"Photo book of contemporary abstract paintings by Lynne Taetzsch. Thirty-six full color images as well as biographical information and artist's statement."
Abstract Art: Contemporary modern paintings, prints and drawings by Lynne Taetzsch. Original paintings. Limited edition giclee prints on canvas and paper. Colored abstract drawings.
A memoir of my experience as the primary caregiver for my father and ex-mother-in-law. How I dealt with their dementia, Alzheimer's and physical decline, as well as my own bipolar condition. A journal of our laughter and our pain.
Click here for more information or purchase from Amazon.com or Barnes & Noble
It has been fun painting on paper. I feel freer than I do when working on canvas. But nevertheless, it's time for me to get back to it after I finish these last two on paper. Here's a very loose one I just finished:
Halo Effect, 24" x 18"
I've been trying to put together an abstract art book of my paintings for a while now, without going into a huge expense and still getting a quality product. I tried Lulu.com, but their formatting for a photo book did not work for my square abstract paintings.
Finally an artist friend sent me to Blurb.com, where I was able to find the formatting tool I needed. You can download Blurb's bookmaking software for free, modify the formatting all you want and put together your book on your own computer. Then, when you're satisfied, you upload it to Blurb's website and order as few as one copy or as many as you want.
I made my book on premium paper, which is recommended for a fine art book. Books are available in a soft cover or with two hard cover options. Here's my book:
I am still not at home with the vertical format for my non-objective abstract painting. I'm also struggling lately with the paper surface: I want to have white space and pale washes, but apply too much paint in the beginning. Once I've started something, I have to work with that, and learn what I can from it. Here's my latest:
Swing Partners, 18" x 24"
Still struggling with a vertical frame for a non-objective abstract painting, I sought a sense of curving or whirling movement in this piece. Working on it for the second time in my studio, not sure whether I'd have to abandon it completely, I finally stopped at this point. I love its sense of energy, if nothing else.
Carnival, 18" x 24"
I had some trouble with this painting, working on it over two days. I find it easier to make non-objective abstract paintings in a square format. Vertical is my least favorite, and it always takes me a while to get used to it. This is where I ended up:
Syncopation, 18" x 24"
Today I worked on another vertical abstract painting on paper. I was looking for looseness and subtlety, which I think I see in this. But did I stop too soon?
Tracking Hope, 18" x 24"
I worked on my current abstract painting on paper over several days, but can only photograph paper paintings when they are finished and completely dry. The watercolor block paper cannot be removed until the painting is dry. I use handitack reusable adhesive to temporarily attach the paper to the wall so I can photograph it. The handitack feels like clay and is more malleable the more you work it.
Whim Win Situation, 18" x 24"
In my previous post I described the process of using watercolor blocks. Often, when painting on paper with acrylics, I use more watercolor effects such as thin washes of color which allow the paper to show through, and "dry brush," which also allows the paper (or whatever color is underneath) to show through with a mottled effect.
Acrylic paint on paper dries so much faster than when used on canvas, so I can paint for a longer period of time on the same piece. With canvases, I have to allow them to dry in between sessions. Today I worked and re-worked this abstract painting on paper:
Sweet Tooth, 18" x 24"
I like to make at least two paintings with similar colors in order to carry a theme forward. Today's abstract painting on paper uses the same colors as Green Plots (see yesterday's post):
I kept this painting deliberately loose, using the Prussian Blue lines to add a bit of structure and emphasis.
I began today's abstract painting on paper by applying paint directly from the tube, somewhat randomly, using up tubes that were almost empty. This is a habit I learned from growing up in a large, poor family, where leftovers were never thrown out. Of course, I don't apply this rule without also considering what colors might work together. I've been adding generous amounts of white as well, starting a new tube when necessary.
My next step was to use a brush with a bit of water to blend these colors. After that I added lines and brushed on more paint, including other colors, to reach this result:
Green Plots, 24" x 18"
