078 -Pamela Caughey – LIVE-Post-Edit-COLOR-Q&A-Abstraction-Black Under Painting

078 -Pamela Caughey – LIVE-Post-Edit-COLOR-Q&A-Abstraction-Black Under Painting


If you were on with us
last weekend on Saturday, you’d notice that there’s
a little bit of a glitch with audio, so I was requesting that you guys let us
know, how is the sound? I’ve got my intern Jody,
and yesterday we did a lot of experimentation
with microphones and cameras, and all kinds of equipment,
so if you can hear me okay, please just say, “Yeah, the sound is good. “No, the sound isn’t good.” Okay, great there’s one
telling me it’s good. Thank you guys, and thank
you Laura, thank you Chris. Oh, you’re one of our grand prize winners, good to see you on the call. Debbie, thank you, and Nat, thank you. All right, great, awesome. Okay, I think I’m gonna get
started with one minute before 2:00 p.m. mountain daylight time. Thanks everybody for taking out time on your valuable weekend to join me here. I’m very motivated by the questions that have been coming in, that you’ve been submitting via that link, that will always be in every description under every video that I have. Where you can submit question for YouTube, because, when I read those questions, I just wanna like, answer them. But obviously, I can’t
answer them all at one time, and there’s literally
hundreds of questions, so for today, what I
did, I just real quickly, I want to tell you that
I went through them, and I kinda categorized them, in terms of like, process and
technique, color, materials. And so I’m gonna get started right now. And just tell you that
I’m going to be answering as many questions as I
can, as I am also painting, and this by the way, is a challenge, that it came from two sources. One is our Watchler and
Grove membership group, and so Marie (muffled speaking) in Norway sent me this fabulous challenge, which was to work on a black gesso ground. So I hadn’t done that, yet, and I thought, “Okay, this
is a great time to try it.” And then, I saw another challenge come in from another person, saying, “hey, can you work on
a black underpainting?” So I want to explain that this is Strathmore Mixed Media
paper, and it’s six feet by, I guess, about, maybe, four
feet, and it’s just paper. And it’s adhered to the
wall with white tape. I could’ve used blue tape,
that doesn’t really matter, except you want to make
sure as you’re tacking up that your painting’s not
going to fall off the wall. And, last night, before the YouTube live, I covered this with black, not just black paint, black gesso. I want to show you this. It’s in a jug, and this
is made by Nova Color. Some of you have been asking me, where do I get my acrylic paints, why are they so nice and fluid? Nova Color, actually
listed on my resource page at www.artandsuccess.com. I get ’em in gallon jugs,
they’re more like buckets. And then I put them
into a gallon container because it’s much easier
to just have a small cap, pour it into a container,
than to work out of a bucket. I find buckets to be really tough. So you’ll find on my www.artandsuccess.com in the research section,
even these gallon containers. I list everything that I’ve ordered there because I don’t want to
have to search for it. So I put all the links there, and I just shared it with you guys, so if you ever want to find stuff that you see I’m using,
it’s almost all there. Okay, so I wanted to
show you the black gesso. The reason I covered
this with black gesso is because at first, I
wasn’t sure today, and– I wasn’t sure if I was gonna work in acrylic or in cold wax medium. So I thought, uh, you know,
and I started to read more of the questions, and I saw people asking about pigment sticks, R&F Pigment Sticks. Those are oil-based. People were starting to ask
me about cold wax medium and getting the drippy paint. So, I started to think,
“okay, I’m seeing a lot “of questions that have
to do with, yes, acrylic, “but also oil and cold wax mediums.” So, as I go through these
questions, I started to categorize them, and I
decided that for this, for today, and they’ll be hopefully
many future feature lives based on your questions, keep them coming. That’s really important. That today, I’m going to be working on this Strathmore Mixed Media paper. It has black gesso, not paint,
gesso, that’s different. The difference between black
paint and black gesso is that anytime you have something
that has the word gesso in it, it means it’s absorbent. It means that it’s a
ground, an underpainting, for pulling into oil and
coal blacks, or acrylic. I could go either way at this point, but based on the questions I was getting, and since I’ve done some
acrylic in two videos recently, the large scales ones, I
thought, okay, today, I’m going to work into oil and cold
wax medium, and show you some of these special effects, okay. But also, the reason I’m
choosing black is because that was part of this challenge that Marie (muffled
speaking) from Norway had, and how do you start with
a black underpainting? Okay, so I’m just gonna
start moving into this, and I will explain as I go. By the way, congratulations
to Chris Darce, who’s on live, today. I don’t know if Mike Wilkis is on today, but Chris Darce was one of
the grand prize winners, he’s in San Francisco, I want to read this for you real quick. I chose him as a winner for the professional-grade
Gamblin oil paint set, because he said, he wrote,
“hi Pam, I’m a sculptor, “but after a few months
of watching your videos, “I’m re-tooling my studio
to give cold wax a try. “My art focus is social justice, “and I would like to weave
that into this medium. “I’m wondering if insinuating text “within the multiple layers
of paint is possible. “What would you suggest?” So– and then the other grand prize winner in the other YouTube video I
did, that was for challenges, was by Mike Locus from Canton, Ohio, and he wanted– he had
a very long description of the challenge. And I’m going to be
doing that in the future, but it had to do with
geometry, and I thought that was very intriguing
because I love geometry. So in answer to Chris’
question, the idea of text within multiple layers
of paint, is it possible? Absolutely. The beauty of what you’re painting, you can get any effect you want. Don’t let anything ever stop you. If you’re a realist painter, if you are an impressionist painter,
or anything else, whatever you want to do,
whatever you strive to do, there is gonna be a solution. It’s just up to you to find it. So if text is important to you, Chris, then you might actually
make your own stencils. This one happens to be a manufactured one, but I recently, actually,
got a stencil-making machine. So I can make my own stencils,
and that’s pretty cool. And this one’s a store bought one, but if you have text
you want to incorporate, you could either make yourself a stencil, it could be on newsprint,
plastic, whatever. This one’s just plastic,
