PAINT ALCHEMY

EXPLORING PROCESS-DRIVEN TECHNIQUES THROUGH DESIGN,

PATTERN, COLOR, ABSTRACTION, ACRYLIC, AND MIXED MEDIA

EVA MAGILL-OLIVER
 contents
Introduction

chapter one: BUILDING A PRACTICE

Preparing Your Workspace
Using a Sketchbook to Develop Your Practice
exercise one:
Creative Mental Warm-ups: Flex Your Artistic Muscles with Personal Mark Making
exercise two:
Using the Sketchbook to Achieve Focus: Collecting, Arranging, and Reflecting on
Inspirational Images

chapter two: FOUNDATIONS OF DESIGN

The Five Principles of Design
exercise three:
Color Wash Paintings: Understanding Size, Shape, and Color
exercise four:
The Five Key Elements to Good Design: Putting Principles into Practice with Paper

chapter three: SEEKING BALANCE

exercise five:
Shape Paintings: Learning to Create Balance
exercise six:
The Ripple Effect: Use Collage to Create Composition
exercise seven:
Deconstructing a Landscape to Abstraction: Three Ways with Watercolor

chapter four: WORKING WITH INTENTION

exercise eight:
Blind Contour: Drawing What You See, Not What You Know
exercise nine:
Discover the Essential Elements: Planning Your Mark Making
chapter five: EXPLORING MIXED-MEDIA TOOLS
exercise ten:
Incorporating Unconventional Materials: Adding Rubbing Alcohol to Watercolor and
Ink
exercise eleven:
Playing with Color, Texture, and Uncertainty: Experimenting with Three Unusual
Materials
exercise twelve:
Pattern Play: Discovering and Using Patterns in Mixed Media

chapter six: SPACE, COMPOSITION, AND FORM

exercise thirteen:
Negative Space: Create Breathing Room in a Painting
exercise fourteen:
Finding Your Focal Point: Emphasize an Area with Complementary Colors

chapter seven: IMPROVISING WITH ACRYLICS

exercise fifteen:
Reacting with Confidence: Overlapping Colors to Create Something New
exercise sixteen:
Adlibbing in Art: Improvising with Poured Paint

chapter eight: PERSPECTIVES ON COLOR

exercise seventeen:
The Language of Color: Using Contrast to Learn about Color
exercise eighteen:
Learning How Colors Work Together: Imitating Two Color Masters

Resources
Acknowledgments
About the Author
 introduction
“When I think of art I think of beauty. Beauty is the mystery of life. It is not in the eye,
it is in the mind. In our minds, there is awareness of perfection.”
—AGNES MARTIN

a
fter I graduated college with a B.F.A., I started a job as an in-house artist
with a fine arts publishing company in Atlanta. At the time, I was not
thrilled with the position. I worked each day creating art I often did not like
or choose to do, and on top of it, I did not own the rights to anything I
created there. I had dreams after college of becoming a serious gallery artist
and working in what seemed like a glorified art factory was not part of my
original plan. However, looking back, I could not be more grateful for the
years I spent there.
Every day that I was with the company, I was able to paint and innovate
while working alongside truly talented and remarkable creative people. I
now see how valuable that time was for me, and how much it educated me
on materials, subject matter, design, and the overall art process. While I was
there, I did not paint in my comfort zone. Each order and commission I
received was a new challenge and pushed me to figure out how a given
concept might work. I also had the added benefit of working with peers
who inspired and taught me daily and who became my partners in
experimentation with materials. I think of that time in my life as an
extension of my education. I mention this because a lot of the exercises in
this book were developed and inspired from my time there—a time when I
was gifted the freedom to experiment and learn while working and then
take that knowledge and apply it to my personal work.
 I became an artist for the same reasons a lot of people do: Because it
gives you a voice you might not otherwise have. It is a form of self-
expression that is constantly and organically changing as you are. Also, as
an artist, you have the power to create something from nothing. What a gift
this is! The ability to express yourself to others regardless of language,
culture, or demographic differences is a constant motivation for me to
continue to stay focused, stay passionate, and create art.
The wisdom and knowledge gained from your process will help sustain
and support you whether you are just beginning to make art or have done so
your entire life. My goal in this book is to help highlight this simple fact
and to pass on some of the art process knowledge I have gained through the
years.
I also hope to demonstrate how the creation of a piece of art can be
viewed and thought of in countless ways. One of my favorite quotes from
Richard Olsen, a wonderful professor I had in school, is that “In art, 1 + 1 =
3.”

the five principles of design

My desire to achieve good design drives and challenges me and makes the
art process itself as fascinating and rewarding as the final outcome. I like
Alice Rawsthorn’s simple definition of good design from the New York
Times: “Even today, it’s possible for something to qualify as good design
simply by fulfilling its function efficiently.” I think this can be applied to all
areas of design, including as it relates to painting and the arts. To achieve
good design, there are five areas of focus: balance, proportion, rhythm,
emphasis, and unity. Yet in the end, if the painting has fulfilled its duty to
the viewer as well as the artist, then I feel a successful design has been
achieved.
My passion has always been figuring out how to best express myself,
realistically render an object from life, or evoke energy, movement, and
emotion in my art. Once I complete a design or painting, I am onto the next
one because each piece is like a mystery or puzzle to solve. There is always
something new to say or express that ignites a continued desire to paint,
create, and innovate.
In this book, I share a number of techniques and design strategies that
will be helpful whether you are a seasoned painter or at the beginning of
your artistic journey. In either case, it is important to regularly reconsider
and refocus your intentions and approach to techniques and design.
Investing time in the mastery of certain design techniques can provide a
more rewarding artistic and personal experience. This book will delve into
abstract techniques that will help you compose representational art as well.
A professor once told me that you have never truly painted until you
have created at least one hundred paintings. What he was trying to convey
is that you develop as an artist through the process of creating art. The final
product is what is offered to the viewer. It is our obligation as artists to
imagine a way to create and transmit a vision, while developing our
techniques and building our creative inventory along the way.
This book will help you do just that. Each chapter explores a different
subject, with art process and design being the overall theme. Dip in and out
of this book, using the exercises as visual and instructional references as
you create, allowing them to guide, inspire, and motivate you as you focus
on art. I hope it will spur new ideas and creative thoughts and that it will
help in understanding and celebrating your own unique artistic process.
I wish you great success and enjoyment as you continue on your path of
creating art!
 CHAPTER ONE

