049 – Pamela Caughey – ABSTRACT Painting PROCESS – Excerpt from Live PDPC Call

049 – Pamela Caughey – ABSTRACT Painting PROCESS – Excerpt from Live PDPC Call


– [Instructor] Hopefully
all of you can see that this is my philosophy
here, ugly is good. And I just want to kind of share with you that this is my process. I’ve intentionally
forced myself into ugly, it’s not like I’m trying for ugly, it’s just that it is ugly
because I’m trying to play, and literally you need to think back to when you were a child. You didn’t care, you didn’t
say to yourself oh my gosh, my Crayola crayons, I don’t
know what’s going on today, I’m three years old, but I just created a super ugly painting, no
you didn’t say that, right? You didn’t even care, so
that’s what we want to get to. I know we’re adults, and
it’s really hard to do that, but to be honest with
you, that will be probably be one of the most beneficial
things that you’re gonna learn in this course is to embrace
that feeling of ugly, desperation, frustration. Don’t let it shut you down though. Instead of it letting you shut you down, I could look at this
that’s right in front of me and say oh god, it’s ugly, right? But I could also say oh my,
there’s a lot of red here, and there’s a lot of black
here, and there’s some marks up here, and there’s some pattern up here. So instead of in your
head, part of what we do in this course is we train ourselves to, it’s the kind of thing that are left brain is consistently trying to do
is make us feel really awful. The left brain is more
dominant than the right brain. The left brain is the verbal,
the analytical, the logical, and it’s always ready to
knock off the right side of the brain which is the creative side. So, when we do something
ugly, the left brain is uber critical, and that’s
okay, but we just need to look at our work and start to talk
about it in formal terms, meaning what color do I
have, what shape do I have, what makes do I have,
what texture do I have, that’s more positive talk. So now, so right now, I hope
you can all see the screen. Unfortunately, I can’t
multitask and see everybody at the same time as well
as my power point here, but these are the tree main
stages on your flow chart. So this is where most of us are. Okay, you’re in the play
stage, and I’m showing you examples of my paintings
so that you can kind of see where we’re headed. Because sometimes if
you haven’t run through this course the first time, you don’t really know
the lay of the land yet, and just going forward, I
would say that if you really feel stuck, put your paint
down, just go through the entire course, even
if it’s kind of quickly, get a lay of the land, and
then return to whatever module you were in, and then start
again, because if you don’t know that what we’re trying to get to is here, and you’re here, you’re feeling
like well I don’t get how I’m gonna go from here to
there, and at this point, you probably shouldn’t, okay,
so again, that’s normal. So in the play stage,
basically anything goes, any color, any mark, any shape. We are trying to be playful,
now play for me may be marks, it may be shapes, for you it
may be something different. What is important is that
you personally figure out what it is that makes you
happy, that means play for you. We’re looking for low entry level here, so just because I started my
16 paintings with crazy marks, that may not be your thing,
you may totally not like to get your hands dirty with graphite. So it’s up to you then to figure out what play feels like for you, and do that. So that’s the first thing. And the second thing is
that all of the 16 paintings that you’re starting,
they will not be done until you’ve finished the entire course, so if you started them in the play stage, you take those same 16 paintings, and you take them into the explore stage. And then you take those same 16 paintings into the clarify stage
because what we’re doing is we’re starting with these children, and we’re helping each painting to grow up and now we’re gonna soon
be in the teenager phase. That’s the explore stage, and
then we’re gonna take them up to clarify where they become adults, and then we hopefully can finish them. So in the explore stage,
you begin to try anything that you don’t already
have until you start to see these glimmers of hope,
the treasures, the gems. In the clarify stage, again,
this is kind of the adult equivalent here, okay,
we’re not there yet, but this is where you’re going
to be using your knowledge of strong design and personal color, and you’re going to clarify your voice. So now, these are some examples, again, I’ve gone back into the
history of my images and found some things that
were just, for me, playful. As you can see, there
are not as many marks in this painting. This is a older painting,
I just playing with color, marks, different brushes,
different ways of applying the point, here are some closeups. So you can just see that
it varies from painting to painting, you don’t have
to play in the same way as you go from painting to painting. You can change things up. Here, you can start to see things that I started to really like,
and I wanted to feature them. Notice here that I have the shape. Notice how it just does not stand out yet whereas over here, here is an area where it was working for me. I actually did not adjust
this, I liked this big mark, it was kind of like a
number three, whatever, and I liked this aqua
band, so when you get to the explore stage, things
do get to be a little clearer, that’s kind of what we want. So this is where I
finished the clarify stage. Notice in the previous
slide how I was telling you, this shape does not standout
against that background, but if I love that shape,
I better do something to make it stand out, so what do I do? Okay, this is what I do. I surround it with a darker value. Can you see how that pops now? So that’s the decision you have to make. Art making is a lot of
decisions constantly. So, there is no time for negative thought, there’s only time for I love
this, how do I make it show up? I don’t love this, how do I get rid of it? Those are the kinds of
things you’d want to start to be thinking instead of
oh my gosh, I’m frustrated, because that’s the left
brain trying to override the right brain. Okay so we’re trying to
get past that painting. Now we’re gonna move in to the next one. And this is just, this is
not the painting itself, this is just an early stage. The name of this painting
is called Beethoven’s Fifth. The other one was called Muse. So now we’re moving on
to another painting, and this is one I
started in the old house, I was in my basement, and I had my, these were acrylics,
I had just learned how to do cold wax medium, but
I still started in acrylic ’cause that was my comfort zone. Some of you may still be
doing that, and that’s fine. Doesn’t matter, ’cause there
are ways to work on top of acrylic as long as it’s dry. Here we go with yes, it’s ugly, and if your goal is for things to be ugly in your play stage, you’ll
never be disappointed, so that’s the good thing. Now, we move on, okay, play
equals ugly equals good. Just keep that in mind. Pat yourself on the back,
if you achieved ugly, congratulations. Now I’m exploring, can
you see the difference? Here, I’m doing things without thought. I’m doing things on and
moving paint around, but I’m not really
thinking about anything, I’m not thinking about shape, really, I’m not thinking about value, but up here, I can’t cut this mask
out and stick it on here unless I’m thinking, right, so
now I’m in the teenage stage, I’ve grown up, I’m not that child anymore, I am going to try things that, I guess, things I’ve never tried before, like I had never tried contact paper, so I thought I’ll try contact paper. So once I cut these little windows out, I stuck the contact
paper onto the painting, and then it’s like well
how do I apply the paint, well I chose to use a brayer here. I just showed that I put
the paint onto the brayer, and I just went over these windows. Let me just pull this over here so I can read what I wrote here. Try to think of things
you haven’t tried before. This is where you guys are headed now. You’re gonna leave the play
stage, you’re gonna go into the next tier on your
flowchart of what do I do next, you’re gonna be taking risks,
exploring the juxtaposition of elements, be on the lookout though for things that look
like potential treasure. This becomes your new challenge. This stage is extended
play but with more intent, meaning that you still
want to be kind of at that playful attitude, you
don’t want to shut that down, you still want to bring some
of that playful attitude from the play stage, even
though you’re a teenager now, but now you’re thinking a little bit more. It’s okay to think, sometimes
I’m amazed when people say I’m thinking too hard,
okay, thinking is okay, but what I found is that
it matters when you think. The time to think, like really
think, and I think what most of you are saying when
you’re thinking too hard, you’re doing it too early. If you’re thinking too
hard in the play stage, yes I agree with you, you
should not be thinking, but if you’re not thinking
in the clarify stage, it’s time to think. Art is not something that has no thought, you have to think at some
