It wasn’t my imagination and I wasn’t hallucinating. I wanted to buy new glasses so I was at the optometrist and he wanted to look at my retina. He shined a light through my pupil and I saw red flashing squiggly lines on a black background. I asked what it was and he said its the blood vessels on my retina.
I thought of Ray Charles. I wonder if an eye doctor looked at Ray’s retina and he saw the same thing and since he never saw a spider web he thought the squiggly lines looked like a spider web.
Did you ever see this weird visual phenomenon? And if you saw it did you know what it was or did your brain file it under weird like mine did?
This painting is palette knife drawing practice. I thought of a way to make curved lines. My palette knife isn’t flexible enough so I cut the edge off a magazine cover and used the edge of it, bending it slightly to drop in curved lines to contrast to the straight lines scraped in off the edge of the palette knife.
This is the last time I’ll use my sketches of the butterfly ginger for the palette knife painting. The next thing I’d like to try it on is the spooky battery at Ft. Monroe which I started sketching a couple years ago and put on hold on account of the weird vibes I picked up at the fort. I want to try again to finish a painting of the battery which might or might not be haunted.
Since the palette knife makes it comes out all wavy I think it might give that big imposing scary piece of architecture a more moody look. It will be all different shades of gray, some warm grays and some cool grays.
I want to try making different textures with the palette knife. For the background on this painting I used the short flat edge of the odd shaped palette knife to scrape two shades of greenish gray in a thin layer with some peaks of the dark gray tint of the canvas showing through.
First I squirted a blob of Viridian green on my palette. It’s dark. I added terpenoid a few drops at a time until the paint was runny. I thought my big blob of paint would be enough to paint these dark green areas but I misjudged the amount of paint I needed and had to use more.
When I mixed my lighter greens I used big blobs of paint and still didn’t have enough mixed up. When mixing colors it’s better to have too much paint mixed that to not have enough and I usually mix the right amount for what I want to paint with only a small bit left over but with the palette knife it’s harder to estimate.
The last color I used was white and I put a huge blob of it on my palette then added so much more paint that I thought it looked like I’d be wasting paint but it was exactly the right amount to finish the flowers.
I did the whole thing with palette knives and split it up over two different days letting the gray green background and the light gray of the flowers dry overnight. The paint was still wet the next day but only slightly dried which helped my brighter greens and white from mixing in as much. So I did layers but I don’t know if that’s how other artists do a palette knife painting.
It was fun and I’ll do another one.
The good thing about a palette knife painting is that you don’t have to clean brushes. The bad thing is that this will take months to dry. I can put it in my outside closet where it will be out of danger.
The dark green paint was soupy and it ran off my palette knife nicely. I thinned it with terpenoid.
The white paint was like soft icing.
The palette knife is harder to control than a paint brush. You have to be careful how you scrape up the paint off the palette so it’s on the knife in a good position to make a blob where you want the blob. Paint goes where you don’t want it to go. Most of the time I just let it there but a couple times I scraped up a big blob that fell in a bad place.
I can’t tell if it’s working on any level or if it sux. Feel free to opine or critique without worrying about hurting my feelings. I don’t have any emotions toward this experiment. (and that’s the best way to approach an experiment, just try something and see what happens.) If you studied psych this might give you some insight into my subconscious brain. If you see anything, let me know, crazy or sane, doesn’t matter either.
I didn’t make plans or do sketches first. The only thing I decided was to have fun on a cloudy day when I didn’t want to go out because it was a holiday and would be crowded at the places I like to go. The other thing I decided before starting was to use yellow pink and green.
First, I spattered yellow on the paper ala Jackson Pollock to get a loose start. Then when the yellow dried I wet the paper and blobbed two pinks in around the yellow. While the paper was still wet I scribbled in some lines with the Inktense pencils. When that dried I blocked my flowers off with masking fluid and painted the background green. Then masked off the lighter green lines and went over it again with dark green.
When it’s all dry, rub off the masking fluid and VOILA!
Those dang lids where you have to press down while turning.
Once in a while I can open the bottle with no problem but sometimes I try and try until my hand gets tired and it won’t open. One time I broke a lid off a bottle of masking fluid with a wrench. That’s how bad it is.