but again, yes, absolutely. There’s nothing you can’t do. So I wanted to show you, too, that I applied this black gesso here. Again, this is white paper,
and I used this roller, a sponge roller, to take the
black gesso and put it on here. So it set overnight and it dried. Many people think acrylic
dries super fast, but actually, letting it dry overnight,
or even a couple of days, is recommended by Golden,
Golden is a major manufacturer of acrylic products because
even when paint appears to be dry, it may be dry on the surface, but not necessarily cured yet. But this is gesso, and
it dries pretty fast. You’ll notice here, there’s
a little white puddle. What that is, you’ll notice that I didn’t cover the entire thing with black, I actually left some white space. But because I’m planning on moving into oil and cold wax, this
morning, I put clear gesso. Again, the clear gesso I
use is made by Liquitex. I don’t know many companies
who make clear gesso. The reason I wanted clear
and not black, not white, was because, I mean, I wanted the shapes, so clear was– that’s what I
did, so that’s what I used. All right, so I think, I’m not really sure what the dilemma is with
black ground, white ground. I’m not really sure why
that matters too much. Like, in my world, I don’t really think that matters a whole lot. Because it is dark,
though, I do know that, like my R&F Pigment Sticks, here, if I did something like this, you’re gonna see it, obviously. If I do it on white,
you’re not gonna see it. There, that’s obvious. I think mostly what happens
when we start talking about working on a black
ground versus a white ground, we are starting to
really talk about value. And value is something that I
talk a lot about in my course, so if you guys are in my
course, you know that. If you’re on this YouTube
Live, you know that I talk a lot about it. Now, here’s a mid-tone gray. So again, here’s white. Now, I can do this, and it’s gonna show. The difference between
the two is not that great because this is actually
a kind of a high-key gray, and it’s very light, but
I can just, you know, now that this is black gesso on paper, I can pretend that it’s just fine now, to work in oil and cold wax medium. Now, these R&F Pigment
Sticks are, I’d say, 80% oil with a very small amount of beeswax, so there’s a lot of oil paint in these. They do take longer to dry. But I love to use up
there a gestural tool. So for those of you who
like marks, anything goes. Again, last Saturday,
I talked to you about these sweeping arm movements. It’s very important that– This
may not be as big as the one I did last Saturday, but
it’s still big enough where it doesn’t–
whatever it is, you need to get a feel for what you’re working on. I’m not paying attention to
what’s black or what’s white, except for that I have a light mark making tool like this gray. I know that it’s gonna show
up better against dark. And if I have something
dark, like, let’s say, I’ll grab some of my usual favorites here. I’ve got a Chunky Charcoal,
I’ve got a Rembrandt Lyra, and my favorite is the Stabilo 8046. These are finer tipped, right, but– I know that the black’s not
going to show up against this, so there’s no point in
making any marks there. But if I go like this, now you see it. So the whole thing about value, whether you’re working on a
dark ground or a white ground, is, you know, what’s gonna show. So in your head, you’re
not really thinking. I am not thinking. This is part of my process. It’s play, I’m not trying to think, but, even if I’m not thinking, I know that if I were three years old, I probably would be able to
start to see that if I put this, which is dark over light, I gonna see it. And if I’m free, and I do
this, I’m not going to see it. So that’s really the only amount of thing that I’m thinking at this point. This is the play stage, and
I’m just gonna have fun. Now, I get a lot of
questions about materials. So I’m just gonna start to
address things like that. And by the way, this is
actually a little on the side, but this is my Masterson Sta-Wet Palette. And I just want to show you, my husband was nice enough
to make me this lid. These are my oil paints, okay,
so some of you were asking, “Can you store mixed
paint, you know, oil paint “that’s mixed with cold
wax medium and Galkyd Gel?” I had him make this lid for me, because I had a really hard
time with a plastic lid to get on here, and I do
have this spongy layer. This is like an optional
thing, but I like it. What I do is I kind of soak it with Gamsol on the very bottom. Then I put my palette
paper, there’s the oil, the cold wax medium, and actually, I had two layers of paint in here. Then, I put the lid on. This is a custom-made lid, that’s made out of wood, with a handle. And I do store it in the refrigerator if I’m not gonna get
back to it right away. So if you have a dedicated refrigerator where there’s no food, you’re okay. I just wanted to throw that in there. So some of you were asking about- So Kris Abshire from Washington,
La Conner, Washington. She wants to know sources for
large, good quality paper. Ian Trott of Hamilton, Ontario, Canada, wants to know a preference for paper versus canvas versus clayboard. So I’m gonna just address
all that really quickly. If you are an acrylic or oil
and cold wax medium artist, this is what I’m using today. This is Strathmore Mixed-Media
paper, comes in a roll. There’s a lot of paper on here. So this is a brand new roll. Last night, I opened it
up, put it on the floor, laid it out, weighted it
down with these gallon jugs of paint, cut it, and here it is. So this is on my website
www.artandsuccess.com under the resource section
’cause I use it a lot. I order it a lot. Here’s another one. This is Strathmore
Heavyweight Drawing paper. Again, any paper can be coated with gesso and become a great ground for acrylic, or oil and cold wax
medium, it’s your choice. Those are my two go-to papers. Then, this is my Arches
oil cold wax medium, and the reason that I– it
comes very tightly rolled. You see me in another
video, where I’m trying to unroll this thing, and
the thing wants to snap back into that really tight, tight roll. So my friend, Jane Kenyon, in Vancouver, who I thank endlessly for
telling me this little secret. Notice the concrete form, here, and it’s got a large diameter. If you wrap the paper in the
reverse way that it wants to be, it actually relaxes,
and it’s not fighting you and slapping you in the
face when you unroll it. So that’s how I keep my
Arches cold wax medium paper, my Arches oil paper, I love that as well. Okay, so again, in my
resource section is where I– everything that I use is there,
and you can find it there. Now, one of you had questions about color. So I’ve just done some
initial mark making, again, on a black ground. And some of you were asking
questions about color. Anne for Cincinnati,
Ohio says, “I’m a novice. “My colors become muddy. “How do you know, let’s