BUILDING A PRACTICE
“Inspiration is for amateurs. The rest of us just show up and get to work. If you wait
around for the clouds to part and a bolt of lightning to strike you in the brain, you are
not going to make an awful lot of work. All the best ideas come out of the process;
they come out of the work itself. Things occur to you.”
—CHUCK CLOSE

i
have been working as a professional artist for sixteen years. Ever since I
was a little girl, I have been interested in art, taking classes in oil,
watercolor, and acrylic mediums. I have tested and worked with various
brands and products.
On the following pages, I share how I set up my workspace and which
basic studio materials and tools that I always keep handy. Most, if not all,
are affordable and easy to find, either locally or online. Supplies and brands
can vary greatly in price, yet less expensive brands can be of similar quality
to more expensive alternatives. For example, I normally find little
difference among paint brands, especially acrylics and watercolors. Oils, on
the other hand, are made with pigments that can be rare, such as cadmium,
which can increase their cost significantly. If you limit your paint choices to
just the water-based varieties, you can keep the cost of your materials at an
affordable level.
 preparing your

workspace

i
prefer to stand rather than sit when I paint and create. I enjoy the freedom
of movement it permits. Acrylics, watercolors, and inks all dry fairly
rapidly, so it is helpful to be able to move quickly and easily around a piece
as you work.
While standing, I can easily step back and observe my progress from a
distance. I can walk around a piece and view it from different angles and
perspectives. It is important to consider your work in its entirety and not to
focus solely on one area. Overall balance should be a priority as you create.
I work on the floor and use a waist-high work table, which allows me to
stand as I draw. On the table, I keep drawing supplies within reach as I
work. These include, but are not limited to, pencils, erasers, markers, and
some inks. I keep the majority of my paint supplies separate in an effort to
keep one area of the studio clean and paint-free.
Drop cloths are an inexpensive way to protect your floor and table and
are found at most home improvement stores. I often stand on cut-up
cardboard boxes. A bonus is that after they have become messy and covered
in paint, they can be folded up and recycled.
Always work in a well-ventilated area or move your process outdoors, if
possible. Not only does working outdoors cut down on paint fumes, it also
provides natural light, which is the best lighting for painting. Lamps or
fluorescent lighting can visually alter the colors in a painting, making them
seem yellow, flat, or as if they have a blueish hue. If you have to work
under artificial light, periodically view your progress in natural sunlight
before making any big changes or decisions in terms of color.
materials
This is a basic overview of all the materials I use in my studio. Standard
Materials (see at right) are the ones you will need to create the exercises in
this book. The items in Specialty and Unconventional Materials (see here)
are those I generally use and recommend, but are not necessary to complete
any of the exercises. All of the materials can be found at most art supply
stores, home improvement stores, online, and at your local grocery store
(e.g., coffee, salt, tea, straws, and so on).
standard paints and inks
Acrylic paints and inks are the mediums I use most often in my work
because they are versatile, fairly inexpensive, and less toxic than oils. They
also come in many different shades and colors. As they are both water-
based, they can technically be used together, but because of the difference
in their viscosity, they are not interchangeable. I normally use one or the
other, or if using both, I layer them as opposed to mixing them. Because
inks dry faster than acrylics, they soak into paper more quickly. Acrylic
paints allow for more time to be manipulated before the water begins to
evaporate from them, leaving just the pigment behind.
INDIA INKS provide a strong, vibrant color and can be diluted and softened with water.
They are permanent and adhere to nearly all surfaces. The colored inks are transparent,
similar to watercolors, but the black is opaque and useful for drawing.
WATERCOLORS are water soluble and come in tubes or pans. Similar to inks, most
watercolors are transparent, but less concentrated in pigment. There are some subtle
differences between tubes and pans, but ultimately, it comes down to personal
preference. The tube paints can be slightly more vibrant, but they also generally cost
more. Pan paints are also more portable.
ACRYLIC PAINTS are also water soluble and come in a large variety of shades and
colors. They can be purchased in tubes or bottles. The brands range from craft paints,
typically found in bottles, to more art-specific brands normally found in tubes. I use both
in my work, which allows for a larger variety of color choices. Also, I have noticed that
there is no issue combining the two. The tube paints have a thicker, creamier consistency,
which is something to consider if adding texture is one of your goals.
CONCENTRATED LIQUID WATERCOLORS are tinted, concentrated paints with rich color.
I use these often because I love how the colors stay so vibrant and saturated when
painting. Watercolors in general tend to soften into more pastel-like hues when water is
added to them. (The concentrated liquid variety can be found online at discount school
supply companies.)
standard paintbrushes
Artist paintbrushes come in various sizes and shapes. I prefer to use
synthetic hair brushes, which are softer than natural hair brushes and much
less expensive. They can be used easily with watercolor, inks, and acrylics
so that it is not necessary to purchase separate sets of brushes for each
medium. I paint most often with either round or flat brushes.
FLAT, SOFT-HAIR SYNTHETIC BRUSHES, 1" to 4" (2.5 to 10 cm) in size. Flat brushes are
suitable for filling large areas with color and making bold strokes. The edges are great
for straight lines.
ROUND, SOFT-HAIR SYNTHETIC BRUSHES, sizes 6, 10, and 12. Round brushes have
pointed ends and can be used for more detailed work, filling in smaller areas, and
making lines that vary in thickness and curved lines.
FILBERT BRUSH, size 6. This brush is a combination of both round and flat. The hairs
curve in on the side, forming an oval shape. This brush is perfect for blending and is
what I use to make soft organic lines and shapes.
FLAT BRISTLE BRUSHES (ALSO CALLED “CHIP” BRUSHES), 2" and 3" (5 and 7.5 cm) in
size. These brushes are inexpensive and can be found at most home improvement stores
in the paint section. A downside to these is the hairs often fall out, so before use, make
sure to pull out what you can first using your hands. Then, run the brush across
sandpaper several times to release any loose hairs.

TIP I have always obtained my palettes for both oils and

acrylics by buying precut acrylic glass from home improvement
stores. They usually have them in the glass section and they come
in a large variety of precut sizes you can choose from. One type,
Plexiglas, has the added benefit of being easily washed and
scraped (i.e., scraping off paint), and it is ultimately recyclable.
standard tools
Many of the tools below can be found around the house or purchased at art
supply stores or online. (See Resources)
Craft knife, such as X-ACTO, with extra blades
Scissors
Self-healing cutting mat
Regular pencils, numbers 2B, 5B, 8B, and no. 2 mechanical pencils
1" (2.5 cm) painter’s tape or masking tape
Permanent markers
Ruler
Printmaker’s brayer
Water containers, such as glass jars (Used is fine.)
Sketchbooks, book-bound, as opposed to spiral-bound. This type of sketchbook helps to
keep your composition fluid and not disjointed with two distinct sides. My preferred sizes
are 4" × 6" (10 × 15 cm) (A6), 6" × 8" (15 × 20 cm) (A5), and 8.5" × 11" (21.5 × 28
cm) (A4). Always buy ones with multimedia or 140 lb (300 gsm) cold-press paper. This
paper works well with water-based paints because it has increased amount of sizing,
which is the protective layer of glue that’s added to paper when it’s made.
Sheets of watercolor paper, 140 lb (300 gsm) cold press. This thick paper has texture to
its surface and can stand up to repeated uses.
Primed canvases, sizes 10" × 10" (25.5 × 25.5 cm), 11" × 14" (28 × 35.5 cm), 18" ×
24" (46 × 61 cm), and any additional sizes of your choosing.
Acrylic glass, such as Plexiglas, for use as a palette. (See tip opposite.)
Dry rags or paper towels
Heavy matte gel or gel medium
specialty items
These are all items I use frequently, but are not required to complete the
exercises in this book. If you are considering extending your art practice, I
would recommend investing in some or all of these useful items.
Workable fixative. This spray helps to prevent pencil smudging and allows you to easily
rework a piece.
Palette knife
T-square ruler
Kneaded rubber eraser
Pencil sharpener
Spray or squeeze bottles
Joint knife (housepainter’s tool). It can be used to apply paint, create texture, and scrape
off old paint from your palette to create a smooth surface.
unconventional materials
Many of the following items can be found at home. Use this list as a
starting point from which to develop your own set of materials.
Sponges
Scrub brushes
Yarn
Rubbing alcohol
Spray paint
Salt
Straws
Coffee/tea
Wood stain
 using a sketchbook
to develop your practice

