush again and create texture with the paint. This worked well and I really like the effect. I tried Stewart’s suggestion of thin paint scuffled on top of the base colour. Again I used masking tape to keep the edges sharp – and again it pulled off the paint to the base board (I’m too impatient and obviously the faithful hairdryer can only dry a colour so far where time completes it). Consequently I had to patch up the ochre colour and in the middle I added some extra texture.

I pulled some blue across with the palette knife which gives texture and interest. I like this. I like where it has picked up the underlying texture colour too.

I then scuffled some green over the top without constraining the colour and allowing it to run over the previous colours. Interestingly, the angle of the marks is opposing to the colour previously laid down – I don’t remember consciously making a decision to do this. I then added a sharp-edged solid green over the top which I added varnish to when dried – picking up on a quote I had just read – about using varnish to enhance, or equalize colours/tones/textures. I pulled some varnish down over the red with the V brush, which (it turns out) had some of the cream colour still in the bristles. Another happy accident which I rather like the effect of. Obviously I could make opaque pulls within the varnish (as here) and also thin coloured varnishes that could affect the colours underneath too.

if you’re moving from one flat colour to another flat colour, if there’s a difference of texture – if one is matt and the other is shiny – that contrast of tactility can keep them visually in the same dimension. It keeps them adjacent – side by side. Another reason is that a matt colour and a shiny transparent colour are emotionally different. If something is warm and fuzzy and dense we have a kind of emotional response to that. If something is clear and you can see through it, like yellow or green or red can be, we have a different emotional sensation from that.

Kenneth Noland, Colour, Format and Abstract Art: Interview with Diane Waldman, 1977. Colour – Documents of Contemporary Art, Ed. David Batchelor, P167-171

Whilst the final board (shown previously) doesn’t work, photographing crops of this has revealed some great compositions that I would happily recreate as individual paintings. What is interesting about these is that they could be scaled to be monumental or intimate – it all depends on the size of the brushes used to make the marks.

I need to remember these crops and to see how simple composition works much better. It brings them back in line with Barnett Newman and Rothko for simplicity with intricacy in the marks.

My next task is to make further stripe paintings on board (as Ian Davenport and previously). The use of the ruler on the board was far more successful than on canvas or canvas board – and certainly more than the masking tape. I need to keep a momentum in my work and waiting for layers and layers to dry (when I can’t achieve it with a hairdryer) is frustrating and breaks the flow for me. So the ruler is probably the way to proceed for me to make sharp lines. I will dig out my frog tape and give that a go with the board.

I also need to investigate deliberate bleed of colour as per Stewart’s suggestion.

One interesting format is to create a long, thin board for stripes (that could be vertical or horizontal) – rather like the photographs I tried to run around the studio.

Next steps: I intend to do some of these when I have finished experimenting as a fully fledged piece. I also intend to do some more drippy works on canvas and see how I can create the simple, yet intricate, abstracts as photographed above, on a small and large-scale on boards.


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