see, how do I avoid this?” So let’s talk about mud because mud, no matter what medium you’re working in, I think we can all agree, that at one time or
another, we’ve had mud. Now, your definition of
mud and my definition of mud are probably different. Because well, 20 years
ago, I would have said, “oh my gosh, I’ve got mud.” Now, it’s like, “mud? “Okay, that’s great.” I’m gonna make a mud, and I’m
gonna show you why there’s, actually, to me, in my world,
there’s no such thing as mud. I’m starting with a dark gray. I’m adding some red. And I’m just gonna add a lot of colors. My mixed palette today is Alizarin Orange, sorry, Indian Yellow made by Gamblin. I’ve got some cad red over here, but that’s more like a special color. My other– so I’m trying to
keep my palette simple today. I’ve got Ultramarine
Blue, and this is oil, the cold wax medium and Galkyd Gel. I’m just gonna work really hard to make something that you may call mud. Here’s a little bit of
black, and you know, it’s gonna get really gross. I think that our idea of
mud is when it goes greenish because green is the combina–
green is what happens, (laughs) this is like an Army green now, it’s actually really deep. And I wanted to show you, here. When we get mud,
basically, what’s happening is we’re not caring too
much about what we’re doing, and in a way– or maybe we don’t know. It could be one or the other, but in my case, it’s just I don’t care. So you might have violet,
blue, green, yellow, and red, and throw them all in your pallet, and what you’re gonna
get is in the middle. That’s this neutral gray. Well, neutral gray is another
word for kind of like mud. Mud can go, like it can
be a reddish mud color. I’ll use the word mud because that’s the word we’re talking about right now. Here is the mud I just mixed up, and you might think that
this is awful, but to me– I didn’t mix this very well. But it’s an Army green, okay, and I might say, “oh my gosh, that’s mud.” So this viewer is saying,
“how do I avoid mud?” Well, I don’t think it’s
a matter of avoiding mud, ’cause you’re gonna get
mud, it’s more question of what do you do with mud once you get it or the what do you do
with that neutral gray. It’s actually a very neutral gray, a little bit greenish
gray as opposed to gray that’s just black and white
with no color added to it, so– The way to look at any mud is
that it’s actually an asset, not a liability, and the reason is that– I’m gonna grab some of
these R&F Pigment Sticks and a crayon and just a bright color, here, of American crayon. Okay, so here’s green. Actually, this one
hasn’t been opened, yet. Okay, now it’s open. I wanna show you what
happens when you got this, what is supposedly mud,
and you’re unhappy with it, it’s the perfect thing to put
some saturation next to, okay? ‘Cause this against black is
one thing, but when it’s next to the gray, green,
muddy section, you know, in some ways, your painting
kind of comes alive. And now, here’s red. Right? And here’s a pink. So I’m not really paying too
much attention to these colors. Well, I should say that
I’m going to keep track. I’m gonna use this, it’s
like a little swatch. And I wanna show you that if I start to go in that sort of color, here’s pink, you just saw me add red,
and here’s a little crayon. I haven’t added that, yet. There’s green. If you take a color swatch, and
you keep track of the colors that you throw at your
paint, I don’t care how many. It could be three, it could
be 10, or it could be 20. But keep a swatch, and then, you know, if I wasn’t doing live, here, I would be labeling what they are. But I know what they are ’cause
they’re still on my table. Here’s Alizerin Orange,
I’m gonna be using that. Here’s a Cadmium Red
medium, I’m gonna use that. Okay, so you’re just gonna keep track of the colors that you’re using. That’s really important, okay? ‘Cause you’re just kinda–
and we’ll explain this later. It’s important. Today’s demo is kind
of all a lot of color. But in answer to the mud
question, just look at mud as the perfect contrast to bright color. If you don’t have mud, you’re colors won’t look as bright and vibrant. So it’s the contrast between dull and bright, dull and bright. Anything that you think of that’s mud, and here’s the swatch, by the way, can be used to your advantage. Terms like mud and another comment I got, “my left brain’s always saying that “what I’m doing is
ugly, or it’s not good.” All these things have to do with just not quite
understanding how to turn that language around
into something positive. So our left brain is more than happy to make us feel like
we’re not good artists and nothing’s working,
and I’m really unhappy, and again, that whole negative spiral. But to empower yourself against
that negative person sitting on your left shoulder is to just– you need to understand the
visual language of art. That is a universal language. It doesn’t matter, you
know, it’s not like French or English or Spanish or German, it’s not. It’s, actually, a universal language. So that’s why that’s
what I teach in my course ’cause it’s universal language because you need it to
combat the negative talk. So I got all these grays, and the limited pallet that I have, here. And here’s just like, here’s another thing you might call mud, right? Just kind of a mauvey color. I had this left over from the
other demo I did last weekend. Now, the value difference, if you squint, it is hard to see color in terms of value, which means how light or dark it is. But if I squint, I can
see that’s the mid tone, and then, this is black, and that’s white. So we’re really gonna simplify values down to three, three individual areas, white, black, and then,
something in between it. That’s about as simple as you can get. Okay, so in terms of color,
that was Anne’s question about, “my colors become muddy.” Leslie K. from Toronto,
Ontario asked about, “what’s the best way
to learn color theory?” There are many, many books. I taught university level,
I taught foundations and 2D color design, and (tapping spatula) yeah, there’s some books, but I have to say the book
that I was teaching from, that I was told, “this
is your curriculum.” I wasn’t real happy with
it, and so I kinda try to– I started to order books
on eBay that were used. I found a couple good ones,
but there weren’t many. Again, it is very hard, actually, to find a good book, sometimes, on color. So I mean, some of the best things you can do are just paint, right? And another thing I’d recommend
is to use a limited pallet. So today, my two main
colors are Ultramarine Blue and this Indian Yellow made by
Gamblin, both Gamblin colors. Now, notice when I go over the white, and I’ve got a roller here, a brayer, and it’s going over the gesso,
so that’s why it’s, you know, there’s a little bit
of tension and friction between the gesso and this
