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Lady Carol
06-21-2015, 09:55 AM
C&C appreciated and thanks for looking.

I still feel somewhat lost with this process mostly because colour selection is the easiest bit but leaving it up to the flow is hard.

9 X 12 inches
http://www.wetcanvas.com/Community/images/21-Jun-2015/11811-DSC02352-sm.jpg

http://www.wetcanvas.com/Community/images/21-Jun-2015/11811-DSC02353-sm.jpg

and 8 X 10 inches
http://www.wetcanvas.com/Community/images/21-Jun-2015/11811-DSC02351-sm.jpg

Charlie's Mum
06-21-2015, 10:51 AM
Partic. like the last one - I could see that being developed further into a fantasy piece!:) - your little wizard is already emerging!!;)

LavenderFrost
06-21-2015, 01:18 PM
These really are food for the imagination. I see a skeleton in the last one lol. The first one looks under water, and the second has dragons.

cliff.kachinske
06-24-2015, 11:57 AM
Carol,

Colors selected and poured. Hooray! Then what? Apparently randomness takes over and there's not much to be done about it.

I suspect you would like to reduce the randomness. I have some thoughts, if you will just wait a moment while I exhume my process engineer's hat and knock off the dust.

Looking at the life cycle of a painting, we as artists usually control three phases:
- support selection and preparation
- paint application
- finishing with varnish, perhaps matting and framing.

In a traditional painting process we exert the most control in the middle step by selecting/mixing and arranging colors. With poured paints we have little control over the color arrangement.

My thought is to exert control in the surface preparation phase and/or the finishing phase.

What can be done to the support to influence where the paint goes or how it looks? Texture, shiny stuff, an uneven surface?

After the pour dries, then what? Cut it into pieces and rearrange the components? OK, that's extreme, maybe even silly, but I hope you see my point.

Well, if you've made it this far, thanks for reading. Time to take off the process engineering chapeau. Funny, it doesn't seem to fit the way it did.

chick-37
06-24-2015, 03:27 PM
I see a werewolf, a rabbit and a grebe among other things in this painting. lol

I like the overall effect.

Lady Carol
06-24-2015, 03:51 PM
Thanks guys (Cliff, chick-37, M and Michelle).

Hey Cliff, I like your engineers hat. Wish I had one. :)

I think you are right overall. Maybe 10 mins and the process is done. Colour selection is the hardest but once selected it is mix the pouring medium into the paint. This may take a bit of time to remove the lumps and then pour and tilt the panel. Some pours are manipulated more than others mostly to get rid of divots in the paint, pop bubbles and to push/streak the paint around after the main flow is complete.

To me it lacks depth and lacks a significant level of interest. It also lacks the ability to hold the eye beyond the initial "oh that is kind of cool, I wonder how that was done etc." response and then the viewer moves on. This is not what I want.

Dcam
06-24-2015, 04:13 PM
Carol: reminds me of swirling oil paint in water and dipping paper in it. It was a process used for books at one time.
These are more exciting. NICE!.
Derek

Lady Carol
06-24-2015, 04:42 PM
Thanks Derek

ColinS
06-24-2015, 10:49 PM
Very interesting and great colour effects Carol. I also see a dragon in that middle one. The first looks like a creature swimming through water. Fascinating.

thetech
06-25-2015, 06:23 AM
Just a thought...I think that if you used colors that were a little more similar it would have more visual interest. I like the patterns that you have emerging but think that if you used several different shades and tones of say two or three different colors instead of just a bright mix of 4-6 colors it might give you the effect your looking for.

Or...I could be completely wrong.

jennifervs
06-25-2015, 09:00 AM
I personally think these look really cool, for starters. And some viewers will be satisfied with them and love them just the way they are.

But if YOU are the one who is going, "Hmmmmm...." maybe just use these as the first or second pass, and now build up more depth and variation with glazes and scumbling?

Or can you mask some areas off and do a multiple pours?

Or, like Cliff suggested, play with the support. Maybe raw canvas a la Helen Frankenthaler, and go REALLY big.

Love this quote from her, "What concerns me when I work, is not whether the picture is a landscape, or whether it's pastoral, or whether somebody will see a sunset in it. What concerns me is - did I make a beautiful picture?"

Just some thoughts, but I would definitely keep working with pouring!