t
he practice of keeping journals and sketchbooks is one of the main
foundations on which to build your artistic life. Keeping a sketchbook
centers you, focuses you, and allows you to explore your ultimate, true self,
free from outside criticism and judgment. It is an essential artistic tool,
whether you have just started to create or you have woven creativity into
your life for many years.
Sketchbooks also provide the opportunity to be creative, even when
circumstances make it challenging or prohibitive to work in a studio. My
husband and I lived in Paris for a few years when we were first married. It
was ironic to live in such an inspiring city with its rich artistic history and
status and not have any time or even physical space to paint or create art. I
was in mental overdrive to soak up as much of the culture as I could, learn
the language, and essentially start a new life. Every place we traveled in
France and across Europe was breathtaking. During this time, I couldn’t
physically paint, but I sketched all the time, constantly collecting ideas and
inspiration.
I have had other times in my life when painting was simply not an option
—for example, immediately after the birth of my son. As any mother
knows, during those first few months to a year, you have only one all-
consuming job: to be a mother. Yet, when I did have a few moments of
reflective thought, I used my sketchbook as an outlet. Sketchbooks are a
meaningful thread that keeps you connected to your artistic life no matter
what your circumstances.
Sketchbooks are also private. Art, by definition, is to be seen, studied,
and displayed—made available for all to view and have opinions and
assumptions about. Yet, your sketchbook is a sanctuary—a safe place to
find ideas, experiment, and reflect. A critical facet of becoming an artist is
to continue to search and discover new ideas. It is important to have a
concrete way to record, examine, and develop these changes.
 EXERCISE ONE

creative mental warmups

flex your artistic muscles with personal mark making

s
ome artists reserve their sketchbooks for writing and drawing. I love
creating mixed-media artwork, which naturally extends to my sketchbook.
For these exercises, I recommend buying a few sketchbooks of varying
sizes—make sure they are made with either watercolor paper or are
intended for mixed media. Make it a routine practice to do some mental,
creative warm-ups using your sketchbook when you first walk into the
studio or sit down to create.
MATERIALS
sketchbooks, either made of 140 lb (300 gsm) cold-press watercolor paper or mixed-media paper, in
a variety of sizes
paintbrushes, in an assortment of sizes and shapes
ink, in two or three different colors
prepare
Working in multiple sketchbooks gives you the freedom to move among ideas and
execute your thoughts while they are fresh in your mind.
I prefer to use a book-style sketchbook, wherein the pages are sewn in signatures, as
opposed to a connected by spiral binding. The connection at the binding allows you to
use the entire work area as one large page rather than having a gap in the middle that
clearly separates the composition.
Use at least three to four paintbrushes in various shapes and sizes to vary your mark
making.
When learning more about paintbrush application and mark making, vary not only your
brush sizes, but also your brush angles and the pressure that you apply. For example, flat
brushes are great for making bold lines, but by just turning your wrist slightly, you can
create a totally new and more delicate line.
For making a clean, saturated line, load up your brush with plenty of ink. This practice is
called having “a loaded brush.”
For this first exercise, I recommend using just one or two colors to avoid getting bogged
down and visually stumped on color, texture, and contrast.
create
Start with one ink, creating lines, shapes, and marks. Ink is enjoyable to
work with because it is so fluid, which makes forming different lines and
forms fast and easy.
This is a no-judgment exercise. All you have to do is make the first mark
to get started. Use the first mark to decide how to make the second and so
on. Vary your lines using different paintbrushes and changing your
directions of movement. I tend to mimic shapes and marks found in nature,
but you will find your own sources of inspiration. Do this exercise multiple
times using different themes for inspiration, such as architecture, the human
figure, patterns, interiors, and so on.
 EXERCISE TWO

using the sketchbook to

achieve focus
collecting, arranging, and reflecting on inspirational

images

a
sketchbook is also a great place to save pictures, words, colors, and ideas
that you find inspirational. During the course of the day or week, you hear,
encounter, and experience things that you find exciting or noteworthy, yet
you may not be able to fully reflect on or digest them at the time. A
sketchbook is a perfect and safe place to store all these words, images,
colors, and thoughts for future examination.
Even though art is primarily visual, words are an enormous influence in
one’s work. Whether you jot down a dream or a song lyric or simply write
in a stream of consciousness, you can start to piece together and find
cohesion across your interests. Magazines are another great source of
inspiration, as they typically stay current with ever-changing trends that you
can use to inspire or experiment with in your own work. And you can cut
up images in them for your sketchbook.
MATERIALS
medium or large sketchbook
magazine clippings, color samples, old photos, or similar items
paintbrushes, in a variety of sizes and shapes

prepare
For this exercise, collect several items of paper ephemera such as magazine clippings,
color samples, old photos, or simply an assortment of words and thoughts.
 Dedicate one side of an open sketchbook and arrange them in a way that makes sense
to you. In doing this, you can start to mentally and visually organize yourself in
preparation for creating a larger piece of work.
Use the facing page to organize and decipher what these images mean to you. You can
create color palettes or make marks, simple contour shapes, and other gestures that are
your interpretations of these items.
Make notes and jot down words and/or phrases that accompany the images you are
creating and that you would like to reflect upon further.

This practice is a great way to keep ideas fresh, evolving, and personal. It
gives you the power to generate your own inspiration, rather than relying on
an outside source to create that spark. It can be reassuring to know that your
ideas have been inside you the whole time.
Developing Your Artistic Language
A significant, artistic developmental stage in my life was my move to France in 2007 with my then
fiancé (now husband). During this time, I studied the French language and absorbed as much of the
beauty and culture of the country as I could. I was overwhelmed with how much inspiration was around
me. From the people, countryside, and architecture to the food and museums, everything was
fascinating.

I paused from painting during this time and instead resorted to my sketchbook as my place for quiet,
artistic reflection. It was the sketchbook in which I was able to sort through new ideas, colors, and
concepts. This is why a journal or sketchbook should be an important tool for an artist. You never know
where you’re going to be when inspiration strikes. Ideas and images can be jotted down and captured in
the moment and referred to later.