cold wax medium and oil. It’s not quite as smooth as if it were, say, an Ampersand Panel, but it’s still– the good thing about it is I don’t have to worry about it falling off the surface. If this were just an acrylic painting, and I’ve had that actually
happen where if I didn’t put the clear gesso on, it
might flake, it might chip. And even though that
might be a remote thing, it’s not guaranteed to happen,
I just didn’t wanna take that chance, so that is
why I take that extra step of using the clear gesso, again, here. And again, in this one, I only put the clear
gesso over the white area. So another question, yeah, okay, well, Doug Spencer had another great question on choosing colors. Again, I think that the best thing, if you guys are feeling
overwhelmed by color, is to greatly simplify your choices. If you saw my pallet here, you’d see that I have black, I have white, and I have really,
basically, two other colors. One is this Indian Yellow,
and one is Ultramarine Blue. So even though I did these
pigment sticks, just as a demo, they’re not really part of my pallet. Those are kinda like the spice
colors, like cayenne pepper on a meal or something like that. So when I talk about a simplified pallet, if you guys are struggling
with color, keep it simple. Like in my course, I teach that colors that are directly opposite
each other are complimentary. We also have triads, like
the ones you grew up with in Kindergarten, the yellow,
the red, and the blue. That’s a primary triad. There’s also a secondary triad. So then, there’s the orange,
the violet, and the green. That would be the secondary pallet. So keep it simple. You don’t really ever need to have more than two or three colors,
plus black and white. And the black and white give you extraordinary tint, tone, and shade. Color theory is just not, you know, it seems really complex,
but actually, it’s not. It doesn’t have to be that way. So that’s one of the things that I’m on a mission to let people know that color does not
have to be complicated. So all right. Oh, and by the way, through the
end of August, in my course, for those of you that
might be on this call, if you guys are learning from the course and are enjoying it,
please just type something in the box like, “yeah, I’m
learning a lot about color, “learning a lot about design.” For those who are not in the course, yet, I’m offering 25% off. Again, through the end of August, and this is the website you can go to. It’s right here. I have a extra domain name that points you to my www.artandsuccess.com website. It’s www.LUVyourART.com,
and when you go there, you’re gonna get $150 off the course. So I just like to let you know that. I’m very concerned about artists
getting this information. We all come from different backgrounds, so this course is kind of
meant to help every artist, regardless of where you’re from. So that’s the color discussion. We’ve talked about materials. Now, I wanna get into some
technical questions about working with oil and cold wax medium,
so I’m gonna jump right into this question I seem to
get when I go to workshops. It’s really great because people
love the idea of making oil and cold wax medium act
like the acrylics you love. Like acrylics are fluid,
you know, they dry fast, and they can get drippy
effects, and all those things. I have a bottle here. It’s empty now, and I’ve labeled it. And you wanna label a bottle when you’re gonna start mixing stuff. This says one to one Galkyd and Gamisol. What are those things, right? If you wanna get drippy
cold wax medium, then, and I spoke with Gamblin,
so this is their suggestion. This is their Gamisol. It’s the safest, most effective, odorless mineral spirit on the market. And what you’re gonna do is
take a bottle, empty like this, and clean, and just put them in there. You don’t need a lot. So I’m just gonna put
maybe about an inch, okay. You’re just eyeballing it. So then, you have this (mumbles),
so take it out of the way. Now, you have a choice. Gamblin makes Galkyd Lite. They also make another product
that looks just like this, but it’s called Galkyd. Either one is fine. One has slightly more Gamisol in it, so that doesn’t really matter. What this is is a resin product, and it’s going to combine
with your Gamisol. So here’s Galkyd, here’s Gamisol. I want these one to one or
50/50, so I’m gonna eyeball it. So here’s about an inch. I want it to go to the bottom. I’ve got a little icon on my
bottle here, and it’s right at about that one inch mark,
or two inch mark, I should say. So here I go, pouring it in. Okay, so there it is, one to one. And cap everything. And by the way, if you
have a Galkyd product, you want to make sure
the lid’s on tightly, and then, store it upside down. This is something I cover in my course, but this is gonna prevent it
from, like, it keeps oxygen from getting in here and
turning it into a gel. All right, I’m just gonna
store this over here. And now, you want to kind
of mix this up, right? So again, we’re working
toward getting drippy paint. And I put the lid on, and
just sort of like mix it. In here, I’ve got some
Titanium White cold wax medium, and it does have the Galkyd Gel in there, but that’s ’cause I mix it with
everything, all of my paint. So now, you can add this to your paint. I’m just gonna pour it in there. And I’m gonna pour it in there until I think it’s the
consistency that I want. So that’s kind of like,
well, what do you want? How much drippiness do you want? I can also add color to it. So let’s see, what do I have here? I’ve got white, I’ve got a
little bit of that Indian Yellow. I might add just a little bit of, maybe a little bit of blue. Okay, so here’s my white. You can kind of see that. It’s very liquid now. And again, I’m just eyeballing it. I’m gonna add a little bit of this blue. I’m gonna go just very,
very high-key blue. You can barely even notice it in here, so I’m gonna add a little bit more. (spatula tapping) And this is just an empty
cottage cheese container. All right. So once you’ve got that mixed up, and it’s just a lovely mixture. You can see how it’s coming
off of my spatula to, you know, the amount of drippiness. And you have full control
over how drippy you want it. Maybe you don’t want it that drippy. That’s totally up to you. So then, I like to– if you
guys have seen my videos, I do like these wand handled brushes. I also, have this crazy one
that I’ve used in acrylics. This is just a cheapo 25 cent rod I got from the hardware store. If I stand really far
away, I could, actually– All right, so here’s my brush, and I’m just gonna dip it in
here, and I wanna show you that the play stage, for me,
is all about lack of control. You can’t do anything wrong, and I’ll just keep reiterating that. So here (mumbles), have
some stuff on your floor, especially if you’re working
in your living room, but– Again, it’s all– like,
you guys are asking about marking, right? But the thing about a rod like this is that it takes control away from you. Look, I’m just letting
