Delicate beauty and powerful imposing strength.  A compelling combination.

The whisper-like fragility of these gauze thin papers would seem to oppose that bold cocky bravado of blue.

Maybe.

Or is it, that this delicacy, this fragility is in fact, tempering the hard brash Power of the Blue?

 

prussian blue pb27 paint, paper collage techniques, using square formats, zen wabi sabi, debiriley.com
Little collage, delicate, strength

 

Blue Power #1

The collage featured began its life as a watercolor.

The paper used was quite heavy, but was student grade. Bockingford. And I wasn’t impressed with the results.

So it went  ‘unresolved’  and placed in my Later Box, for further inspirational.

 

 

Recent Resolutions

My idea was to make good use of the thick, sturdy paper as a support for a Collage.  While leaving hints of its texture visible.

Seemed like a good plan.

 

I chose super thin plain tissue papers along with some printmaking papers I have in my studio.

Masa and Unryu papers played a major role in the collage.

These assorted papers were torn, shaped, glued onto the larger heavier weight paper.

 

Gloss medium was used to adhere (ie collage)  the papers firmly onto the support.

I was quite generous with the ‘glue’ and did not skimp.

This was because I wanted the viewer to see the underlying textural quality of the heavy support paper ie Bockingford.

Its woven appearance,  added a lovely visual interest to the collage.

 

Watercolor Paints:

Daniel Smith Aztec Gold, is what I had on hand, for the gold paint.

The gold was applied at every stage.

The underlying washes were in thin diluted amounts; occasionally  I applied gold at the halfway mark.

The final touch, was with the gold. Skimming the gold right across the tips, the peaks of the paper folds.

 

Quinacridone Gold  – Daniel Smith  I used this sparingly.

It is a Staining paint, therefore is too easy to get carried away with its Boldness.

But, when I pay attention, and wash it out into dilute washes…. it is so lovely and pale. Just perfect.

 

Prussian Blue pb27  Venezia is  the student grade of Maimeriblu.

Venezia Prussian blue pb27   Item(402) at Dick Blick 

 

I’ve preferred this brand of Prussian Blue for over 15 years, for its depth, luminosity, tonal range.

I’ve had excellent success with the student range in Prussian Blue.

So, I use the less expensive about   $4  for the  15 ml tube. 

 

I know,  you are shocked.

“Student grade paint!”

But,  there are some excellent exceptions.

I have discovered some to work better (for what I want in paint results) than the leading professional brands.

 

 

Color Mixing – Limited Palette

Quin Gold mixed with Prussian Blue will create a massive range of blue-greens, greens, golden-greens.

Stunning.

These may be diluted with water to fade and be paler; softer.

Or used in strength for a big, bold, dramatic impact.

 

Two great colors to have on hand – Prussian Blue and Quinacridone Gold.

Hey….. Christmas is coming!!

 

 

 

Blue Power #2

Blue Zen.

This painting is acrylics on masonite board. Heavy applications of molding paste and impasto gel have been used.

 

Zen Beauty, blue and gold pairing, debi riley art techniques, wabi sabi, debiriley.com
Blue Zen:         molding paste &  impasto gel

 

Brilliant and Bold Band of Blue

I’ve included Blue Zen for its sheer dominating strength.

Its been seen before, but it is perfect for this post.

It helps illustrate how ‘imperfections’  can balance, can temper,  power.

 

 

Texture. Texture. Texture.

Thicker layerings of impasto medium were slathered over top the molding paste layer.

Creating peaks, ridges, valleys, crevices…. an abundance of texture.

Giving the crevices the appearance, the illusion they were on the verge …. of fracturing.

 

It is this sense of impending fragmentation that gives us a feeling of  fragility. 

It counteracts and balances  –  the nearly overwhelming power of the blue.

 

 

Design

The very dominant horizontal blue band along the bottom, pulls, draws the eye down.

Its inescapable.

We can’t help but go there.

But with all that texture above (about 95% of the image)  we aren’t ‘trapped’ either.

We can, allow our eye to return upwards, following the path that is there for us.

There is a Design in this piece. And it helps make the painting work.

 

 

Both paintings show how important a sense of delicate fragility, of gentleness are,  in order to balance  the power of the blue 

 

 

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