Over and Over Again #21-25

The good thing is, when I've been painting on these 'smalls' I have been in experiment mode. NOT in teaching, documenting mode. I have over 60 completed, and am reconstructing what I remember about them because some of you have said you really like the process notes.

Enjoy!

xxoo

Vicki


#10, #11, and #12 OOA

Only a few days left to participate in this grand experiment of mine! I really appreciate all of you who donated, even those one dollar donations...when you didn't understand a thing about crowdfunding!

I CAN tell you this, it is a ton of work! Hatchfund.org supported me all the way and encouraged me when I couldn't get people to even tell me they received my mailings. I'm not talking about strangers here. The sociologist in me wants to know why some people are curious enough to click on a button to learn for themselves what this new thing is, and some are scared a gremlin will creep out of their computer and snatch them away. 

After all, anyone who knows just a little about me will KNOW that I have done all the research, and then some, to vet any organization I hook up with! I figured if Hatchfund.org was associated with foundations all over the US (including the National Endowment for the Arts and Arkansas Arts Council), they had to have been checked out and passed with flying colors!

Would I recommend that other artists attempt to do a campaign? Absolutely! And I stand ready to help and advise, whether or not you supported me in this one. I'll be able to complete this project with the goals I met, so look for more progress paintings and lessons I've learned.

"On the board you can see how I am now prepping 6 at a time. Someone asked me if I was doing one a day. Answer: No. Wicki doesn't like structure no matter how hard Victoria tries to force it. After all, that is the entire concept for me with this project."

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On the board you can see how I am now prepping 6 at a time. Someone asked me if I was doing one a day. Answer: No. Wicki doesn't like structure no matter how hard Victoria tries to force it. After all, that is the entire concept for me with this project.

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#10 has a very thick layer of Cold Wax Medium troweled on with palette knife. To add more texture, I used Pan Pastels into the uncured wax, and then took the end of a brush to score some more marks.  Love the texture! As a final touch I sprayed some Krylon gold webbing just to see what it was like. I spent a lot of time with some artists who were really into experimentation...so any time they had tried something new I'd swing by Hobby Lobby and get it. Stock the studio!

#11 was underpainted with water and pastel. When dry, Modeling...or molding...Paste (thanks Bill Creevy) was swiped loosely on. Pastel on wet surface, then more when it was dry. In addition to the texture, these colors are totally different than the others. STILL on the landscape path...grrr.

#12 has a big glob of gesso in the center which I left for texture. I'm getting benefit by having two rows...things are organic as they drip and spray willy-nilly. Looks like a person walking over the rise, just yonder. Used the gold webbing again.

PS: Click on "Comment" at the end of the post, then scroll down to see the box. Let me know if this doesn't work...OK?

XXOO

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#7, #8, and #9 OOA

Poopie! Accidentally deleted the post...and it was almost finished. Kick-in short-term memory...talk about Over and Over Again!

...Third set. I wanted to show this image for two reasons 1) #7 on the left is being created on a paper towel mounted in the wet gesso and 2) #8 and #9 show how I lightly sketch in my four shapes when the gesso is dry. I'm not using anything but memory to sketch them...wanting to remain loose and organic. Not really caring whether I color in the lines or not!

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I used several coats of SpectraFix on #7. Another valuable tip learned from Alan Flattmann at IAPS (International Association of Pastel Societies)...buy the concentrated casein mixture (rumored to be Degas lost recipe) with PGA (pure grain alcohol, (remember Purple Passion in college?). Then, with Preval sprayer, yes, ozone friendly, you can make a fine mist that DOES NOT CHANGE COLORS. Don't spray while smoking, and you can do this indoors safely.

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I sized the paper towel to leave a border of paper where the strokes could be left to show. I used Gamsol from Gamblin to liquify in some spots. Applied a coat of clear gesso with some #FFF pumice to add some grit. Figured this would help isolate the paper towel too, for archival reasons.

Just used a paper plate left over from lunch (yeah, I eat in my studio), poured a tablespoon of gesso and shook out some pumice. No measurements! Yea! Wicki!

#8 (middle) explored a rock/stream/wall. The yellow sky is interesting. If you double click you can see some paper towel collage and gold leaf.

#9 (right) Very drippy Gamsol wash on the pastel. I love the movement it creates as the liquid finds its path. 

PS: If you are reading this through email as a newsletter, click here to read in the actual blog and see Comment area which is at the bottom of the post. Click on "Comment", then scroll down to see the box. Let me know if this doesn't work...OK?

xxoo

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#4, 5, and 6: OOA

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OK, getting into the groove. Underpaintings, gesso, pastel grounds...take time to dry. My board will hold six at a time. 

#4 and #6 are watercolor under paintings. #5 is Art Spectrum's Colorfix Primer (Soft Umber), It has a fine grit mixed in...and is very handy for all types of media.

Still exploring the landscape genre. It's OK, tho...whatever appears is what we get.



#4 Over and Over Again
7.5" x 7.5" Mixed Media (watercolor, pastel, Gamblin Cold Wax)
© V.N.Ross

On #4 (left) after the wc dried, I stumbled around with some pastels. Grabbed a jar of Gamblin Cold Wax Medium and with a palette knife, made some textural marks. Scraped back into some with the end of a brush for linear lines. While it was still workable and Pan Pastels, I added some color. Their sofft tools allow you to 'kiss' the surface and transfer the pastel. Perfect for the thick wax medium. Since it is still soft, I can carve the painting number and my signature in when I've said enough.