gravity kind of pull it down. The thing about taking control away from you is that it allows you to be– you’re left brain’s gonna tune out. You’re left brain’s
gonna be like, “you know, “I am not interested in what you are doing “because it’s just not logical to me.” And your left brain will be
rather severe, like, you know, “why don’t you do something that’s nice? “Why don’t you do something that’s pretty? “I don’t like that.” That’s what your left brain is saying. But again, if you understand
the visual language of art, you realize that the things
you are doing, actually, you can define them. These are marks, these
are curve linear marks, They’re high C, which
means they’re light valued. They’ve gone from rather
opaque to, and let’s say that the edge is hard, to an edge that is broken, not really amorphis. I’ll show what an amorphis
edge is, but when you start to talk in terms of the visual language, you’re kind of, sort of,
telling your left brain that you know what you’re doing. But it’s a different language that your left brain
just doesn’t comprehend. That’s why it’s so important to understand that everything you do, at
any stage, and at any time, if you can describe it in
terms that are positive, so it’s like, have a positive attitude. Well, how do I do that? Well, you do that by
increasing your understanding and knowledge of the
visual language of art. And I can, you know, again, I can take the silicon tool and get it to drip. Again, you can find all different kinds of tools, and anything goes. You can’t do anything wrong. But notice how it’s dripping,
and if I wanted this to be more drippy, I would’ve added more of that (muffled speaking). But you know, I like drips, and it’s a very different kind of mark. So the visual language of art is saying, “oh, okay, well, these are
some– it’s kind of a pattern. “It’s kind of a rhythm
set up, and it’s gravity “that’s pulling the marks
down, and then, up here, “it’s a little bit
semitransparent, semi opaque. “Here, it’s more opaque. “Here, it’s kind of transparent.” So that’s what you want to start doing is analyzing what you have done. Like this is, actually, quite
opaque, this pink, right? But what if I take just straight Gamisol or I can take 50/50. So the 50/50 solution’s
actually quite valuable because you can then, again,
ventilation’s a good idea, but if I put it on this
pigment stick, look. Now, I could just do
this without the 50/50, and see how much it moves. It’s gonna move differently. Notice how that’s different
than adding liquid to this. Because adding liquid to
that, kind of makes it into almost a wash-like effects
if you’re watercolors or if you’re liking that drippiness
in your acrylic paint. And I do feel the bit of texture on the black gesso because
it’s kind of gritty. But you can actually do a lot
of different things with oil and cold wax medium to mimic
the things that you care about. So in terms of, again,
more ideas of talking in a positive way about what’s happening. You got hard edges. This would be called
an amorphis edge, here. And then, we’ve got some
things that are curve linear, some things that are more rectal linear, meaning kind of straight up and down. So by working on the dark ground, obviously, the lighter
marks are really gonna show. And I didn’t really
work into the blue, yet. So I’ll take my messermeister tool, here. And let’s start to add some of this. Again, I’ve got the limited pallet, but because I’ve started to show you guys some other things like
the green and the pink. Let’s say that’s not what I wanted, or I just wanted to obliterate it. Now, I can come over this,
and look what happens. I mean, this blue going over
this pink, like what happened? That’s all you really
have to ask yourself. Like, “what if, what if I do this?” That’s really the only thing you need to be asking yourself right now. I will say that, again,
I think art is a science because science simply means it’s a study, a study of something. Well, you are definitely in
your studio studying something, studying color, you’re studying shade, you’re studying texture, all those things. So again, look at how versatile this is. I can put it on. I can actually take it off again. I can obliterate the pink, but I can also reveal it at the same time. And that’s just the art of pigment sticks. It didn’t go anywhere. Here is that murky, muddy color. I’m calling it mud just ’cause that was the term I know
a lot of people use, but actually, look what happens. I’m not really glazing over it, but I’m kind of just brushing over it. And if I peel it back, I can
kind of change the nature of that sort of grayed down color. I’ll call it grayed down color now. And mixing occurs on the actual painting, so if I bring this up, you know, let’s say it hits a white area, like here. Well, if it goes over the
white, and I peel it back, I kind of lost that shape. The shape is still there, but
the value has now changed. I can do the same thing down here. Maybe that was just too vibrant white, and I can peel it back here. And now, I haven’t lost the shape, it’s just gone to another value. And you know, so what you’re
doing here is you’re building up layers, a lot of you like layers. Some of you say, “I get the ugly stage. “I have no trouble with that, but then, “I start to identify things I like, “and then, I’ve lost all my ugly stage.” And then you want some
of that to show through. Well, I can relate to
that, so what I’ve done is I usually will then
superimpose over ugly, like a pattern, something with rhythm, something that can be done,
and I’ve done stripes before. I’ve done patterns,
circles, things like that. Because what happens is then
you’re randomly covering up ugly without being
like, “I’m gonna cover up ugly here, here, and here.” No, it’s dictated by the
pattern you’ve chosen. So if it’s stripes, and
you’ve got a stripe here, no stripe, stripe, no stripe. Wherever there’s no stripe, you’ve said, “I’m gonna let ugly show,” right? So that’s kind of why I like to juxtapose pattern with chaos. Because it allows me to not
objectively obliterate things that I might otherwise have
a hard time letting go of. And I know there’s a big
feeling of not wanting to lose those things that
are precious, but if they’re in the wrong place, they’re
not compositionally working, then you may love it, but
if it’s in the wrong place, you kind of just have to let go. So by superimposing something
that’s pattern or structure or something without
structure, you’re kind of, in a very random way, letting go. And it’s easier to let go that way. So I can take straight
cold wax medium, as well. And just like use that to also to kind of make this edge more amorphis. (paper scratching) As long as you treat everything in this medium in the same way, like this is stain cold wax
medium and Galkyd ratio. I can make this mark here
get a different edge quality because this is, like, uninterrupted, and all of a sudden, boom. Now, it’s turned into this amorphis edge. And that’s just a nice variation. Coming over this white
shape, by catching the edge, I no longer have hard
edges all the way around. Now, I’ve kind of got a
bit of a soft edge here, so you wanna just like burry things as much as you possibly can. And again, I’m not
standing back from this. Another person asked me, if
I hadn’t been doing a demo, last weekend, on Saturday,
would I have paused more? Would I have stopped and
maybe given it time to set up because I’m working in
oil and cold wax medium. To be honest with you, I’m
just gonna do this real quick. This is for the audio (loud clicks). Okay, sorry about that. I know it’s loud. I wouldn’t have done anything
differently last weekend if you guys hadn’t been here. And I don’t really know why, why my brain works the way it does. All I know is that I’m just
playing and whether I’m in front of you guys, or I’m alone, or I’ve got music playing or whatever, because in this stage
I’m not thinking very– I’m not thinking at all,
my demo would have been, I mean, if you guys we’re watching, I would’ve been doing the very same thing. But the question was
would I have stood back and let this dry and let this set up? And if I did, how long? So because I’m working in this wet medium, and I’m working wet into wet, actually, in answer to her question,
I love to work wet into wet, so that wouldn’t have changed. At some point, though,
when you work wet into wet, it becomes– you get to
a point where you can’t do anything anymore, so
that’s when you stop. You have to be aware, because this medium, when that point happens, or
just deal with the result of maybe going (spatula
tapping) a little bit beyond where you have control. So you might be in less control. So the reason I like wet
into wet is because it’s gonna vary in edge quality
a lot, and I’m just gonna add some monoprint here. (paper crackling) Here’s my piece of paper, and I like to just (paper tearing)
tear it along the edge. So if I wanted to, sort
of, put some more shapes on here that are kind of
random, again, I could take a pigment stick, but I
think what I’ll do instead– Well, actually, maybe
I’ll take a pigment stick. This is a very light Titanium-Zinc White. All right, yeah. Guys, if the audio’s
better than last weekend, could you please let us know? Because we would really like to make sure that you can hear everything, and I appreciate your feedback. That was one reason why we
wanted to do this again, and see if it can correct– Thanks for all your feedback, by the way, ’cause that was actually really helpful. I appreciate that. So I’m just making kind of a shape, maybe if you consider to be
(muffled speaking) linear, but it’s a (mumbles) shape
’cause I like (mumbles) shapes. All right, I’m kinda
looking where I could– and it’s a white, it’s a
white, containing white, so where would this show up? ‘Cause it’s not gonna– I don’t wanna put it into something like drippy wet. How about here? (muffled speaking) And this is monoprint (hand wiping). You can use a brayer, but
you can use your hand, (hand wiping) and I like
pigment sticks on freezer paper, pallet paper, wax paper
because of the mark it makes. Now, this is a mark you just
can’t get any other way. I love that mark (laughs). Look at the, if you’re up
close, the textural, this kind of texture you can’t get any other way. Look at how different this
texture is from that texture. And then look at how different
this texture is from marks. Okay, and look at how
different this is from that. And that’s what you’re– when
you’re in the play stage, you’re just like, “what can I throw at this that I haven’t done, yet?” I mean, that’s the only
thing that I’m thinking of. That’s more than a child would
think but not that much more. So here, I’ve got this
chunky thing on the bottom. I’m gonna turn it upside
down, then go off the edge. (hand wiping) By the way, I’m gonna do a post, probably do a post (muffled speaking). Today, it’s live because
there are a lot of questions that I won’t be able to get to today, but I really wanna answer them, so would everyone please
keep those questions coming. Please comment in the box below. Like and comment and subscribe
and all those good things if you don’t mind ’cause it
just makes me know you’re out there and that you
like the live videos. ‘Cause I don’t know if people like ’em. I’m gonna grab some gray here,
and mix it with this yellow. Notice how it’s over here. I had a question come in by
a person that’s interesting because she was asking about
she gets a little confused by this law of thirds. And I know I’ve kind of heard that, but I don’t think I’ve ever
been really taught that, so I wasn’t really sure
what that meant except that I think the comparison
is repetition, right. So the reason we want, I’m
guessing, the reason for that type of a rule,
which I don’t really like to think about any rule,
there are no real rules. They’re principles (paper
tearing), but once you know them, then you can veer away from them. But again, here I’m gonna take this color on this, the shiny side
of the freezer paper. And I think what she’s getting at is, notice– can you see how
lopsided this whole painting is because it’s got this warm patch here, but it’s nowhere else? That’s a problem. If I were to call this painting finished, which of course it isn’t, but if I did, it’d be like, but there’s only this. So that doesn’t work. You have to– repetition is
what leads to unity, okay. I can draw my fingers through that. Okay, now, there’s some
warm there at least. And your eye is gonna notice what there’s the least amount of. If warm is only there,
your eye’s gonna go there, and it’s not gonna even go
anywhere else on the painting until much, much later. Here, and I’ve got it here,
here, and if I put it here, and just sort of do that
dragging thing again. Because it’s fun (laughs). I like the, I love the weird
edge you get, it’s great. (paper crumples) Now, I’ve repeated it three times, so it’s kind of a balance thing. And let’s say I take some
of this (paper crumples) dark maroon color, and
throw it onto here (wiping). Again, this idea of repetition, so repetition can be either
with or without variety. Because without variety, it’s
gonna look like Agnes Martin. A lot of people love her work,
but her work is not varied. She’s got like grids and don’t have any variation a lot of times. But without that
repetition with variation, so if I do this, and I add
this color (paper scratching), move it around (paper scratching). I’ve (muffled speaking) this color. There is red here right
smack dab in the middle, which is that thing that happens to me. But I can take my pigment
stick, which is where I started that mark, and let’s just say
that it feels very central, and I can’t really see it,
but if I pick up this mark, and I can offset that feeling of center. Okay, so now, not only is