point, it’s just that you need to be thinking at the right time, and I hope that that’s clear. Okay, I’m just gonna come back here and see if anybody’s raising their hand. If you have a question
now, go ahead and ask. I’m gonna look for
anyone’s hand raised here, if you have a comment. So again, here’s just
some more exploration, you can see that over here, I
had some water soluble marker, I sprayed it, it ran, just examples of how you might continue to kind of with a similar attitude of
you’re still open to change and new things, but again you’re
thinking a little bit more. Here’s just a view looking
down on my painting. Now is a point where I want
to show you how important it is to convert your
painting into black and white. You’ve probably already seen
that video where I show how to do that with your cell phone. You can also do it with a computer. There are many ways to do it, but converting to black and white, can you notice how if I
look over on this side, I might have thought
that red is kind of just a plain old mid tone, but
when I see it over here, it’s actually a bit, it’s
kind of a dark mid tone, I may not know that unless I
look at it in black and white, so it is very difficult for
the human eye to see color, to see its value, and that
is the benefit and purpose of converting to black and
white so that you’re kind of being shifted into that
mode of adjusting value instead of color because
sometimes, we’re blinded, we love red, I love red,
but until I moved it into the black and white, I don’t
see red for what it really is. Think of black and white as
color without their clothes on, I guess is a way to look at it. This is the skeleton
underneath your color. Every color has a body, that
body is black and white, and if you don’t see the
body, ’cause you’re blinded by the clothing that
your color is wearing, you’re being deceived. You need to be able to,
because the thing about color is that the skeleton underneath
it is way more potent than what it’s wearing, so
just try to keep that in mind. So now the painting’s finished,
and I want to also point out that you can be really have
strong design in a painting, but that doesn’t mean
you’re gonna like it. So we’re going for a couple things here with your personal voice. Number one, yes we’re trying
to learn powerful design and personal color, but
we also want to be able to love our work, and if you become very
knowledgeable with design, you may create something that’s a really phenomenal design, but that doesn’t necessarily
mean you love it, so let’s just be clear that we’re holding the bar pretty high for all of us, and this is a lifetime goal here, this is not something that
is only during this course that you’re gonna be thinking about it, this is going forward for
the rest of your lives that is going to be this way. Now Judith, hang on a second, Judith. You have a question. Okay, Judith, go ahead. – [Judith] Yes, the question I had was that other painting that
you had where you wanted that lighter area to stand
out, you had the next picture, the background was solid and dark. – Yes.
– I was curious on how you’re able to do that. – Okay I think, are you
talking about that shape that was kind of like the number six? – [Judith] Yeah, it was the… – [Instructor] So I think
what Judith is talking about, I’m gonna try and find that
slide, I’m gonna go back here. Okay, so I was talking
about this shape right here. And so can you see how the value between the number six
here, it’s like a six, compared to the background,
it’s not showing, but I like the shape,
so my problem is now, how do I make that standout
’cause it’s a shape I like. So then, I go here, and you
see, I did make it dark around the six, so now it really stands out, so if you like something,
the way to make it stand out is to put around it what
it is not, and what it is, this is a light value, so this darker value is not what this is. If I match the value, it’s gonna get lost, I have to put something
in there that contrasts, okay I’m gonna go back to
Judith, go ahead, Judith. – [Judith] So in order to do
that, you mask off everything you like, and then you
paint the background darker? – [Instructor] Yes, I
mean I didn’t mask this, I just came in with a brush freehand, but sure you can mask it as
well, whatever you have to do. I did mask some of these guys,
and I just came up right, so I liked these things, but
they weren’t standing out enough, but especially, can
you see, this stands out more because of its size, because
of the width of the line. This is gonna be way more of a focal point than any of these little bits and pieces. They’re there for interest,
