Preview | Linda Kemp’s Negative Painting Techniques: Acrylic

Preview | Linda Kemp’s Negative Painting Techniques: Acrylic


hello im linda kemp today will be
doing an acrylic project that will feature negative painting along the lines of the piece that you see on
the easel b-side me which is included in my book simplifying
design and color for artists I’ll take you through each step
in the process so that I can show you how to complete
the value structure and then overpaint with hues to add the
color going to add just a few droplets of
water with my mister and I like to test this mister first what you want is a water bottle that’s sputs out the moisture you want to
sputter not a not a fine mist you want to sputter and
I’m watching as I spray this I’m watching to see
where the droplets fall actually spraying over here and just kind like a lawn sprinkler I’m
gonna come across the surface sputtering and as I go and I’m just
gonna let that sit for a moment as the moisture leaves the surface it’s a matter of time my little rigor
brush then take a wet rigor I’m going to just pull a few little lines through you
do not have the painting finished in my head I don’t know exactly what it’s going to be
like when it’s done it’s this doesn’t totally
random however I am counting on certain things to
happen I’m setting myself up for success right
away by this crossed mark that I’m doing so theres
purpose in that brush stroke got some angular lines coming across having a look as long as I can see it’s still shiny all over the surface I know
it’s still wet and I’m going to pick up for a wide soft dry brush see if i’ve got the timing
right here if I need to wait a little longer and I hold the brush parallel to the
surface of the clay board and im just going to caress the surface here we go with this dry brush and what happens is where those little
water droplets landed on the surface the still wet so that my soft brush is picking up the
color there and I’m left with this bit of texture on here’s here’s a nice big oak leaf what I
would like you to concentrate on and and this piece tracing paper
works well you can do this on on yours is look at this big shape right here that’s the actual shape that I want to see that’s where I will
paint around first too big strokes and then come in with a
smaller brush and cut out the notches there’s the major shape you can always go and make these little
fancy points so look for the fundamental shape
first and then cut into it so thats the shapes I’m seeing its first the overall shape and then cutting into it on making the captured negatives those
are the spaces let’s just have a quick look at the photo so I can point some
other my to you have the there’s a branch that
lays right here and another branch that’s here in
between there’s this little dark hole that’s a captured negative and that’s what I’m thinking about well
I’m doing this where are the spaces between the
branches down comes through their that dark against that light is going to bring
out a bit my painting is thoroughly dry despite
the fact that you probably see a little bit of shine on the on certain areas dark in particular that’s because I’ve added extra glazing
medium to my paints and that has a bit of a shine to it some
colors are naturally more glossy than others but is perfectly
dry were ready to start getting in some of
our lights bringing them back and just like I built from light to dark
now I’m going to bring it back slowly so I’m going to use a little bit of the phthalo blue to begin with neutralize it
down and here come some white again need to up a paper towel to
get the gobs of my brush more white I’m thoroughly blending this color let’s see
how that works you know we go there’s our light starting to come back
and I am thinking about the branches the leaves whatever’s underneath is what time starting to build up slow there were little patches of ice or snow frost on the ground so that I’m making
some dark twigs so that some of these areas that are
super dark will be will be lightening those up
quite a bit on take a drastic step here and we’re going I’m going to use this is cerulean blue I’m going to block out a bunch of areas now have my guide here and I’ve chosen
to use this cerulean blue because it is the semi-transparent or semi
opaque in see through it I may also use a little bit up the
ultramarine deep which is a uh transparent but we’ll see
how that goes so choosing an area now I said I like
that area wasn’t sure what to do but I’m going to cover it up with this blue dont
anybody panic this is exactly what I want to do and the layers start to push back and make a
decision do I want to keep that bright an orange not gonna take that
down as well the orange will show through some
generally I’m just covering this area up with this
semi-transparent know if I had used an opaque or something with a lot of white in it
you can see that’s what would happen it would be gone we don’t want to do that just want to push it back quieted down i think i will put a little texturizing over it and I’m gonna come down here and do the
same thing

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