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| Base Green Sauerbier acrylic on unprimed paper 16.10.18 |
Developing the research into painting was a process led investigation into the materials being used. Although familiar with acrylic paint it is by no means my main method of painting so using the new A2 Chroma, Jo Jonas, Reeves, Chromacryl (student black and two fluorescent) and Mont Marte fluorescent set of eight colours (for 8 Aus dollars with 2 star lightfast)* seemed like a good set to start. The paints initially are being used with Canson watercolour paper as a support. Both paint and paper therefore are totally new products and a new departure. The paper is very good and I purchased a block of 100 sheets of 200g paper. I had thought on bringing it back from Adelaide, that this would be a mistake and heavier 300g would be needed but this is a robust product and I experimented with some unprimed studies and priming with a Dulux wash and wipe acrylic paint that I was assured would be a good primer by a professional painter.
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| Llanfairfechan Series acrylic on unprimed paper 17.10.18 |
Both unprimed and primed held the integrity of the paint with the unprimed give a wash like absorbent quality, as to be expected. The primed papers did yield a stronger surface that the colours stood well against, I really like getting the colour to stay of the surface.
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| Sauerbier series of three studies acrylic on primed paper 16.10.18 |
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| Canson waterpaint paper 200g 100 sheets A3 |
I was working in series to start with and investigating different brush technique and paint handling, building on the studies started in the studio in Harlech prior to departure for Australia. In these a more expressive brushmark was desired.
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Base Orange Sauerbier acrylic on unprimed paper 16.10.18 |
I have reached a point in the final series of winter paintings when a looser more free brush mark was required, literally, I wanted to move my wrist and hand more in response to the paint and what it could do naturally and move around the surface pushing and pulling the paint so the application would drag the paint and leave marks where the primed canvas or the underlying layer would appear through the dragged marks. The great characteristic of acrylic and particularly noticeable in the A2 Chroma paints, is the transparency and broad range of opacity possible both with each colour and with the addition of white. A note on white. I am using a variety of cheaper whites from Mont Marte, called Studio and Dimension (zinc) plus a Satin variety that seems quite opaque, all purchased in the Colonnades newsagent shop at Noaralunga Centre because I forgot to get white when in the art supplier in Adelaide!
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| Onkaparinga River Basin Studies acrylic on primed paper 15.10.18 |
I am drawn to the saturated colour of the manufactured paint and like if possible to use this without any mixing. This is because, the paint in an unmixed state has the maximum saturation and intensity. Of course, this is not always possible as colour needs colour and particularly chromatic grey to interact and strengthen the saturated colour.
*Fluorescent paints are not guaranteed light fast in paint pigment manufacturing terms, being essentially dyes, however I have been using some Lefranc fluorescent for some years now without deterioration and I recall the very late S W Hayter paintings using fluorescent paints from the 1980's, still I believe in good shape.
Supported by an International Opportunities Fund Grant from Wales Arts International
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