but these little guys here, the value difference
between these little guys and what’s here is not,
look at this purple. It might as well be the same
as the brown, can you see that? – Yeah.
– However, when you come up close to this painting, it matters, it matters that you put
things in this brownish area that were different, even
if they’re the same value, because when you come up close,
you want to be entertained. Now here you can see the purple,
the purple now stands out a lot, but then when I came
back with the darker color, then again, it blends,
it kind of disappears. So we went from here to the next one. Okay so now we’re going to
move on to another painting. This was yet another
painting that I did down in my studio, old house, acrylics again. I’m just gonna fly
through these, play stage, looks pretty ugly,
right, I could say that, but I could also say wow
looks I’ve got mostly dark, I’ve got a big fat black
thing in the middle, I’ve got little bits of
black, I’ve got some orange, I’ve got some green, I’ve
got some almost feels like a dry brush texture here,
this is more or less the kind of language
you want to start using when you feel something’s ugly. Challenge yourself and say
instead of saying it’s ugly, just say what do I have,
and start writing it down. I have red over here. How much red do I have? Well not very much. This is a big painting, and
of this entire painting, I only have a little bit of red here, and a little bit of red there. How about green? Green’s the complement of
red, I could say that, right? I could say again, if I’m
analyzing this ugly stage, I could say well orange
is the complement of blue, I do have that, I could
convert this to black and white and say well what’s the
predominant value, so again, you can either say it’s
ugly and get all frustrated, or you can work on moving
this painting forward, and the way that you
move the painting forward is to learn the language of art, and the way you learn the language of art is to start describing your
own work and the work of others using everything you know. Now I know that you
guys know that you know what complimentary colors are, so you can certainly talk about color, you can talk about line, I
could say well in this painting, instead of saying it’s ugly, I could say the only fine line I have
in this entire painting is right here. What if I like lines? Then I know that maybe going forward, I should put more lines in there. Okay, so there’s that. Now it’s gotten, I’m gonna move this little
thing, so I can see what I wrote. Seriously ugly, right? Okay, so here, this is still play stage, I just covered everything with white probably because I was so
frustrated, like you guys are, and it’s like, I can’t stand it, so I threw some white paint
on it, I went from here, and then I just went
down to the next here. Still ugly, but again,
I could look at that and talk about it in design terms, and my mouse is totally not working today, I could talk about this and just say okay, I really don’t have
much dark value anymore, now mostly what I have is light value. I’ve gone from dark value to light value. I could say that. I could say here I’ve got some pattern, but I don’t have a lot
of pattern, and I’ve got some big brush strokes here. I’ve got some marks, okay, so again, describe what you’re doing at any stage, whether it’s ugly, or
whether it’s something you’re really liking, and
start to just write it down. You know how it is with language,
if you can write it down, you really know how to speak the language, so get used to writing
down, consider yourself to be a curator of your own painting, and get used to writing
a critical analysis of your painting, it doesn’t
matter whether it’s ugly or not, it can still be
described in formal terms. Okay, so this is yet
a stage further along. This would be kind of still
that kind of explore stage, but becoming a little bit clearer, and starting to identify
things that I really like. In the explore stage, you’re
gonna be adding color, you’re gonna be adding shape,
you’re gonna be adding, in my case, more marks because
I know that I like marks, and this shows it went from here. Okay so now, you can start to see, remember how ugly it was
here or I’m saying ugly, but there wasn’t a lot
going on here that I loved, here there is, so the difference
between left and right is here’s a shape I love, here’s
a spontaneous mark I love, here’s some drips I love,
and I love this color, and I like this shape, I like
the fact that because I made this so opaque, and I
left this transparent, and I like how this is a gradated tone, I like all those things,
so that’s the difference between feeling frustrated