Even though at the time I was not making larger, more substantial pieces of art, I was gathering ideas
and inspiration from the routine of daily life to incorporate into art later. I was organizing and recording
all that was happening externally to be understood and evaluated internally. I was cultivating the
practice of creating a personal artistic language. What is most important about finding your own artistic
language is to make sure it comes from your own self. Outside voices, experience, and visuals influence
you constantly, but it is how you internalize and decipher them that allows your own artistic voice to
develop.
 CHAPTER TWO

FOUNDATIONS OF DESIGN
“The negative is just as important as the positive.”
—ELLSWORTH KELLY

f
ine artists should always be aware of the foundation of good design. The
five core principles of design are balance, proportion, rhythm, emphasis,
and unity. Certain art disciplines, such as graphic design, require a more
literal approach to these principles in order to convey their message.
However, artists working with abstract work often attempt to do much more
than just relay certain information.
Sometimes we wish to evoke emotion, trigger memories, tell a story, or
even raise questions and express opinions. It is important to respect the five
principles of design; however, it is more important to respect your own
artistic aims. With this in mind, the five elements should serve more as a
basic guide, but should in no way hinder or constrict your vision.
 the five principles

of design

1. BALANCE
Balance in art refers to using symmetrical elements (forms of equal weight
on either side of a central point) or asymmetrical elements (shapes and
forms are uneven, but still balanced in terms of their visual weight). Finding
this balance can be a challenge when painting, but the more you experiment
and practice, the easier it will be to get the “feel” of what balance means.
2. PROPORTION
Proportion has to do with the size and scale of the various elements in a
painting. Each element is in relation to the other and also with the whole.
These different elements should not fight each other for importance. If they
are, the overall message and composition of a piece will be confusing and
unclear.
3. RHYTHM
Rhythm in a painting is defined as creating certain marks, colors, lines, or
shapes in a continuous and repeating manner—in other words, a pattern.
Repetition and pattern help to move the viewer’s eye around a painting in
an easy and fluid fashion. They act as facilitators to guide the eye to
components you want to emphasize and to encourage movement, interest,
flow, and overall unity.
4. EMPHASIS
Emphasis has to do with finding your focal point or what you wish to have
the viewer most drawn to (see Exercise 14). It is about what element you
choose to be dominant. You can create emphasis in a variety of ways:
increasing an object’s color intensity, darkening or lightening contrast,
through the use of converging lines, or even isolating the object you would
like to carry the most weight.
5. UNITY
Creating unity in art is often based more on a sense than a strict set of rules.
It has to do with resolving any conflicting elements and making the overall
work come together in harmony. Unity happens when the work has a sense
of completion and every element serves its purpose in relation to all the
others.
 EXERCISE THREE

color wash paintings

understanding size, shape, and color

s
ize, shape, and color are key components of design and play a major role
when creating an abstract painting. They each effect the others, and
although they are important individually, they need to work as a cohesive
whole.
When first starting, it can be a bit overwhelming to create a painting
while trying to manage these three elements. Therefore, in this exercise, we
will break this process down into steps and set limitations on the color
palette. Having fewer options helps us start to understand how these
principles work together. As the process becomes more intuitive, you can
begin to add more and more color.
MATERIALS
mixed-media paper or canvas (up to 11" × 14" [28 × 35.5 cm])
three colors of acrylic paint or ink with varying chroma (See sidebar)
round and flat paintbrushes, in a variety of sizes
1"—4" (2.5—10 cm) chip brushes
prepare
Start with either mixed-media paper or a primed canvas. Keep your working surface
small—between 10" × 10" (25.5 × 25.5 cm) and 11" × 14" (28 × 35.5 cm) is perfect.
Before you begin, create a few color samples using only your three color choices on
small scraps of paper. This will allow you to see how the colors work together. Also,
make sure the color tests dry completely before you make your choices, as paint colors
can look quite different when wet.
Gather round and flat brushes in an assortment of shapes and sizes. My go-to brushes
are a size 10 pointed round, a size 8 or 10 flat, and a 6 or 8 filbert. Having several
sizes and shapes will allow for more variation in your forms and mark making.
Material Considerations: What Is Color Chroma?
Colors have three characteristics: hue, value, and chroma. Hue and color are often used interchangeably
among artists and designers. Yet color is a general term used to describe tint, tone, and shade. Hue is
more specific and refers to a dominant color family. It is connected to the origin of color and stems from
one of the six primary and secondary colors—yellow, orange, red, violet, blue, and green.
Value refers to a color’s lightness or darkness. White has the lightest value, and black has the darkest.

Chroma is the saturation or intensity of the color. Some colors have a deep, rich pigment saturation, and
others are brighter and appear less saturated to the eye. When considering colors and how to use them,
keep chroma in mind. You will want to select colors with a range of chroma. If every color you use has
the same saturation and intensity, your painting can look flat and lose visual interest.
create
Paint the largest shape first with your largest brush. This works as an anchor
for the piece and provides an initial base element that you can work from as
the painting evolves.
Change brush size and begin to add the second color and shape. Vary the
way in which you create this shape and apply the paint. You can use many
methods to apply paint to the surface. This exercise will illustrate two
different approaches.
 TIP When painting, keep more than one clean water container for your
brushes. This helps keep your process smoother by not having to stop to clean
water and brushes.

1. CREATE A WASH. Watering down the paint can help you to create
more free-flowing, organic shapes and forms. It’s easier to move your
paintbrush more fluidly across the surface when paint is thinner. Using
this method, you can also build up layers and a feeling of movement
in your work.
2. PULL THE PAINT. Using your first color, drag the brush across the
surface while holding it at a 45-degree angle to make a stronger,
architectural-type mark. Both of these methods also change the texture
of the painting. Varying textures create visual interest.
3. SWITCH TO A DIFFERENT SIZE PAINTBRUSH. Apply your
next color selection. Once again, be sure to adjust the size and method
in which you apply the paint. As you add shapes and color, it is
 important to stay sensitive to the
negative space. (See sidebar opposite.)
4. ONCE YOUR PAINT IS DRY,
REPEAT THESE STEPS. Layer and
adjust your shape and its size using the
third color. By repeating the steps, you
can build from your previous marks
and begin to see how these three
elements work together.
DESIGN CONSIDERATIONS

What Is Negative Space?

Negative space is the area around and between the elements of an image. These spaces can also form
interesting and relevant shapes as your work progresses.
 EXERCISE FOUR

the five key elements to good

design
putting principles into practice with paper

i
t can be intimidating to incorporate all five principles of design (see here) at
once in a painting. As a starting point, you’ll work with colored paper and
magazine cutouts to organize your thoughts and composition. Using paper
will eliminate some of the pressure that can be associated with painting.
This practice will allow you to focus on the overall design quality without
being distracted by the physicality of paint.
MATERIALS
six to eight different pieces of colored paper
several old magazines that will be the source of images, patterns, and colors
craft knife or scissors
prepare
Cut your colored paper pieces into different shapes and sizes. Be sure to make some
more curved and organic and others straighter and more geometric.
Look through the magazines and tear out several different patterns, angles, colors, and
items that you find interesting. Cut these into different shapes and sizes as you did with
the paper.
I often write and use words in my journals and sketchbooks, but feel words can be
distracting and too literal in a piece of artwork. However, feel free to consider whether
using text will work for you.
create
On a clear surface, arrange your papers to develop your composition. Feel free to
overlap them or continue to cut or manipulate them further as your composition develops.
As you work, keep in mind the five design principles discussed earlier.

As the final design begins to take shape, ask yourself these questions:

1. Is it balanced?
2. Can you focus on the entire work easily, or does the eye begin to slide
off to one side or the other?
 3. Do the proportions make sense? Are objects varied in size and shape
while still relating clearly to one another?
4. Could you create some interesting patterns and repeating shapes with
the magazine images?
5. Were you able to create a focal point, and is your eye drawn to one
area in particular?
6. Last, does the piece have a sense of overall unity?

