"Photo book of contemporary abstract paintings by Lynne Taetzsch. Thirty-six full color images as well as biographical information and artist's statement."
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After the acrylic paint dried on my latest abstract painting (see previous post), I added lines in burnt umber for emphasis and texture. Taking a dry brush, I then brushed over the lines to soften and spread the color:
Canvas #72, 48" x 36"
It is raining this morning, and family visiting from California are still sleeping. They never seem to get over being on California time (3 hours difference) until the end of their visit. And it's always nice to sleep in when it's raining!
My favorite colors are reds and oranges, so those are the colors that dominate my abstract paintings. But after working in a range of cadmiums for a while, it's always a sweet respite to turn to shades of blue, like taking a dip in a clear cool pool. Here's the first stage in my latest pair of canvases:
Canvas #72, 48" x 36"
And here is stage two. I added white and lemon yellow to the blues, and then painted over the background with a thin pale brown wash.
Canvas #72, acrylic on canvas
I continued working on the second canvas in this abstract art pair:
Canvas #71, 48" x 36"
I drew lines with burnt umber to add emphasis and interest, and then brushed over them with a dry brush to thicken and soften the lines.
I've noticed that collectors of my abstract art often want two paintings that work together in a room or even on the same wall. The other day someone purchased three small prints to hang together. But there is a benefit to me of painting in a series as well. It gives me a chance to explore variations on a theme.
Here's the beginning of the fourth painting in my "sound and fury" series:
Canvas #71, stage 1
Canvas #71, stage 2
After adding more color -- yellows, reds and oranges, I felt this abstract painting coming closer to completion. Next I added more lines with transparent Burnt Umber, using the lines to scratch in some denser sections of brown. After finishing, I stood back and liked it:
Sound & Fury Three, acrylic on canvas, 48" x 36"
Here's my third abstract painting in this new series, after a fourth painting session:
Canvas #70, 48" x 36"
This painting feels too static to me, and not exciting enough compositionally. I will work on it again.
The four abstract paintings in this series have bold oranges, reds and yellows sweeping across the center of the canvas, standing out against pale backgrounds. I used burnt umber lines for texture and emphasis here:
I finished the first two abstract paintings in this series of four (see previous post), and I'm working on the third and fourth. I paint in layers, letting each layer dry overnight before painting the next one. It can take anywhere from three to twenty sessions to finish a painting, and I never know what that number will be when I start. Here's stage one and two of Canvas #70:
Canvas #70, 48" x 36" stage one
Canvas #70, stage two
I always have to look at a new abstract painting for a day or two before I sign it. I've been working on these two canvases for a while now, and finally decided they were finished. These compositions are different for me. I usually work in more of an overall pattern, but these have a central accent point along the middle of the canvas:
Sound and Fury One, 48" x 36"
Sound and Fury Two, 48" x 36"
Working on my new series of abstract paintings, I had liked Canvas #68 a lot when I first painted it. After working on #69, however, I decided that #68 needed more oomph. I added some unbleached titanium, pyrole red and vivid red-orange to punch it up, finishing with more burnt-umber lines:
Canvas #68, 48" x 36"