it pulling away from center, but it’s also repeating this
sense of red, here, right. I can do this and add some
kind of cad red to that, and now, it’s kind of like boom, boom, and maybe there’s just like that. And now, I don’t what
this about thirds is, but I’m guessing that that’s kind of what it’s about is
repetition leads to unity. You’ve got repetition with
variation and without variation. Without variation is kina static. With variation it’s got,
you know, more character. So here’s a light blue,
Cerulean Extra Pale, Cerulean Extra Pale,
actually, very much like this. Notice when I mix that
color with drippy paint, it kind of gets slightly
lighter than this color. So I can– the beauty of art and pigment sticks is
the gestural quality. So the last thing I wanna
do, if I don’t have to, and I have other options, is to take this and take my pallet knife and mush it onto my freezer paper
and add cold wax medium. Why? Because these are really
expensive, they’re– And they’re meant to be
for drawing, you know, gestural paint, so I’m
not gonna like wanna convert this into like a pile of paint. I’m gonna use a tube of paint
for that (paper crackling). I’m gonna save my R&F Pigment Sticks for when it really matters. Usually that’s toward the
end, but not necessarily. It can be any time as long as it’s kind of like a gestural mark. And notice when it goes into wet into wet, here, it still maintains it’s integrity. Here, it went through red,
and it mixed a little bit. I’m changing the quality of the line. I’ve gotten really thin now and off. So I love these R&F Pigment Sticks. They’re really great. And I’ve got an oilbar,
which is a Winsor & Newton, this is the white. In the other videos, I’ve been
using the black like crazy. I have like 10 of these and one white. I’ve not used the white, yet. So and I can’t really see
what’s going on in this thing, but I do see that there’s white
here, there’s white there, and those are kind of even. And I don’t really like being even. That is, I don’t like perfect symmetry. So I’m gonna just like pull this white down a little bit and see what happens. (rubbing paint) That’s different. Now, let’s say that I
just didn’t like that ’cause I really don’t, not that it matters ’cause I’m not really gonna
be too concerned with that. So you can change something that you don’t like pretty quickly. Let’s see. I think we could do some more, need more of that clear, could do yellow. I’ll take my messermeister,
just take a little. Let’s see what happens. This is a glaze, meaning that
it has a higher oil content. It does take a little
bit longer for it to dry. But now that I put this
white here, and it’s wet. This is a glaze, okay, so I can pretty much change the value. I can actually probably
life pretty much of it off. Just by going back and forth. I’m obviously adding this very saturated and thin, transparent color. (messermeister wiping) So I think if you don’t like
something that’s happening, even in the play stage, just keep going with it and add more color, lift some off. If you’re really not liking it then, your decisions, the
thinking part comes later. You don’t have to worry about it now. Just make the observation, like
just making the observation, “you know, I really don’t like it.” That, actually, is a good observation. But then again, you can
lift and maybe I don’t like how much I lifted, do it back (wiping). And then you could take,
oh, there’s so many tools. So many great tools like this. This guy, this is just a catalyst tool. I know a lot of people have those. You can pull it through here. (tool scratching) So then there’s kind of a repetition of stripe here and here. Okay, so that kind of gives you an idea. All right, so let’s see if
I have any other questions on here that I have not answered, yet. Okay, so Kathy Mellod of Ann
Arbor, Michigan said she falls in love with the R&F Pigment Sticks, but she’s been using them on acrylic, and probably not using that
acrylic on a clear gesso, and she’s wondering do
I foresee any problems with technique, you know
talking about technical problems such as peeling, color
changing, never drying, etc. I think it kind of depends on
a lot of different factors. How thick and glossy
is your acrylic paint? How transparent and thick
is your R&F Pigment Stick? What are your environmental
conditions, is it really humid? That’s why I do kind of,
like for me, personally, I like to use that clear gesso
because then I don’t have to worry about all those
different variables. I’m pretty sure that if
I use that clear gesso, the absorbency is gonna
make sure that the oil added on top of an acrylic, due to the fact that the gesso is gritty, like
sandpaper, you can feel it. It’s like sandpaper, it’s very absorbent. That R&F Pigment Stick or anything else is not gonna go anywhere. But I do think, on the other hand, that if you’re not using a
whole lot of R&F Pigment Stick, you’re probably okay. I can’t imagine that that
color’s just gonna fall off. But again, what you can do
on your acrylic painting, but before you do the R&F Pigment Stick, is you can take sandpaper,
and I did do this before I started using the
clear gesso, and I took kind of a rough sandpaper, and
I roughed up the surface. ‘Cause what you’re trying to
do it knock the shine back on your acrylic, so that that in itself has made the surface,
if you looked at that through a microscope, it’d
be like a lot more textured. And that textured surface of the acrylic is gonna be a much better
surface for the paint stick or anything else you do on it
than if you didn’t do that. Yeah, so thank you for joining me. I think that I’ve shown
you almost everything I really wanted to show you today. I guess, one last thing I’ll
just say in closing, here. Somebody asked me about
surfaces to work on. Aside from the paper,
there are cradled panels. Again, these are, you know, cradled means that it’s got the wooden
top, but it’s also got like this side, and
it means you could hang it on the wall with a couple nails
with a wire going across it. I love working on panels. Somebody asked me if you
like paper versus panel. Multimedia Artboard is also wonderful. It’s very good ’cause, look
at it, it comes in a lot of different sizes, and you
can pack it in your suitcase, and you do not have to
treat this with gesso. It’s ready to go for acrylic or oils. This you have to treat with
gesso for acrylic and oils. You can’t just start painting on this. Unless it’s encaustic. And then another favorite of
mine is Encausticbord made by Ampersand, so we’ll be
using these in New York, and I love the surface so
much because it’s just really receptive to things like
oil and cold wax medium. So I want to thank everyone
for joining me today, and again, I appreciate your
questions and your comments, your likes, your
subscribing to my channel, and your feedback, so thanks everybody, and have a great rest of your weekend. Bye, now.