As you ask yourself these questions, continue to move and adjust the
papers until you feel you have achieved these goals.
 CHAPTER THREE

SEEKING BALANCE
“A form gives me an idea, this idea evokes another form, and everything culminates in
figures, animals, and things I had no way of foreseeing in advance.”
—JOAN MIRÓ

f
inding and creating balance in your art is essential not only for the art itself,
but also for the viewer. An unbalanced piece of art contains tension and
confusion. The viewer’s eye is forcefully drawn to the more weighted areas,
which ruins the flow and overall composition of the piece. A well-balanced
piece of art has a clean, open, and well-constructed composition. The
viewer’s eye moves effortlessly from one area to the next, allowing them to
pause on certain areas of interest as they wish, without being inadvertently
forced to a particular focus by an unstable or disproportionate composition.
When considering balance in a piece of art, keep in mind that you can’t
alter one area without a cascade effect into another. Each stroke, pencil line,
and mark making will be in a relationship with all the others. The beauty of
achieving good balance is that once the elements are working together and
complimenting one another, the result can be impressive. The key part of
learning how to create and maintain balance is learning to recognize the
moment when every section can stand alone as well as form a cohesive
whole.
BY ELINA LI

When exploring balance in your work, keep in mind two fundamental

design principles: contrast and space. These two variables play an
indispensable role in the creative process. Contrast is the arrangement of
elements in opposition to one another. Basic examples include light vs.
dark, large vs. small, and so forth. Space is the distance around each area of
interest in the work.
Traditional landscapes are great examples of balance in which contrast
and space are particularly well demonstrated. A landscape is defined by a
horizontal division of a surface plane into two distinct sections: open sky
and land. In its basic form, the land is usually darker in contrast and
typically takes up much less space. The eye of the viewer is drawn to the
darker contrast of the land, but by enlarging the spatial area given to the
sky, a harmonious balance is achieved. The darker area below is balanced
not only by the lighter sky, but also by the space dedicated to it. A viewer
will take this concept of balanced design for granted, yet it is up to the artist
to learn and convey balance as a way to give meaning and beauty to their
art.
 EXERCISE FIVE

shape paintings
learning to create balance

b
alance in abstract painting has a lot to do with how you use and manipulate
shapes on the surface. Also, when thinking about achieving a well-balanced
piece, you must be aware of the negative space and the shapes that it
creates. The moment when all the shapes and forms are resolved and
balanced can be an intuitive feeling. The more you create and practice, the
more easily you will recognize when this moment occurs.
MATERIALS
small to medium primed canvases (from 11" × 18" [28 × 46 cm] to 18" × 24" [46 × 61 cm]); square
formats can also be used.
an assortment of at least ten to fifteen colors of acrylic paints of your choice, plus black and white
to adjust contrast
large and small paintbrushes
prepare
Make sure you have a well-protected work area. I prefer to paint standing up at a floor
easel or standing up with the canvas flat against the table. Maintaining a flat canvas
prevents the paint from running or dripping and allows it to dry undisturbed.
I recommend having two to three clean water containers available to clean brushes
quickly and keep the process continuous.

TIP Turning your canvas in different directions, or even upside down, helps
you see and create balance. By viewing it at different angles, your eye will be
able to make new associations that were previously hidden.
create
For this exercise, work in threes. In other words, you will create three shapes at a time,
pausing in between to notice how they relate and interact with one another.
Vary your shape making each time. Create some that are large and organic, some that
suggest movement, and others that are symmetrical and rigid.
After each cycle of three shapes, take a moment to study your work. During the pause,
observe how the shapes work together and use that to plan for your next three.
Allow each layer to dry before moving on to the next. This will prevent unwanted mixing
of colors, which can result in muddiness.
Continue this progression of making three shapes at a time until you feel like the work is
beginning to find balance and resolution. This instinct is developed through practice.
 EXERCISE SIX

the ripple effect

use collage to create composition

a
s you develop a certain design or composition, you will notice that one
section cannot be altered without the whole composition being altered as
well. This is called the ripple effect. A painting must be considered in its
entirety, not segmented into individual sections as you work. This is not
always an easy task.
For this exercise, I wanted to work in another medium that I love, which
is collage. I was steered away from collage in college when a professor
mentioned he didn’t view it as a true art form. Although in my head I
wondered what Matisse, Picasso, and Rauschenberg would have thought of
that statement, I stopped making collages for a while. However, I am glad
to have found my way back to working in this medium. The simple nature
of collage will help you fine-tune your skills in creating compositions. It
will help you master, recognize, and balance the ripple effect.
MATERIALS
several different colors of quality card stock
craft knife or scissors
self-healing cutting mat
8" × 10" (20 × 25.5 cm) heavyweight paper or watercolor paper
heavy matte gel (Common brands include Golden and Liquitex and can be found online or in arts and
craft stores.)
printmaker’s brayer
standard 12" (30.5 cm) ruler
prepare
Cut your papers in a variety of organic and geometric shapes and size. I usually hand-
cut my collage materials, but you can also use rulers or other objects, such as plates, to
become your templates for creating shapes.
Organize your shapes in three piles of small, medium, and large.
The ripple effect in action
create
Use your 8" × 10" (20 × 25.5 cm) sheet of paper as your base. It will serve as the
parameter of your piece.
Begin to place the shapes on your paper, alternating each time between the three sizes.
Notice that no matter the size or color you have chosen, each time you add a new piece,
the entire composition is completely transformed.

Continue to arrange and rearrange the papers until you feel the piece
achieves an overall balance. You might have to continue to cut the papers
and/or overlap them to reach this resolved point.
Once you have decided on your final design, take a mental or even
physical photo of the work; this will help you remember their position on
the paper when you collage the pieces to create your finished work.
Remove the papers and begin to apply the heavy matte gel sparingly to
the back of each piece.
After one is put into position, use your brayer to smooth out and evenly
disperse the matte gel. This also helps to remove any bubbles that might
occur underneath the paper. Use a clean cloth or extra paper in between
your work and the brayer as an added layer of protection.
Once all is in place, either use a heavy board or books to weight down
the piece as it dries for at least 24 hours.
 EXERCISE SEVEN

deconstructing a landscape to
abstraction
three ways with watercolor

l
andscapes have been a rich and significant subject of art in all cultures. A
traditional landscape typically depicts natural scenery such as mountains,
trees, rivers, lakes, forests, etc. The picture plane of a landscape is divided
into two distinct sections where the horizon separates the earth from the
sky.
Ever since I started painting, I have enjoyed studying and creating
landscapes. They represent a moment in natural history and can evoke a
personal connection and emotion for the viewer. It has always fascinated
me that landscapes have the power to do this without the use of words or
figurative elements.
In this exercise, we will deconstruct a landscape to its basic components
and elevate those to be the subject of your work. We will do this exclusively
with watercolors and discuss some of the basic watercolor techniques in the
process.
MATERIALS
Choose three different landscapes from photos, magazines, or books. Make sure they vary quite a bit
in composition. For example, one might have a lot more open sky and on another, the presence of
water.
three separate cut or torn sheets of watercolor paper
• square format (8" × 8" [20 × 20 cm])
 • horizontal format (8" × 10" [20 × 25.5 cm])
• vertical format (10" × 3" [25.5 × 7.5 cm])
soft synthetic hair round and flat brushes, in a variety of sizes, including a 2" (5 cm) soft-hair flat
brush
watercolor paints, in a variety of colors. Be sure to have both cool colors (e.g., blues, teals, and
greens) and warm colors (e.g., reds, pinks, and oranges) to add contrast and interest.
1" (2.5 cm) painter’s tape or masking tape
acrylic board, such as Plexiglas, approximately 18"× 24" (46 × 61 cm)
no. 2 mechanical pencil for drawing
prepare
On each of your three paper sizes, measure inward 1" (2.5 cm) and tape off to form a
border.
Then tape one of the papers onto your acrylic board. This is a necessary step to prevent
the paper from curling or buckling from the water.
Use your landscape photos as a guide and lightly draw your composition, focusing only
on the shapes and forms that occur in the photo.
create
Cover the entire paper with a light wash of transparent paint. This will serve as the base
color as you work. Allow to dry completely.
As you build off this initial color base, here are three watercolor techniques you can
experiment with as you abstract your landscape.