Yesterday I got a call from a friend and she asked me what I was doing. I said trying to open this stupid bottle. She told me to run it under hot water. I said that won’t help. The lid isn’t glued shut. I can turn it. It just won’t unscrew. Again she said run it under hot water so I said ok. I ran hot water over it for a few minutes and when the bottle warmed up the lid came off! I celebrated that happening with loud insane laughter that my neighbors might have heard because my windows were open.
Now I know the trick to opening these poorly designed bottle caps. I guess my crazy friend knows a thing or two.
This masking fluid is great for adding texture to a watercolor. A few years ago I tried using it on an oil painting, which I was told doesn’t work, but it does work if you use it over thinned oil paint with no medium mixed in. And I keep seeing people are still reading those old posts which is a mystery to me how they find my old masking fluid on oil paint experiments.
If you want to use this product the most important thing to remember is to put soap on your brush first. It’s impossible to clean the brush if you don’t put soap on it first and the brush will get gummed up and ruined. With soap on it you can rinse the brush in water to clean it and use more soap to be sure to get all the masking fluid out of the brush.
I bought raw Sienna, burnt Sienna and cobalt blue. This is a test of transparency and how the colors look overlapping and blending. I made it fun by doing a skinny-dipping abstract. The colors look better in real life than they do in this photo. A big part of improving my watercolors is to do random color swatches until I’m more familiar with the paint. It might seem like a huge waste of time and paper, but every step counts toward the goal of mastering the medium, which could take years, so there’s no rush, or limit on supplies I’ll go through. Now I know I’ll enjoy using these colors together and I like the blends I got.
It’s a clouds experiment. I can’t tell if it looks like clouds to the viewer or not. If it looks like something else, that’s what it is. I painted it in Plein air from my balcony with watercolor and the clouds were moving. I used masking fluid on my fan brush and white oil paint stick first to block out some white and to see if I could make a soft and fluid cloud texture. When it was dry I rubbed off the masking fluid with an eraser.
The horse is another drawing with a black oil paint stick taped to a yardstick to make it fun.
I’m just goofing around at home with the horses for models and trying different things with watercolors but I’m going to get back out in plein air tomorrow and get back to the landscape next.
I was trying to make a ghostly transparent look with this experiment. I used masking fluid on the horse and spattered rubbing alcohol on the background. It was fun. I might do another ghost horse. Why wait till Oct? Spooky subjects are fun all year round.
This is my finished charcoal sketch that I started earlier this week, as seen on my previous blog post, when it was kind of rough. I’d like to go abstract with it but I feel like I need to do a tight sketch first.
By the time I finished the watercolor I probably have 7 or 8 hours in this one experiment, including the time I spent sketching, transferring it to watercolor paper then going into it with masking fluid and paint. That’s not including the times I had a fan blowing on it between layers of paint. That might seem like a long time to put into an experiment, but I learned a thing or two that I can use in the future. The more times I draw a subject the easier it gets.
To go a little more abstract this time, I didn’t draw it with charcoal or pencil first. I couldn’t decide how to go about it, then just went with the old blob in a rough shape method, like I would with charcoal, only with paint. First I put a glaze of cadmium yellow on the whole paper and let it dry. Then I sprayed water on it and tried to make it evenly damp. I dabbed up the puddles with a paper towel. The paper warped like crazy. Then I blobbed in the general shape of the horse with green and lifted some of the color back out.
The red color, opera, looks like a bright orange over the cad yellow. I did a test strip to pick my colors and liked the colors I got when Veridian green mix with opera. And they both looked good on top of the cad yellow.
Then just to mess it all up, I splashed rubbing alcohol all over it. I held it in front of a fan till it was almost dry then darkened up the green paint with some ultramarine blue to paint the sketchy lines.
That was fun. And good practice on things like, the right wetness of the paper, trying to control a bleed, drawing with a paintbrush which I can’t erase, etc.
I was putting this off because it was kind of difficult and I didn’t have the time to concentrate on it. First I had to redraw my horse sketch from a few weeks ago onto watercolor paper and make corrections. That took a couple hours. Then I couldn’t decide what colors to use. Finally I decided it would be best to start with the background and do the horse last like I would if it was an oil painting. Too many decisions! I tackled the sky, grass and horse as separate experiments, using two Inktense pencils on the wet blue paper for the grass. It was kind of fun pushing the paint around to make it as even as I could on the horse then lifting out paint with a paper towel where I wanted highlights. Now that I got one horse sketch finished I might try again with a different model horse. It’s still too hot out for me to enjoy painting in Plein air unless I get out at the crack of dawn.