#5 Over and Over Again
7.5" x 7.5" Pastel
© V.N.Ross

#5 is the one in the middle, over the umber pastel ground. I deliberately left some texture. This one is all pastel...and I was more interested in the colors than anything else. I really like how glazing with the side of a 1/2" stick really accents the texture in the ground.

This gives me the opportunity to throw in some shock colors. I really have no care whether they are real in nature or not. 

 #6 Over and Over 7.5" x 7.5" pastel over watercolor © V.N.Ross

#6 Over and Over
7.5" x 7.5" pastel over watercolor
© V.N.Ross

Another thing I particularly like is the sky...from greenish aqua to light cobalt to lavender, and greenish yellow.

 

PS: If you are reading this through email as a newsletter, click here to read in the actual blog and see Comment area which is at the bottom of the post. Click on "Comment", then scroll down to see the box. Let me know if this doesn't work...OK?

 

 

 

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xxoo

#2 and #3 Over and Over Again

No grass growing under my feet. I taped three at a time to the board so that as one was drying, I could work on the others. Or if got stuck on one... :)

#2 features a complementary color underpainting; #3 a local color version.

In case I forgot to mention in the earlier post, I hand creased and tore the paper. I could get an exact number of 7.5"x7.5" pieces with no waste. Any edge imperfections were left alone...I like things to be organic. 

Both of these are still recognizable as landscapes, but I am playing with colors here. Remember, no rules! Just size and the four shapes.

PS: If you are reading this through email as a newsletter, click here to read in the actual blog and see Comment area which is at the bottom of the post. Click on "Comment", then scroll down to see the box. Let me know if this doesn't work...OK?

xxoo

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#2 Over and Over Again

7.5" x 7.5" mixed media

© V.N.Ross

#3 Over and Over Again

7.5" x.7.5" mixed media

© V.N.Ross

First three on board, under painted.

 

 The first three...first taste of having a wall full of "same, same, but different"..

The first three...first taste of having a wall full of "same, same, but different"..

Commentary on #1

#1 Over and Over Again

7.5" x 7.5" mixed media

© V.N.Ross

As I mentioned in the previous post, drumroll, please...#1 of the "Over and Over Again: Repetition with Variations" piece is shown here. 

Started with my super, duper taping trick shared with me by Alan Flattmann. Blog post...click on link. Am using 140# cold press watercolor paper for most of these.

I took a deep breath...choked down the panic...and painted normal. Well, if you consider an orange wash normal :)

An orange Holbein (similar to NuPastel in hardness) scraped over the rough surface of the paper. With an old bristle brush and Gamsol (odorless mineral spirits) I slopped some on the paper to cause runs and ripples. 

Underpainting

Finished off with various brands and softness of pastel sticks, trying to stay loose, especially in the foreground and trees. Allowed some orange to show through the sky.

Whew. #1 is complete! The journey has begun...

PS: If you are reading this through email as a newsletter, click here to read in the actual blog and see Comment area which is at the bottom of the post. Click on "Comment", then scroll down to see the box. Let me know if this doesn't work...OK?

xxoo

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Talk about Shapes

Already had some emails about shapes...and was explaining it to various people who have been in my studio lately. 

Typically, if a painter has to explain their painting, they did something wrong. I think that is a bunch of hooie, really. Where is the theory about letting the viewer create their own story from the painting? That's what I'm talking about (besides, it's a good story when you missed your target completely :)

However, this variations project does require some explanation. Remember (from the previous post) that the size and shapes are all that is consistent. Karen Margulis and Marla Baggetta each set a time limit on their little jewels...and for the most part, stuck with a landscape motif. I allowed myself to not only experiment with mixed media, but to explore non-landscape motifs that fit the shapes. I also didn't force them into a daily painting routine. Some came together quickly, some over several sessions.

They both report huge strides in freedom and expression that carried forward into their regular work. I am happy to say that I'm on number 40 or so, and still wake up with ideas.

I chose a strong vertical almost on the thirds here. High sloping line just under a high horizon bumpy shape. Yeah, I know...clump of trees, edge of meadow and mountains. But you'll see why I didn't want to label my shapes. I also think it is good to use thumbnails and not photos so your creativity can kick in a bit.

My source pic and rough thumbnails are first:

Vicki's source and thumbnail

 

Here are Karen's:

a just under center horizontal horizon line, Crop of trees on left, Sky shape completes the image with a good negative shape.

 Karen's source and thumbnails

Karen's source and thumbnails

 

 

 

 

 

 

 

 

 

 

 

 

And Marla's: High horizon line, sparse trees, and meandering road/stream

Marla's thumbnails. Image from her book 100 Variations on Blurb

PS: If you are reading this through email as a newsletter, click here to read in the actual blog and see Comment area which is at the bottom of the post. Click on "Comment", then scroll down to see the box. Let me know if this doesn't work...OK?

xxoo

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Repetition #3 the frame comp

One of the decisions about a project commitment like this is working out details. I know the hard way that it is easier to modify your design BEFORE you create it. In other words, figure out what you might want to do with a hundred or so 7.5" x 7.5" multi-medis projects!

Vicki's 100 Repetition with Variations #2

So...several weeks of pondering details. Now to get down to it! Oops, one more detail!

How to mount these temporarily so I could paint to the edges? Thanks, Alan Flattmann! I learned this from him in a one day workshop at IAPS in Albuquerque, NM in 2011. Pretty ingenious, if you ask me!

Also, blips will occur when you are creasing and tearing watercolor paper...they add to the organic feel of the finished piece...so don't get anal!

PS: If you are reading this through email as a newsletter, click here to read in the actual blog and see Comment area which is at the bottom of the post. Click on "Comment", then scroll down to see the box. Let me know if this doesn't work...OK?

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xxoo

 

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