1. LAYERING AND TRANSPARENCIES. Watercolor is transparent

by nature. This transparency can be used to your benefit by layering
colors to create a third, fourth, or even fifth color. To use this
 technique, you must allow the paint to dry completely before you add
the next layer.

2. A BLEED EFFECT. If you apply two watercolors on a dry surface

and allow them to touch slightly, they will create a beautiful softening
and color merging. This has also been called the cabbage effect
 because the final result mimics a cabbage leaf. As it dries, don’t move
or agitate the paper or the effect may be altered.

3. OMBRÉ EFFECT. This is a great method if you want to create the

illusion of water or sky. Wet the entire surface of the paper and with a
loaded brush (see here), apply the paint to the top section only. With
the help of gravity, the paint will slowly seep down the paper, but the
main concentration or saturation of color will remain at the top.
 CHAPTER FOUR

WORKING WITH INTENTION

“All my work begins with drawings.”
—ELLSWORTH KELLY

t
here tends to be two approaches to the creative process. There are artists
like myself who prefer to dive into a painting, sometimes with more
planning and sometimes with less. This technique can work because the
development, problem solving, and ultimately, the “solution” happens
somewhere along the way. There will always be time to add or edit yourself
later. So there is less emphasis put on each brush stroke and less decision-
making.
On the other end of the spectrum, there are artists who focus on every
mark, line, and shape. Each time they touch the canvas, it is with direction,
intention, and purpose. I typically do not paint in this intensely focused and
self-controlled style. However, I highly appreciate and respect this
technique. I wanted to discuss these two approaches because I believe it is
important to create not only well-rounded art, but to strive to be well-
rounded artists.
The exercises in this chapter will explore slowing down the art process,
discuss how to work with intention, and learn how to self-edit from the very
beginning.
“From a distance it might look straight, but when you get up close, you can see the
line waiver. And I think that’s where the beauty is.”
—MARGARET KILGALLEN
 EXERCISE EIGHT

blind contour
drawing what you see, not what you know

t
he contour line is simply the line that defines a form or edge. It is one of the
fundamental elements of art and drawing and provides the foundation on
which to build your more involved work. I love focusing on contour lines
when drawing because it removes the challenges that can come with color,
shading, texture, etc. Working with intention is learning and understanding
what is most important in your art. Once you have this base, the rest of the
piece can be constructed.
Blind contour drawing is an exercise commonly taught in college classes
and involves drawing an object or figure without looking at the paper.
Although it might seem odd, this practice is a great way to connect your
eye, mind, and hand. It also forces you to truly observe your subject.
Intention in art is created through focus and purpose and blind contour
drawing is a great method for achieving both of these things. It teaches you
to self-edit, stay aware, and be present. A common phrase used by one of
my former professors was “draw what you see, not what you know.”
MATERIALS
sketchbook
pencil
drawing subject
prepare
For this exercise, I suggest using pencil as opposed to pen or ink to keep the
same line variation. Set up a still life or choose a live model. Keep your still
life simple and focus on choosing clearly defined and shaped objects. Vases,
bowls, bottles, and fruit are all good examples. Avoid using cloth or
drapery, as fabric can be tricky to draw.
create
To begin, direct your eye to the outermost edge that defines your subject. Keep your eye
moving along that line as you slowly draw it in your sketchbook. This practice can be
awkward and challenging. Remember the point is not to render the subject correctly, but
rather to see the subject you are drawing with intention.
Repeat the exercise several times. Try to draw the same subject several times on the same
sheet of paper. Then compare your different versions.
 EXERCISE NINE

discover the essential elements

planning your mark making

t
his exercise is based on the internal thought processes in creating art, so that
you begin to ask yourself questions and plan your mark making and brush
strokes first before making a move. It means subtracting all that is
unnecessary so that you can discover the elements that are most important.
MATERIALS
four cut or torn pieces of 12" × 12" (30.5 × 30.5 cm) 140 lb (300 gsm) cold-press watercolor or
heavyweight mixed-media paper
several acrylics, inks, or watercolors of your choice
round and flat brushes in various sizes, including at least one large 2" or 3" (5 or 7.5 cm) flat brush
1" (2.5 cm) painter’s tape
 drawing pencils, colored pencils, pastels, or oil crayons for line making

prepare
Prepare a well-protected flat working surface either on the floor or on your table.
Gather several clean water containers for brushes.
Draw and then tape a 10" × 10" (25.5 × 25.5 cm) square inside your 12" × 12" (30.5
× 30.5 cm) sheets of paper.
create
Start each of the four pieces using a different method.
For the first, make some fluid marks and lines using your pencils, crayons, or pastels.
For the second, create a wash with either your inks or watercolors using your 2" or 3" (5
or 7.5 cm) flat brush.
For the third, pick a bright statement color, one that is vivid and eye catching. Create a
shape or solid form with it using one of your smallest brushes.
For the fourth, become creative in your mark making. For example, tape off a certain
area and form a solid, bold shape or use an unconventional tool such as a toothbrush,
sponge, or even a stick to create lines or colored areas. Enjoy experimenting with how
many beautiful and surprising effects that you can achieve.
Alternate between each of these four approaches for at least three cycles.

Changing your method of mark-making and brush work each time slows
down the overall art process to allow you to mentally pause between each
decision and envision the outcome first. Also, because each of your marks
cannot be erased or painted over, you must consider clearly what your
composition blueprint will be and how you will achieve it. This is one way
to work with intention.
 CHAPTER FIVE

EXPLORING MIXED-MEDIA TOOLS

“You have to know how to use the accident, how to recognize it, how to control it, and
ways to eliminate it so that the whole surface looks felt and born all at once.”
—HELEN FRANKENTHALER

w
hen it comes to creating, especially if you are working in abstraction, the
sky is the limit in terms of supplies. Formal art education tends to focus on
traditional painting and drawing materials and techniques. This approach
provides a strong base of knowledge, but it can also be limiting.
Changing up your materials and supplies can motivate and inspire. I am
always researching and seeking out new paints, mediums, inks, pencils,
markers, and so on. In parallel, I am constantly experimenting, attempting
to create new art and designs using materials that are not always found in
the art supply store. Sometimes these attempts fail, and sometimes, they can
become a real breakthrough and help to push a body of work toward a
completely new and fresh direction.
Get an understanding, through your own experimentation, how these
new and different materials react. Once you have a clear idea of their effect
on the work, you can then begin to use them more skillfully and with more
purpose. For these exercises, we will focus on a few of my favorite,
nonconventional art supplies. Of course, I have a more expansive list of
materials, on the following pages. I encourage you to experiment with all of
them in an attempt to open up new frontiers in your own work.
Artwork created with unconventional materials, including sponges, straws, spray paint, correction fluid,
permanent marker, and wood stain
unconventional materials list
spray paint
white glue
salt
wood stain
plastic straws
yarn
food coloring
permanent markers
coffee/tea
correction fluid, such as Wite-Out
sponges
polyurethane
masking tape/painter’s tape
rubbing alcohol/witch hazel
SPRAY PAINT
Spray paint is a great material to use when creating abstract work. Although
it is important to add, spray paint should be used outdoors or in a well-
ventilated area. You can also use a facemask. Spray paint can make both
thin and thick lines, shapes, and it can even be used to fill in and create
solid forms. It is quick drying, which helps immensely in keeping your
process moving. To create thin lines, position the tip only an inch or two
(2.5 to 5 cm) away from the surface. To enlarge the line, move the tip
farther back to achieve the desired thickness.
WHITE GLUE
This inexpensive material is perfect when you want to create a “resist” in
your work. It functions in the same way that wax is used in batik fabric. The
paint or ink will not adhere to areas where the glue is applied and allowed
to dry. The glued area will be left paint-free and white, which can be
beautiful when trying to create patterns, line, movements, and so on.
SALT
Salt is best used with inks and watercolors. If you apply it sparingly while
the inks and watercolors are still wet, the salt will act like a sponge and
absorb the surrounding paint. Once everything is dry, you can simply brush
the salt away. This method creates natural effects that emulate water or
night skies. Sometimes it can even produce a luminescent and ethereal
effect.
WOOD STAIN
Wood stain, available in both oil and water based, is a great substitute for
paint. It comes in a variety of rich, warm tones. Because of its translucent
nature, you can create brush marks that vary in contrast and depth. You can
also use stain as a finishing glaze or varnish. Once a painting is completely
dry, you can apply it and then wipe away the excess. The stain will stay in
the areas that have texture and create a wonderful richness to a painting that
might otherwise appear flat.
PLASTIC STRAWS
I did not discover the use of straws until I had my son. I was participating
with him in an art class when he was around four years old. The class was
amazing on two counts. First, I discovered that you can blow through a
straw in an effort to move wet paint around your paper or canvas to create
beautiful, organic shapes and movement. Second, I learned about
concentrated watercolors, which we used for the project. They are sold at
any online discount school supply store.
YARN
Many objects other than brushes can be used to print onto your paper or
canvas. Yarn is useful because it can absorb a lot of paint or ink and create
distinct structured or organic lines. I have even dipped yarn into bleach and
used it to make shapes and lines that take away the color of the paper.
FOOD COLORING
Food coloring can be used in its pure form to make a vibrant, rich color. Or
it can be watered down to soften the intensity. I have mixed it with inks to
create new colors because food coloring only comes in a small selection of
color choices. I have also used spray or squeeze bottles to apply food
coloring to surfaces. It is always fun to allow your materials to play an
active part in your art. Artists and their materials create art in a very natural
and collaborative manner.
PERMANENT MARKERS
Permanent markers, such as Sharpies, are a must in my studio. I use them
constantly! They can be used quite literally to draw or fill in, but they have
myriad other uses. I use them to sign the backs of my paintings and to
create stencils (see chapter 6). I also use them to cover up small dings or
scratches on the surface or sides of a canvas.
COFFEE AND TEA
I have used both of these in varying strengths to create warm, sepia-colored
stains and washes. Another technique is to submerge the entire sheet of
paper in the coffee or tea, remove it, and then allow it to dry. This makes
the paper seem old and weathered.
LIQUID CORRECTION FLUID
Correction fluid, such as Wite-Out, is great to experiment with when
brainstorming new designs or ideas. Note, however, that it is not archival,
which means it can easily be scratched or scraped off the surface of paper or
canvas. That being said, correction tape has been one of my go-to tools
when creating designs in my sketchbooks. It makes clean white lines or
shapes that would be almost impossible with traditional paint. These
drawings and designs are not permanent, and in a way, that it the beauty of
it. You are creating in the moment for yourself and for your art—art for art’s
sake!
SPONGES
Sponges are useful when painting because they come in a large variety of
shapes and sizes. Plus they are relatively inexpensive. Natural sponges,
which are found in most art supply stores, are often used in watercolors to
create the effect of foliage or water or to add texture and depth. I also use
every-day synthetic sponges to make textures with acrylic paint and create
broad strokes that can be hard to produce with paintbrushes alone. The
inexpensive foam brushes found at most home improvement stores can soak
up a lot of paint at once, so in one application, you can create bold, clean
lines and shapes effortlessly.
POLYURETHANE
Polyurethane creates glazes or can be used as a finishing varnish. Water-
based polyurethane has fewer fumes than the oil-based version, which also
requires mineral spirits or paint thinner to clean your brushes. Oil-based
polyurethane can be mixed with oil paints to create transparent, rich glazes.
When mixed with a warm sepia or burnt umber oil color, it can be used as a
final finish either over acrylic or oil paintings. Once applied to the entire
surface, wipe away the excess. The remaining residue settles in the texture
of your painting, which adds a beautiful depth and lush quality to the work.
It also works as an aid to make your colors pop.
MASKING TAPE/PAINTER’S TAPE
Masking tape and painter’s tape are another studio staple for me, and I use
them interchangeably. In most cases, I use them to tape off the edges of a
finished painting in order to paint and clean up the sides. This is a final step
I often do to cover up the drips that occur on the edges of the canvas. They
can also be used to create sharp edges and shapes, frame the paper as you
paint, or cover or protect certain areas you wish to remain untouched.
Tape can also be used to create stencils. Place strips of tape flat on a
table and slightly overlap each one to make an adhesive square. Then cut
out the shapes you wish from the square to make the stencil. One benefit of
these stencils is that they are adhesive and stay in place as you work.
Therefore, you can keep your stencil outline exact.
There is a print-making technique using tape called collagraph. You
place strips of tape onto a flat surface overlapping one another each time.
Then you use this textured tape surface to print onto the paper or canvas.
Simply apply paint to the tape and use it as you would a stamp to create
interesting lines and texture in your work.
RUBBING ALCOHOL/WITCH HAZEL
Both of these common antiseptics work in a similar way, but the witch
hazel is much less potent. Rubbing alcohol can be sprayed or brushed onto
wet ink or watercolor paints, causing a chemical reaction that pushes the
paint away from where the alcohol was applied. This effect creates the
illusion of water and has an almost ethereal look. Witch hazel also does this,
but in a much softer and more subtle manner. I have used witch hazel often
when painting leaves. When applied, it lightens the area on a leaf that the
sun might highlight and the paint puddles on the edges where the shadow
would naturally occur.
 EXERCISE TEN

incorporating unconventional
materials
adding rubbing alcohol to watercolor and ink

i
usually paint and create artwork that is inspired by nature. That is why this
simple technique used with rubbing alcohol and witch hazel is a favorite of
mine. Once the chemical reaction has occurred and settled, it mimics the
variations and reflections in water and atmospheric clouds in such a clear
and beautiful way. I utilize it both on paper and canvas, and it can be
applied on top or underneath acrylics, pencil, marker, or other inks and
watercolors. I often use it as an underpainting on my larger canvas works to
create the illusion of movement and help build interest in the piece. This
technique is also appealing because of the unpredictable nature of the
materials, which plays a role in the creation of the art.
MATERIALS
several sheets of 140 lb (300 gsm) cold-press watercolor or mixed-media use paper, 8" × 10" (20 ×
25.5 cm), 11" × 14" (28 × 35.5 cm), or another standard size
three colors of ink
three colors of watercolor
rubbing alcohol

prepare
Choose three different colors each of inks and watercolors. Each one has different
properties and reacts differently to the rubbing alcohol because of the varying ratio of
pigment to water.
Choose three from the cool range of colors (e.g., blues, teals, and greens) and three from
the warm range (e.g., reds, pinks, and oranges). This will give you a better
understanding of the reaction of the materials as well as the effect on different color
palettes.
create
Create a simple, gridlike formation, organizing the warm colors on one side and cool
colors on the other.
Experiment with two application techniques. The first is wet on wet, in which you start by
wetting the paper with water before applying the paint. The second is dry brush, or
painting directly onto dry paper.
After applying the color, but before it dries, use rubbing alcohol sparingly and apply it to
each color. You can experiment with application techniques by spraying, dotting,
brushing, or tapping the alcohol onto the page. You can also experiment with the amount
of alcohol to see different results.