and starting to go from the left stage to the right stage, you’ve gotta start, well
first you gotta realize what it is you love
because in order for me to put in this gigantic
mark here, I had to know that I like shape, so again,
go back to your sketchbook, look for clues of things you love because that’s gonna be your best bet. If I looked at my sketchbook,
I’d say wow, I do love shape, I do love marks, I do
love a complex color, those are the clues you’re
gonna find in your sketchbook. Okay so now, this was the
final painting, I did lose this in the fire, I never did really finish it, but again, it doesn’t really matter. I do think of painting kind of like, it’s all about the
process, it’s not so much that final product, and I
love to think about those, I don’t know if they’re
the Tibetan sand painters who spent so much time with
all the exacting detail, and then they just blew all the sand away, that’s kind of how I think about painting is that if we can just enjoy the process and not be so concerned about the product, I think we’ll enjoy it, not
only will we enjoy it much more, but we will learn so much more because we’re not so hard on ourselves. I think we take ourselves
too seriously, I know I do, I’ll speak for myself, I do. Okay now I want to play
you a quick little video, and I want to explain to
you that everything you see is digital, okay, so I’m
gonna play it right now. This is where I am right
now, and I played with it with this new program called
Procreate, so thank you to Anne Fletchak and anyone else who’s, I think Catherine Yamartino
has told me about Procreate. Don’t worry about it if
you don’t know how to use the program, it has
its own learning curve, but my purpose for learning
it was so I could show you this kind of thing. This is where I am right
now in this painting. I want to move it
forward, how do I do that? So now what you’re gonna
see is it’s all digital, and I can guarantee you
that my final painting will never look like the digital one, but I’m playing with ideas,
so let me just play it. Does anyone have a question
about what I just showed you? Do you want to make a comment
or just raise your hand? – [Female] Yeah. – [Instructor] Okay, who’s that? – [Female] That’s Betty. – [Instructor] Betty, hi Betty. – [Betty] Hi, I’m looking at
that, and I’m thinking that is so gorgeous, it is
so fluid, and it is so wet looking, and I have not
been able to get that wet look. – [Instructor] Okay, well this is acrylic, so if you haven’t seen
my newest YouTube videos, I’m demonstrating right now how I play, and I’m also starting with acrylic because I’ve got many people
in this course right now who are working in acrylics,
I’m trying to be like, it’s not about the medium, it’s about you can apply everything in this course to whatever medium you’re working in, so I happened to do this in acrylic, so just keep in mind this
is not cold wax and oil, does that make a difference? – [Betty] Oh, oh, okay, so
I thought you were starting in acrylic and then finishing in cold wax. – [Instructor] So I
start, everything you see in this screen is acrylic,
everything I just showed you that was fast forward,
that was all digital. That hasn’t been done yet, okay. – [Betty] Oh, got it, okay,
no I didn’t understand what you meant by digital either. – [Instructor] Yeah, digital means hey, it hasn’t happened yet.
– Oh okay. – Thank you.
– Okay. – [Instructor] Perfect,
okay, so, moving right along ’cause I know I’ve gone
past 30 minutes here, okay. So now, that was just a
fast forward, that shows you how I sometimes will entertain
other ideas but okay, let me go into the,
whoops, I didn’t mean to… – [Female] I have a question. – [Instructor] Okay, hang on, let’s see. Go ahead. Who is this? – [Female] Hi, this is
Elizabeth Harney, New Orleans. – [Instructor] Okay, great. – [Elizabeth] New member,
and this will probably be the only one I can get
because I’m a teacher, but anyway, I was wonderin’ is that an iOS or a Mac application,
this Procreate program? – [Instructor] Excellent
question, yes it is an iOS, it’s only available on
a iPad Pro or a iPad or yeah, in fact, it’s not
even, you can’t even have it on a MacBook Pro, it has to be a tablet. – [Elizabeth] Okay, all right. – Thank you.
– Excellent, thank you. – [Instructor] I’m also going
to meet everybody again, and I want to add that okay, Procreate is one of many programs. If you have a PC, there are
just look into applications that help you to sketch and
draw because there are many, many, Procreate’s just one of many, many, and it’s unfortunate that
Procreate is only for the Mac, but it’s one of many programs. (light music)

