I worked on the painting a bit more earlier today, and after looking at the painting, I was reminded that I needed to introduce a few more darks, and this time I wanted to add some solid darker red hues. I again turned the painting around a few times while working on it to balance the colors and shapes in the overall composition of this abstract painting.
After adding some darker neutrals to add some contrast and depth to the painting, I go back in with a lighter lilac mixed color and sprout some energetic bursts around some of the curves in the forms. There’s still even more to do that I have ideas to add to this painting!
As I continued working on this painting, to balance out the lighter, bold colors I’ve chosen, there comes a point when I must introduce a darker neutral to balance the overall distribution of values and hues in the painting. In this (Phase 7) I have added some textured darker-brown areas, lending themselves to aid in grounding the painting.
In Phase 4 of this abstract painting, I have added some warmer salmon-orange lines to balance out some of the cooler colors I had added with the blues and greens.
In this second layer of paint I’ve applied to the canvas, I add sweeping darker blue graphic lines. These will be part of the framework that I will wrap the rest of the elements around and through.
The other day, while I was working on a medium-large canvas mounted on my easel, I had the local classical music station be my soundtrack for this painting. As I am working on any painting, particularly one starting out as an abstract painting, I turn the canvas around after every few brushstrokes, to balance the color and visual rhythm of the piece while I am working on it.
I am so glad that my easel is on wheels, because as I was painting the top and sides of the canvas, I was twirling and whirling the easel back and forth as though I was dancing with it. It was glorious, as my involvement in the movement of the painting was physically more than the brush.
Tomorrow I think my painting selection will be jazz. I am curious to find out how that affects my easel-dancing.
Have you ever listened for the sounds of painting? After being away from painting for awhile (because of busyness, travel, holidays, etc) I find that my senses are much more attuned to the sounds of painting as they are to the sights of painting. With no background music playing in my silent studio room, the sounds rested loudly upon my ear. The sounds of mixing paint on a pallette, the whish of cleaning my brush in mineral spirits, the rhythmic scratch of making the same brushstrokes upon the same area, or long smooth pauses as I paint a long smooth line across the canvas. Have you ever listened for familiar sounds of the act of painting?