32 thoughts on “078 -Pamela Caughey – LIVE-Post-Edit-COLOR-Q&A-Abstraction-Black Under Painting

  1. The rule of thirds as I was taught, is as if your substrate has an imaginary tic-tac-toe grid imposed over it. Focal points or points of interest are pleasingly placed when they touch near the intersections of the tic-tac-toe grid. Just a rule – made to be broken by rebellious artsts. ;0)

  2. I'm exploring color theory and am wondering what your thoughts are about Michael Wilcox's "Blue and Yellow Don't Make Green"? Thanks for all the info Pam.

  3. sound ok today 8-20. viewed on 8-19 sound was not good. particularly useful your explanation of various contrasts in painting explorations ie thin line/wide line; muted color/intense color etc from your personal art sensibility & process.

  4. Thanks to you and your Mentee! Amazing your broadcast works loud and clear living in mountains and basement of building! Invaluable sharing! 🙏🌻🥰‼️💕🌺💕☕️A Share to Facebook

  5. Pam,
    Thanks so much for your gift/prize give away! The GAMBLIN ARTIST OIL COLOR SET arrived yesterday. I know some of the tubes will fill the gaps in my current GAMBLIN Oil paint stock. -Mike Locus

  6. You are amazing to watch. I am so grateful to you for giving me the opportunity to view so many informative videos. You are truly very generous. I thank you.

    PS: When is your next Webinar and can anyone participate?

  7. It’s not easy to abstract art, it is not play, more intuitive use of line and color. That takes many years to find out
    what works for you.

  8. I thought the sound was just fine. Thank you for this video and all of your videos, Pamela. They're so informative and inspiring!

  9. Pam, this is such a great video. I learned so much. One of the most important things is to use the clear gesso over the plain paper or over the acrylic paints. I watched this on Saturday…now I am waiting for the live one on this Saturday. Thank you for sharing your amazing knowledge with us.

  10. Hey everyone! Hope you enjoyed this revised version. We will continue to try and improve the sound but hope this is better! Just a reminder you may now enroll at 25% off ($150 off) in my Powerful Design and Personal Color course through the end of August 2019. Just visit this link to enroll: www.LuvYourArt.com

  11. Starting out as a novice, do you recommend a certain size of paper to start with? I really enjoy your teaching. I have so much acrylic paint and was wondering how I can start out slow to see if this style is the right fit. I keep changing styles, so I'm just trying to find my way, if that makes since. I would love to take your course in the future. The cold wax medium looks great, and seem really versital. I learned so much today. It was hard to hear at times, but really enjoyed learning. I just love how you blend the intuitive side as well as the reasoning of why and what works. Thank you!!!

  12. Love to watch you paint. I know you are teaching as you are talking but I'm missing most of what you say because of an echo. It blurs your voice and it is too hard to follow all your words. Thanks for the demos.

  13. enjoyed watching this…although I don't think you can do this on ready made canvas? Seems you need that pressure on the wall..

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