Skip to main content

Day 7: Working on large and small paintings

Each of these posts from the studio will start with a number that indicates how many days I've spent actually working in my studio in 2011. On day 7, I worked on a large canvas to which I'd previously added several pours of iridescent colour (the second image is a close-up detail):
The gloss medium really stands out in relief through all the pours and colour washes.

I did the same patterning with gloss medium on the other large scale canvas. It seems to be getting the look of a painting by Australian aboriginal artist Colleen Nungari:

Then there was a small wood panel, about 5" x 5", which I had smothered with a layer of clear of tar gel. This resulted in a an extremely glossy surface:

None of these are finished yet. The first one still feels like it needs more washes of colour to take down but not eliminate the blue. The small one will get another couple of layers of drawing and clear tar gel. The one that is closest to being done is the second one to which I'm adding the dots. Maybe I'll have something finished by the end of January.

Subscribe to Praeterita in a reader

Popular posts from this blog

Brancusi in Plastic

Artist Mary Ellen Croteau is showing these columns made from recycled plastic cartons and lids in the window of the Columbia College bookstore on Michigan Avenue. They are a playful homage to Brancusi's "Endless Columns", with a serious environmental message for our times:

Mary Ellen also runs a wonderful experimental art gallery in a window space in west Chicago, called Art on Armitage. I will be exhibiting a mixed media piece there during August 2012.

How to etch a linoleum block

Linoleum as a material for printmaking has been used for nearly a hundred years now. Normally, you cut an image out using special gouges similar to woodcut tools, cutting away the lino around the image you want to print. This is called relief printmaking, because if you look at the block from the side, the material that remains stands up in relief from the backing material. You then roll ink with a brayer over the surface of the block, place paper over it, and either print by hand or run it through a press. You can do complex things this way (for example, reduction linocuts), but the beauty of the process is that it is quick, simple, and direct.


A few years ago, I saw some prints that were classified as coming from etched linoleum blocks, and I loved the textures I saw in them. In the last few months, I've been trying to use this technique in my own studio, learning about it as one does these days from websites and YouTube videos. I've also had email exchanges with several pr…

Me Talking About Alexander Calder

In the first years of this blog, in 2010-2011, I created a series of 100 short illustrated talks on art that I called Meditations on Art. There is a page on this blog linking to a complete playlist. I remember, about a year after I completed the series, checking in via YouTube and seeing that one of them had passed 1,000 views. An insignificant number compared to your average viral cat video, of course, but considering I made these little videos mostly for my own amusement, it still amazed me that one of them would get 1,000 clicks (whether they were purposeful or accidental).

Well, I just looked at the stats again, and I am amazed to find that one of these videos, the Meditation on Alexander Calder, has now surpassed 18,000 views. Here it is: