061 – Pamela Caughey – LARGE SCALE Acrylic Painting – Using my HANDS!


(gentle piano music) – [Pamela] Hey everyone,
this is Pamela Caughey, and this is going to be a time-lapse video for the most part. And here I’m just showing
you what I got started with. It’s an acrylic painting
with a limited palette, yellow, orange, red,
purple, black, and white. And there was my table
with my mark making tools. And I’m working here on
Strathmore Mixed Media Paper. It’s 40 by 80, so there
are two sheets here that are just taped to the wall. You can’t really see
the seam in the middle because there’s tape over that as well. And here I’m just beginning
with Cray-Pas as pencil, I’ve got a Sakura solid marker
in black which I really like and number two pencils, art graph, you know, anything really. My favorites, I always just grab ’em and like to play around
in the very beginning. It kinda energizes the body
and I think puts some energy in those lower layers. And here I’m definitely using my hands, I’ve got my gloves on,
and there’s something really satisfying that I’ve discovered about just using my hands. And you know, we use
brushes, and squeegee tools, and silicon tools, and
all kinds of things. But now and then it’s really fun just to get your hands literally dirty. But that’s not to say
that I don’t also use, and enjoy using brushes. Here’s a really nice, long-handled brush. And that’s really an expressive tool. I’m just putting on black acrylic here. And really this is the playful stage. It’s so fun just to, I
think when I start this way, given that it’s a very
energetic start no doubt. But it’s just fun because
one thing leads to another and you get to move around,
you get to walk around when it’s on the wall like this. And it allows you to step back a lot. So anyways, I’m just applying the paint. And obviously there’s
this thing of you know, you put it on, and sometimes
you cover things up. Here I’m putting ArtGraph,
which is water soluble, right into the wet paint. And I just did that and
then I took an eraser, and here I’m going back
into the wet paint as well, so erasers work well. Comes the long-handled brush again. This is where I start
to put some color in. There’s a little bit of red there, and you know I, yeah, so this
is where I start to add color. And again, I’m using Nova Color. Novo Colors
(gentle piano music) is a company that makes a
lot of really nice acrylics. And there’s my palette,
it’s the same wet palette that I’ve shown you on another video. It’s got the blue paper towels, chopped towels that have been soaked, there’s tracing paper on the top of that, it’s very lightweight
on the cafeteria tray. And the tracing paper actually
is about the same size as the cafeteria tray. And as I’ve mentioned before
and also in the description below this video, you’ll find
my website ARTandSUCCESS.com where you can simply click
on resources at that website and find out where to easily
find these cafeteria trays and the matching size tracing paper. I also have a link to Nova Color and all my favorite mark making tools. It’s just kind of always there. And I keep adding to it. (chuckles) So here, I switched to a bigger brush. I actually recently found this brush while I was visiting my son in Portland. Went to this amazing art store. Trying to remember what it was called. I think it was called Columbia Paints? Or Columbia Art Store. And these were really
high quality brushes. Long handles, nice wide bristles. So I like to use, you know,
different sizes of brushes. And I really wish I could
paint this fast. (chuckles) But obviously, I do not paint this fast. This is called time lapse. This is when you speed up the video. And if there was any sound,
I’d have to just take it off, because otherwise it would
just be really annoying ’cause I’d sound like a chipmunk. I decided to just like kinda
narrate what I’m doing here instead of playing it in real time, because you would fall asleep. These things don’t really
happen this quickly. I had to do a lot of
editing just to take out all of the quiet times
when I’m just looking at the painting and stepping back. And I do give myself lots
of room to step back, I think that’s pretty important. It’s the advantage of having
it on the wall or on the floor versus like on a table. It’s really hard to step back
if something’s on a table. Notice that even though I do have purple as part of my palette, I’m
not using the full strength, highly saturated purple. If it shows at all, it’s
been really grayed down and I wanted to have two warms and a cool. And probably on another painting I’m gonna do two cools and a warm. It doesn’t really matter
what the colors are. It’s good to have some cool and some warm. It’s really nice to have
opaque and transparent, but you know, any paint can really be made into a transparent, so
I don’t really worry too much about that. Here I’m taking the bottle of gray, I put a bead of paint up there
and then it was really thick and wasn’t moving, so then
I put some airbrush medium right on top of the gray bead. And then I’m taking this long brush and pulling that paint down. It just didn’t drip
the way I wanted it to. It’s such a meditative process. And it’s so much fun just
to keep stepping back and evaluating what the next move will be. Because I’m using my hand
so much in this painting, it does have a little
