Two studies using acrylics that have a creamy consistency and vibrant colors. The smaller image, Nightscape, shows the way the color adhered to the gesso underpainting. It is not as noticeable on the painting itself. The artist can make choices to leave the texture or sand the canvas and repaint it.
The English painter, Turner, is said to have scraped his paintings repeatedly getting a glow from the bits of colors showing through layers of overpainting. His watercolors were washed, left to dry and glazed. Each layer must be completely dry working in this manner.
The larger canvas, Corners, uses the same colors (primarily turquoise, purple and light blue) with white and a bit of red. All of the colors were intermixed without using pure color accents. The second painting session corrected the composition. It had been heavily weighted to the right. By using a framing corner, I put the interest on all parts of the canvas, drawing your eye by angles and color. When I started painting and drawing, I realized that my eyes see things differently! I can change a vase bulging on the right side or leave it. But at least I know why I have done this.
When I am certain the paintings are complete, with no unplanned images and bare spots on the canvas, I will protect them with a clear finish. I prefer semi-gloss or matte finish to avoid the glare from artificial lights.
It can be freeing and frustrating working in this manner. The roadmap is between you, the paint and what develops. There is no right or wrong. Let learning take place and enjoy.
- Gesso: Not Just for Base Layers! (imperfectimpulses.wordpress.com)