I did these three little paintings at the Gallery on Wednesday. My primary purpose was to continue learning to handle clayboard. I had taken the reference photos some time ago and they seemed perfect for the little six by six inch panels I had to work with and they were great subjects for learning technique as they have soft and sharp edges and a full value scale from black to white.
I used the same palette for all three paintings: burnt sienna, red brown madder (much the same color as burnt sienna but much less sedimentary and brighter), cobalt blue, phthalo blue, new gamgee , raw sienna, and because both reds are really orange, dioxion violet. This gave me a highly sedimentary pigment, and transparent pigment for each primary. The transparents, new gamgee, red madder and especially phthalo and dioxion violet are difficult to lift from paper.
I emphasized different pigments in each painting. Little Garlic I is all about blues and greens with a little orange-red and orange for punch, i.e. two analogous colors with a touch of each compliment. Little Garlic II is a complimentary color scheme, violet and yellow. Garlic III is simply the reverse of Garlic I; orange-red and yellow predominate and blue-violet and green provide the punch.
I mixed the colors almost entirely on the clay-board, laying down the warmer colors first and dropping in the cooler ones. Primarily, I mixed sedimentary colors with sedimentary colors and transparents with transparents. Mixing transparents with transparents and translucents with translucents is another trick I learned from Karen Vernon. Droped into thier own kind, they spread out nicely. Otherwise sedimentary colors tend to push everything else aside.
Because of the ease of lifting from clay-board, I didn’t use mask. The very whitest whites are reserved through negative painting but most of the whites are lifted. All of the soft edged lights in the garlic roots are lifted.
After I completed the paintings, I fixed the surface with two coats of Krylon’s UV Archival Varnish, and three coats of Golden’s Polymer Varnish with UVLS (satin). The result is that the paintings may be framed without glass. The coating is not only protective, but archival and removable for conservation purposes.
These paintings are currently for sale on line at my Etsy shop.
Prints of all three paintings are available through Fine Art America.















