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Tag Archives: acrylic ink

art lesson

Prove to yourself almost anyone could do it!

46cm rice paper, 22mm long flat watercolor brush (long for the volume it can hold; the strokes are more even with short bristles, but can be longer with long bristles), 3 brilliant yellow strokes, 3 sap green strokes, and 2 black strokes, all using daler rowney fw acrylic artists ink right from the bottles (which i normally never do; i always customise a color).

so there are 8 figures to imitate, first practice each one and then execute it. your finished work will not look exactly like mine when you’re done (the complexity of the figures precludes exact copying by actually executing the strokes), leaving the question: is there anything special about the one i did?

This took me less time than signing Tsoanra Inwix five times, in actual execution. Which is about how Miro works as well. And why, to me, it’s just play to work on rice paper with ink.

You can see I added the green while the yellow was wet, and the black as well, even though I had to wash the brush between colors. And I photographed it under a daylight-bulb before it really started to dry, because when it has dried it will be wrinkled, far from as flat as it is here.

The question anyone needs to answer to pursue art seriously is if art is just orginal, or is it very unique, more like a miracle. Nothing could be simpler than to repeat what I did here (in the time it takes to brew a cup of Keemun Mao Feng), several times in search of a variation just as good or better. Is there something very special about just this coincidence of these strokes or figures?

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Posted by on March 11, 2012 in art

 

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small acrylic ink and small acrylic paintings

Here’s another of these little 31cm wide acrylics, one shot without the first coat of spray-varnish, and the second with.

Varnishing is a real hassel, if you plan to follow the directions on the cans: room temperature! This means the basement, for most of us most of the year. I have a little trick: take a large plastic trash bag, grab some air with it and close the neck, and take this with you to the basement for when you need a breath. Spraying is the ABSOLUTE LEADING KILLER OF ARTISTS, so if you don’t want some other guy to enjoy the fruits of your work before you do you’ll take care.

The other is just as small, the most common Japanese roll paper, 38cm wide (actually mine says it’s from Taiwan), where the outside is pretty much like the inside, and the ink doesn’t soak through, but collects, so you have a chance to blot the end of your brush-stroke if it ends with a stop. I use a ply of paper towel pieces. If you don’t blot, of course, every stroke ends with a darker color.

Note how the dryink ink wrinkles the paper. Taping it down helps very little, and what’s left if you tape a 31cm paper?

You can see here that this little gem took some time, each color being mixed (I always use an original color, even the black has a touch of something brown here) and then washing the one brush I used carefully. How I wish they had a brush-washing service. Turn in 20 brushes every evening and get them back clean in the AM. But I read that the BrushMate leaves you with a dirty brush anyway. It takes you to the soapy wash stage, but not beyond, and the soapy stage is the most time-consuming.

 
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Posted by on March 25, 2011 in art

 

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small paintings, 5 acrylics, 2 oils

(I’ve added 2 acrylics, featured of the 25th and 27th, just because they fit here, so now there are 5 while I originally posted 3.)

It’s a bit hard to make even a small acrylic painting in the wet-on-wet style. These three, the stretched 31cm wide ones, show only partial success at the effect. The thicker rim of some strokes underneath hardened before the last was applied. I wasn’t using a retarder or a wet palette, thinking this little thing will go quick.

Notice the dots in these. If you ignore the dots you don’t “see” the painting. Moere on the function of these dots when I get around to a tutoring page.

The two oils, about the same size but on some old unstretched canvas, (so old I Gessoed an area for the paints; I quit stretching my own, and I feel bad letting an old roll of canvas just sit and gather moss) show how wet-on-wet ought to work.

photos using nikon coolpix by light coming in window shade side of building sunny morning.

 
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Posted by on March 24, 2011 in art

 

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one acrylic ink

here’s some of this morning’s work, 69cm wide, you can see the stretched canvas through the rice paper.

Wenzhou | Roll 69cmx10m is the paper, matte on one side, this is the glossy side. This has less tendency to wrinkle when ink dries on it than the more common “japanese paper” on a roll. the ink does bleed through a bit, and i use three strips of paper towels under it when working.

there are three light sources, one from behind-left, each with a different flourescent bulb, plus the flash of the nikon coolpix.

when i got the first color on i thought this was gonna be twice this high, which won’t fit into my files.

this looks best in daylight, but the paper is too fragile to take outside, and the coolpix won’t focus without a strong light, so you have to turn on the lights and get them close 2 your subject.

acrylic ink won’t act like acrylic paint on a canvas.

it acts as if the canvas were oiled. u get a nice pixel-effect.

here the canvas is there is just to get something white behind the paper.

click for full screen image; the focus ain’t bad for handheld lo light.

 
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Posted by on March 23, 2011 in art

 

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