34 Comments

  • Linda Richards says:

    My favorite media is acrylics. I like the idea of being able to use acrylics as watercolors just by adding more water or just using acrylics as a wash.

  • Selene Seltzer says:

    Another great video Pam! I love seeing your transitions from play > explore > clarify. Will have to try contact paper masking..It's so direct. Does it leave a sticky residue when it's removed? If so how to do deal with that? Thanks!

  • devi kirin kaur says:

    I love pencil and acrylic together!

  • marion berkhout says:

    I used to work with acrylics and loved that. Recently, also because of your videos, I started to use oilpaint, with and without cold wax. I think I found a new love of my life.

  • Africa Hernandez says:

    Thank you Pam for the opportunity! I used to work with acrylics but now I am loving to play with watercolors and soft pastels or pencil pastels to make some marks, but watching your videos I would like to give a try to cold wax! Best wishes from Strasbourg (France)!

  • Kenneth Kowalchuk says:

    I usually find some beauty in the ugly painting that keeps me exploring new mark making and shapes.Happy holidays Pamela. 🎄☃️

  • Ellen Kirwan says:

    My Favorite medium is matte medium for gluing on collage elements. I need to give the airbrush medium a try. I am having to run a fan next to me while painting with acrylics. I've become chemically sensitive to them. With the fan EVERYTHING dries out fast! Is it airbrush medium I need or an extender? Thanks for the videos.

  • Valaree Cox says:

    Learned so much from this video! Thanks Pam!

  • Michelle 224 says:

    Hmmm, this is a tough one. I've just started to use Cold Wax and have made a couple of different batches as well as using Gamblin and absolutely love it. Working with oils, I really enjoy the solvent-free Galkyd Gel and have also added it to my cold wax mixtures, after hearing your advice on this, Pam. Thanks so much for sharing this great video!

  • Karen Kahle says:

    hi pamela, i love acrylics for how fast i can create layers and depth, and take a piece thru so many stages. i also love that i don't have to use solvents and keep low toxicity in my studio as i am sensitive.

    i wondered in this video about using the computer program and creating a digital 'finished piece' that you are happy with. of course you want to take your actual painting forward to completion, but have you thought about keeping the digital work to offer as finished prints? they are your work also and maybe there may be some that you really love and feel reflect you sensibility. just curious. thanks Pam!

  • Nancy Longacre says:

    I’m so grateful that I found you! Your methods, style of educating, and the way you share are so generous! I’m really looking forward to becoming comfortable being a confident artist again, just like when I was a child. Thank you so much! ❤️🎨 oh, My favorite medium is whatever I’m working in at the time, I have used and love them all, theses days I mostly work in mixed media collage.

  • Erna Wade says:

    Thanks so much, Pamela. This was super helpful, to work through the ugly stages of a painting. Also very helpful to follow your thought processes, and what type of risks you take. Thanks so much!

  • Sally Hirst says:

    Hi Pamela…my go-to medium is airbrush medium. I mix it with acrylic to make ink…or spray it on wet paint to get it to dribble down. (great video…I use YouDoodle and Autodesk apps on my phone and kindle fire)

  • Michelle Turbide says:

    I’m an acrylic painter so my favorite medium is acrylic. However I want to learn oil and cold wax and for my birthday this year I purchased all the supplies. Thanks so much for your inspiring videos!

  • wishlist011 says:

    Really useful information. Thank you. Like many artists I'd like to be able to loosen up my work while still retaining some structure and interesting composition. While "playing" I can become frustrated with what I've produced and scrape/wipe away areas only to be left with a homogenous grey (much more ugly than anything you've shown here!). I love the strong, very defined, abstract white areas at the bottom of the first image (the start of Beethoven's 5th?) Is there any chance you could describe how you achieve these? They look too random to have been deliberately masked or preserved, but the edges are so sharp/crisp. Is the paint around them very fluid when applied? What sort of tool defines or creates their border (a scraper or brayer maybe?)? Sorry for all the questions … if only I were nearer I'd be joining one of your workshops!

