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Hi, I'm Cyndi, and I've been writing and updating  Mixed Media Artist since 2005.  If you're a new visitor, welcome! Come tr...


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Monday, September 18, 2017

A Light in the Forest

 

Last week I talked a little about adding some depth to an abstract by shading the elements in a way that draws the eye into the picture rather than just across it.  Today's piece uses the same technique with a different color palette, and in a much larger size so that the elements could be spread out a bit more.  I wanted to see if that would make a difference in the perception of depth.


 

The background was rolled with Green gold and allowed to dry.  I then painted around the center, moving outward, with Sap green, Phthalo green, and Turquoise phthalo, these three being both mixed with white gesso and plain.  I then dripped in the most "distant" trees, white ink with a couple drops of turquoise paint.  After they dried, I sponged the whole piece lightly with Iridescent copper (not shown above).



 

The next step is to drip in the "middle distance" elements, this time mixing the white ink with a bit less turquoise.  When they were dry, I sponged over just the area with the existing trees.




For the last area, the "foreground", I used plain white ink with no added turquoise.  Once dry, I sponged the entire piece with the Iridescent copper. 

This composition breaks a "rule" by putting the focal point right smack in the middle, but I'm ok with that.  More bothersome to me than the central placement is that the focal tree is more realistic than the others, and I do think that was a mistake.  

Copyright 2017 Cyndi Lavin. All rights reserved. Not to be reprinted, resold, or redistributed for profit. The tutorial only may be printed out for personal use or distributed electronically provided that entire file, including this notice, remains intact.

Monday, September 11, 2017

Autumn Glory - a mixed media painting tutorial

Autumn Glory
Cyndi Lavin, 2017



As my obsession with trees continued, I had a pile of paintings that just didn't work out.  I used one of those as the base for Autumn Glory, although that's not really completely accurate since I repainted the entire thing!  However, just to be completely honest, the background was very dark, and maybe a little bit of it shows through the lighter colors near the middle.  Or not :-)

This piece was the first of my experiments with adding more obvious shading to the trees to suggest distance.  I didn't want to go too far into the realm of realism, but on the other hand, it's good sometimes to apply what you know to your abstract work as well.  Abstract doesn't mean "rule-free"!



The center portion was rolled with Hansa yellow opaque and white gesso.  I let it dry and then sponged on two strengths of Pyrrole orange and gesso, and of Dioxazine purple and gesso.

 
Mix white ink with a few drops of Dioxazine purple and a drop of water if needed, and drip the distant trees.  Let them dry and sponge over them lightly with Iridescent copper, just where the trees are and the center of the piece.

Mix white ink with a bit less purple and drip in the mid-distance trees.  Sponge them and the distant trees (again) with Iridescent copper.  Don't re-sponge the middle.  




Use white ink with no purple at all for the foreground tree.  Sponge the entire piece lightly with copper one last time.  

Copyright 2017 Cyndi Lavin. All rights reserved. Not to be reprinted, resold, or redistributed for profit. The tutorial only may be printed out for personal use or distributed electronically provided that entire file, including this notice, remains intact.

Wednesday, September 06, 2017

Beading Arts book reviews - part three

 

The books that I am sent to review that cover wearable art, beading, bead jewelry, etc are found on the Beading Arts blog.  Every so often, I like to list them here so that if you are interested in those topics as well as painting, collage, and quilting, you can bounce over and see the ones that catch your eye!

In Chronological order:

The Embroidery Book

Micro-Macrame Jewelry

Simple Metalwork Jewelry 

Casual Bead Elegance 

Jewelry Made with Wire + Fiber 

Jewelry Making with Resin 

The Art of Quilling Paper Jewelry


Earlier lists:
Part one
Part two 

 

 

 

 




Monday, September 04, 2017

Spring Blows In 2 - a mixed media painting tutorial

Spring Blows In 2
Cyndi Lavin, 2017



I liked the colors of a piece that I shared a few weeks ago (Spring Blows In 1) so much that I did a second one using a slightly different technique.




This time I dripped the black ink trees first, allowed them to dry, and then sprayed them with fixative just to be sure.  I mixed up the following acrylic colors with silicone and medium, but instead of pouring puddles, I poured thick lines: Medium magenta, Hansa yellow opaque, Pyrrole orange, Titanium white.

I topped these with a thick line of white paint, swiped across and swirled.  The paints were not thick enough to form cells, but they still did lots of neat skittery little things that I loved.  After adjusting some of the colors, I let it dry overnight, and then dripped a few more black trees.


Copyright 2017 Cyndi Lavin. All rights reserved. Not to be reprinted, resold, or redistributed for profit. The tutorial only may be printed out for personal use or distributed electronically provided that entire file, including this notice, remains intact.

Monday, August 28, 2017

See you next week!

  

Last week was a vacation week for me, but I worked anyway.  This week I really really really mean it!  See you next week <3

Monday, August 21, 2017

Fall Aflame - a mixed media painting tutorial

Fall Aflame
Cyndi Lavin, 2017

Sometimes your silicone mixture just doesn't come out right!  I was trying for a mix of some bright colors with cells using the Pour and Swipe method of liquid acrylic painting.  Something didn't get mixed up properly, or else I mixed in the wrong proportions, because as soon as I swiped the black across the paints, they streaked instead of forming cells.  

Since it was ruined anyway, I tried an experiment, which I ended up rather liking!

  

Here is the initial set up: gesso on heavy watercolor paper, paints mixed up (I thought) like in my previous liquid paintings.  But they look grainy, don't they?




As soon as I swiped, this is what I got...a total mess with colors sliding all over each other and no cells at all.  Since it was such an irredeemable mess, I sprayed it with some more silicone and watched the colors break up and move around even more.  It was kind of cool to see, so I started moving them a bit myself. 



When I got the streaks of color into patterns that I liked, I let it dry overnight.  I blotted it to remove any silicone just sitting on the surface, and dripped black ink from the top, giving it a light mist of rubbing alcohol to encourage more fuzzy edges. 

Copyright 2017 Cyndi Lavin. All rights reserved. Not to be reprinted, resold, or redistributed for profit. The tutorial only may be printed out for personal use or distributed electronically provided that entire file, including this notice, remains intact.

Monday, August 14, 2017

The flip cup method of liquid acrylic painting - a tutorial


So far, we've gone through the steps for doing a pour and swipe liquid painting and a pour and tilt liquid painting!  This week, we'll look at the flip cup method. Each of these techniques has its benefits and its limitations.  I really like the flip cup method, but you have the least control with this one.  It's fun to not know what you're going to get, but it can be frustrating too!



For the set up, follow the first three steps from last week.  Even the paint colors that I used are the same, and are listed in step four.  Funny how totally different this one turned out from last week when they were the same colors!

4. Pour the paints from their smaller individual cups into a large disposable cup, each one on top of the previous color in this order: Titanium white, Cobalt teal, white again, Pyrrole orange, white again, and Quinacridone magenta.


5. Flip the cup upside down onto the masonite board.  Hold it down and swirl it slightly.  Remove the cup and tilt to spread the paints.  Spray lightly with rubbing alcohol or use a long-nosed lighter to bring up more cells in certain areas if you'd like.


6. When the piece is perfectly dry (overnight is best), use a pipette to apply some undiluted white ink to form underwater grasses.


Pour and swipe
Pour and tilt
Flip cup
Copyright 2017 Cyndi Lavin. All rights reserved. Not to be reprinted, resold, or redistributed for profit. The tutorial only may be printed out for personal use or distributed electronically provided that entire file, including this notice, remains intact.
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