bit of a different mood, it feels looser, it feels more free, and that felt good. I haven’t really painted like this before. It’s the first time I really
used my hand to this extent. I’ve used it before in other paintings, but this one largely, that’s
kinda like my main tool here. So yeah the effect is
a little bit different and I’m not really thinking about anything except trying to get the paint on there, trying to move it around, trying to make interesting marks and shapes. And as far as value goes, I’m not really, I mean I’m aware of what’s happening. And when I step back, I’m
squinting, and I’m trying to figure out, where
is my eye going first? And what are the shapes that I see first? Like what are the predominant shapes? And where are they? Are they interesting? Are they too bold? Do they need to be kind of, you know, sent back a little bit by
either putting marks over them or perhaps even obliterating it? This is kind of everything
happening at one time. I do teach in my online course that the first thing I do is I play. Well there’s plenty of play here. The play then turns into the
next phase which is explore, where I’m stepping back,
I’m trying new things. Pretty soon you’ll see me
bringing out some paper where I do some monoprint. And every time that I make another mark and push this painting forward, things are either disappearing
or they’re reappearing, or whatever’s happening. But the whole adventure, the
whole journey of this painting is intentionally gonna be
a more gestural painting. It’s on paper number one. And I think when you work on paper sometimes you feel like
it’s less precious. And that encourages you to
be a little bit more free and loose than you might be on wood. And also I’m very limited in terms of, see I can’t gauge into the
paper, I can’t use my all and drag it into the surface of the paper. So in that point, I’m a
little bit limited toolwise, but then this is gonna
be mounted onto panel. And then I’m going to decide,
after refining it some more, whether I want to introduce
some Colorex medium in oils on the top. I may or may not do that. I think what I need to do
is first mount it on panel, and then kinda live with it for a while because I actually like how
this painting turned out. It’s definitely looser and freer. But with a little bit of refinement, once it gets mounted, I can
foresee probably just leaving it pretty much the way it is. And I’m fine with exploring
extremes of what I enjoy. I don’t feel like every
single painting I do has to end up being really
more subtle and quiet. I like to have a range
because emotionally, I am also that way. I have the quiet, but I also
have the loud in my life. And so I think it’s
okay to have that range expressed within my work. And I’m not trying to go for
just one consistent thing. I’m really trying to explore
all that I really feel, and give myself permission
just to do that right now. Here I’m using that long-handled brush for a little bit more refinement, a little bit more refined shapes. And then here’s a closeup,
because it’s really hard at the angle that I was
videotaping to really see any amount of detail. But you can see that there is some paint that’s more patterned,
some paint is thick, some is thin, some of it was dripping. And here’s the dry mark making. And then areas where I
used my hand, my fingers. It’s just really a lot of
different types of textures and surfaces that you get
when you kind of mix up your tools like that. And it’s always a good time in my process to bring back mark making tools. It just doesn’t even matter
whether it’s the beginning, the middle, or the end. It’s kind of my comfort zone. Whenever I feel like something
needs, it’s too static, I’ll introduce line. Or if I just feel like an
area needs more attention, I might introduce some line. It doesn’t mean it’s all gonna stay there. Sometimes I’ll obliterate it. And standing back, it’s pretty easy to see that it’s largely a curvilinear and an amorphous shaped painting. So as I move on here, and I’m starting to actually do a little bit of refining, even though I wouldn’t say
that it’s, it’s not done, but I wouldn’t say that it’s,
for this particular painting, I’m gonna let it actually live like this for a pretty long time, so I don’t think it’s
that far from being done. However, you know, like
what I’m doing right there, I was trying to obliterate this black line that was smack dab in the
middle of the painting. I remember first trying like a Cray-Pas, and that wasn’t doing enough, and then I went and got
some titanium white paint. And then once I tried
to diminish the impact of that dark line going across, you know, I’m trying to make that middle section a little bit more interesting. It’s right in the middle of the painting. And there’s something about when I work I’m always trying to kinda
consciously avoid middle. And then in this painting
I ended up with something that was pretty distracting
right in the middle, so I tried to obliterate that. And then there I was just trying to refine by adding a few hard edges
that were rectilinear. That’s why I used the edge of
the paper, of the newsprint. Because I have a lot of curvilinear. So what I don’t have is anything
that’s really rectilinear. I’m trying to be careful with the red. I love red, and I’m trying to
just allow as much as I need, or I should say the most