  • Shilo D says:

    This is so timely! I struggle in the transition from explore to clarify stage. This was very helpful. I also love your idea of describing my work at any stage and writing it down to practice learning the language of art. Being mostly self taught and working alone it can be so difficult to talk about my work especially in the ugly stages. I will put this to use immediately! These videos are so educational I look forward to taking one of your courses online. Thanks again

  • scarlyle says:

    My favorite medium so far is oils for the rich colors and ability to blend. Have yet to try Cold Wax, looking forward to that. Thank you for all the content you are sharing.

  • Beth Conroy says:

    Personally I find the playful stage of your paintings that you describe as ugly to be beautiful. Maybe I just have a love for extreme colour.

  • jacqui harris says:

    Thanks for your generous sharing of your work. My favourite tool at the moment is a ridged trowel that my husband uses for tiling. (He’s a builder. Very handy for tools!)

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    3) Post in the comments section below: "What is your favorite painting medium?" Winners will be chosen from those who've enrolled in my FREE Videos and Tutorials AND commented below (or in other videos posted between now and Dec 25th, 2018!)

  • Sharon Dozier says:

    Thank your for the video! I like any medium that adds thickness, texture to paint. Impasto, cold wax, gel mediums, and the like. I like texture that can be carved and scraped into…thick and thin areas.

  • DonnaOrmeVideos says:

    Donna Orme – Great, informative video.  Please send more in stages like this.

  • Bob Worthy says:

    The three stages help structure the painting process. Thanks.

  • Blue Arbor says:

    Pamela, I just got a play set of Akua Intaglio inks that are soy oil based. I'm guessing these would do great with cold wax. Have you by any chance experimented with these yet? They are a paste ink which can be thinned for monoprinting. They are pasty but they have liquid pigments too, which you can thicken up as they have different mediums you can use to thicken them. I hadn't thought of using them with cold wax yet so I'll have to try that tomorrow. Inspired.

  • Lesanne Pelle' says:

    Wow! I am so glad I found these videos. I am just a paint brush painter…have taken several encaustic classes…all of these frustrate me. I wanted depth and sexy surfaces. So after 30 Years of painting, and many more of living, I am soon grateful. I have watched many of your videos the last few days. You have answered every question I ever had about painting, and taught me so much more. Grateful thanks.

  • Shellie Noyes says:

    I love it. I have made some very ugly pieces of contemporary art!! I am very happy for your examples! I admire your work so much Pamela!

  • bonnie Mary says:

    This is the first roadmap I have found for developing an abstract painting! Thank you! I hope you will continue to teach. You are excellent!

  • Deborah Ferguson says:

    Thank-you Pamela! I have a difficult time with my opinions, thinking …. and then I don't think much of my painting… This helps!

  • painterly03 says:

    Hi Pamela, Have just discovered your videos. Totally understand how fearful finishing paintings can be. I work in both abstracted realism mostly acrylic and abstract with lots of small monotypes at the moment. I have used monotypes as collage elements but not as loosely as yours so something to try.I was fascinated how you determine at what point you decide to go from play to explore and then clarify. Really enjoyed the yellow painting and your process for resolving it.

  • Sylvain Aubry says:

    je suis a 100% avec toi !

  • Sharon Dean says:

    just came across your videos, love you for sharing… I will use your info and actually excited to do this…. can not thank you enough!!!❤❤❤

  • Jill Robbins says:

    Hi, loving all your videos and I’m finally into my own art process again, thanks to you! On another note, I ordered the energy product you recommended. I’m wondering though about its interactions with other medications that people may already be taking; it didn’t say on its web site. Maybe you can ask. Thanks!!

  • Danielle Lotu says:

    Wow, I needed to hear this. I've been so hard on myself and stuck in a perfection paralysis loop second guessing my work. Thank you, just found your channel today, super happy.

  • josiane Guet says:

    Dommage que les explications ne sont pas en français. Quel talent. Merci Pamela

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