minimal amount I need to move the eye around the painting, it’s so potent, it’s
so bright and saturated the way I’m using it here. And there are areas where I’ve
dulled it like right there. But I’m still trying to gauge how much red I have left
in this final painting. And here I put the monoprint with the gray just by squirting some
paint onto the brown paper and you could say I’m monoprinting it. But then when I stood back, it’s like oh, that’s nice, ’cause it’s the
same size and the same shape as that shape below it. (chuckles) And that was something I didn’t
even realize I was doing. So then later on, you’ll see
where I tried to obliterate some of that upper gray rectangle. I don’t think I’ve noticed it yet. But I will notice it pretty soon, and that’s when I start
to change that shape. And here I’m trying to accentuate some of the patterny dots
that were down there. I tried a few different things. Some weren’t dark enough, and then I had to go
get a different color. I think I’m using mostly
just Cray-Pas there. This is just so much
fun to do this painting. It just felt like, you
know, I could just do this every single day and never get
tired of just, I don’t know, it’s very therapeutic,
it’s kinda meditative, and I’m also getting
my exercise. (chuckles) So here’s where I start to obliterate this rectangular shape, I’m
trying to offset the feel of it, so it doesn’t feel like
the very same shape right above the very same shape. So I actually just put
water over the paint, and I tried to lift some of that, tried to obliterate the corner. More obliterating with
water and then wiping. It hadn’t dried yet so I could do that. And then here I’m kinda restating. So when you restate, you
can put something back, but it’s not put back
in the very same way. Upper left hand corner, I just noticed that there was a little bit too much red and it was going all
the way along the edge, and so I’m obliterating some of the red and making it a lighter value. Constantly squinting to see what is the approximate
distribution of value in the painting. Is it kinda clear what’s happening here? The darks are kind of one of
the least prominent values. So it’s very clear what
the black is doing. And then are the midtones hanging together to provide some sense of quiet and combining to make
bigger, larger shapes even though there could
be color differences? And then how much pure white do I have? I spent quite a bit of
time trying to obliterate, or I should say cover up
the white of the paper because the white of the paper is very, it’s just like a gessoed panel. How much of that white gesso,
or how much of that white do you really want in your painting? ‘Cause white is very potent. And it’s really, it’s
almost like a flashlight. So I did try to, even if
it’s just barely off white, or a light value gray,
I tried to obliterate some of the white, quite
a bit of the white. So there could be a lot of high key areas, but not just plain old white, white paper. And here I’m working again
into that middle section to introduce things that
are, they’re small things, but when you come up
close, they kinda matter. Because it means that there’s
something going on there in the middle of the painting. It’s not just white, or it’s
not just something super calm and with nothing going on. And there’s a little
bit more of my attempt to make some rectilinear forms, which once it’s mounted on panel, I will be doing more
of that kind of thing. That’s the kind of refinement
that I think I can do a little bit more easily
once it’s mounted on panel. Here I was just trying to put
in some very drippy paint. And I had added some
airbrush medium to the paint. And I kept going over that area to get the amount of dripping
that I really wanted. So there’ll be a closeup pretty
soon where you can see that. And there is tape all the
way around the perimeter and down the middle of the painting because this is two sheets of paper. So when I mount it, I can either mount it on one 40 by 80 inch board, or I could make it into a
diptych of two 40 by 40s, but that’s not something I know yet. I think I’ll probably do a diptych. I like the idea of the two
panels hanging side by side with just a little gap in between. It also a little bit easier then if you have to ship it somewhere. So here I am pulling off the tape. And as I’m pulling it off,
I’ve got these jumbo thumbtacks that I’m using a rubber mallet, or not a rubber mallet but a hammer, to pound the tacks into the
wall to hold the paper in place as I peel the tape off. And there’s the tape
coming off of the middle. It’s just feels so good to
peel that very messy tape off. Can actually see the
painting so much better. So thank you very much
for watching the video. I hope you enjoy it and
I really appreciate you visiting my channel. And always appreciate your comments. So I hope you’re subscribed. That way you always get a notification when I post a new video. And here is closeups, the
drippiness, and I had added the airbrush medium to that area, to the paint before I put it
on, that’s how it dripped. Here’s a large area where I used my hands. And a little bit of calligraphy. So thanks again everybody. It’s always fun to share with you. I appreciate your comments. Bye now. (base guitar music)

Dereck Turner

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