I love this practice because you are letting go of control and allowing the
properties of the materials to create the final outcome.
 EXERCISE ELEVEN

playing with color, texture, and

uncertainty
experimenting with three unusual materials

e
ven though you are the main, proactive force in your art, your materials also
play a major role. Your ideas and intentions when planning a new piece can
be very well thought out and constructed. Yet even the most seasoned artist
has to factor in the materials. We can only go as far as our materials allow
us. It is the responsibility of the artist to always be innovating and learning
new ways to be creative and to express themselves. As you develop and
your tastes and ideas change, so do your choices and decisions concerning
your materials and how you apply them.
This interaction with your materials is especially evident for mixed-
media artists. There is always an element of uncertainty when working in
several different mediums at once. A mixed-media piece of art invites the
viewer in both figuratively and literally. I love when a viewer steps toward
an artwork to study how it was made. When I was studying art, I was
equally amazed by how Monet portrayed atmospheric light, as I was by
how Cy Twombly depicted Homer’s Iliad. Twombly’s work is a perfect
example of why I love mixed media. His aggressive pencil scribbles and
energetic paint strokes are visual poetry and emotion at work.
Another reason I love mixed media is because, with all its levels and
variations, it is a reflection of life. Life is never flat, but made up of an
endless array of colors, textures, patterns, transitions, and uncertainty.
For this exercise, choose three products from the unconventional
materials list in the introduction to this chapter and experiment with them as
you paint to discover how new, unfamiliar materials interact.
MATERIALS
three items from the unconventional materials list (see here)
small primed canvas or heavyweight mixed-media paper
round and flat paintbrushes, in a variety of sizes
containers for water

The materials for this exercise will depend on your choices:

 If you decide on rubbing alcohol, witch hazel, or salt, then you should work only with
watercolors or inks.
The rest of the items can be used with acrylics, watercolors, or inks.

prepare
Make sure you have a well-protected work area. If working with spray paint
or polyurethane, set up your work area outside or in a well-ventilated area
to reduce fumes.
create
The main goal of the creation process for this exercise is experimentation.
I’ve listed a few suggestions on how to use these materials, but push
yourself to try out methods not listed below.
POSSIBLE MATERIAL PAIRINGS

Spray paint works best with acrylics. Use masking tape to tape off certain areas on your
surface to create lines or shapes. Spray the defined areas, allow for drying time, and
then remove the tape slowly in a 45-degree angle toward you.
Salt works well with rubbing alcohol or witch hazel. The salt absorbs the surrounding ink
or watercolor and the antiseptics expel it. The combination of these two adds depth and
interest to a piece.
Apply coffee and tea with sponges or straws. Blow into a straw to move the stains
around your paper. Use various sponges to absorb coffee or tea and then experiment by
squeezing out the liquid onto the surface. Or use these materials to make broad,
saturated marks and strokes across your paper. The stains will most likely pool in certain
areas, creating beautiful variations in the warm colors.
 EXERCISE TWELVE

pattern play
discovering and using patterns in mixed media

a
pattern, by definition, is the combination of elements or shapes, repeated in
a recurring or regular arrangement. They can be found everywhere, in both
ancient and modern architecture and in natural patterns of flora and fauna.
You can discover them in our everyday lives, such as a crosswalk, the
spokes in a bike, or even the tiles on your bathroom floor.
You can use repetition in two different ways in art, including mixed
media. One is to bring weight and importance to what you are repeating.
Through repetition, you direct the viewer’s eye toward the pattern. The
opposing method is to repeat something to lessen its importance. Instead of
an optical pathway, repetition can lead one’s line of vision to the more
important imagery. In either approach, pattern can be an effective element
when put into practice correctly.
MATERIALS
a book on botanicals (You can find botanical books in either the art or garden section of your library.)
a 4" × 4" (10 × 10 cm) piece of card stock
craft knife
an 18" × 24" (46 × 61 cm) drawing pad
drawing pencils in a variety of types (2B, 5B, 8B, etc.) and colored pencils
 TIP This small viewfinder can help narrow down and create compositions.
The small square format helps to define and enhance your visual focus.

The following exercise shows you how to discover patterns found in

nature and how to use patterns in your artwork.

prepare
Cut out a 2" × 2" (5 × 5 cm) square from the center of your piece of card stock using
your craft knife. This will now become your viewfinder.
Choose one or two botanical images from your book for this project.
create
Place your viewfinder in several different areas around your botanical image. I chose to
focus on botanicals because their organic nature lends itself well to creating interesting
abstract patterns.
Through the window in the viewfinder, notice that the image has been transformed and
abstracted, reduced into a grouping of forms, shapes, and lines.
Choose an area on your botanical image that interests you the most. Lightly tape the
viewfinder on the area and take a moment to observe and discover the organic, abstract
composition it created.
From this small image, use your drawing pad to draw what you see in the window.
Repeat this one composition, covering the entirety of your drawing pad. The repeated
forms and lines will turn into a pattern that is discovered and created by you. Feel free to
add color with your colored pencils, but do so in a consistent and repeating manner.
 CHAPTER SIX

SPACE, COMPOSITION, AND FORM

“I consider space to be a material. The articulation of space has to come to take
precedence over other concerns.”
—RICHARD SERRA

p
eople often discuss abstract art in terms of shapes, forms, lines, and color.
All of these elements are important; however, learning, understanding, and
controlling the positive and negative space is vital as well. Negative space
is the area around and between the subject(s) of an image. Negative space
can create areas of visual rest, which can boost the overall success of the
composition. In my own work, I allow some breathing room in a
composition. A busy painting saturated with colors, lines, shapes, and
marks makes me want to turn away instead of pulling me in.
This chapter focuses on two exercises that will allow you to begin to
understand how to pinpoint and value what is most essential to your
composition and how to make the viewer’s eye and mind focus and stay
connected. Having larger areas of negative space does not mean that a
certain area is void or uninteresting. On the contrary, it gives the painting
and the viewer space to breathe. The wonderful thing about painting is that
through layering, texture, and subtle marks, negative space can hold just as
much weight as the positive. This creates balance, which is your ultimate
goal.
 EXERCISE THIRTEEN

negative space
create breathing room in a painting

a
llowing for breathing room in a painting is the same as having moments of
silence in a musical piece or when a speaker pauses for emphasis. It is an
essential technique for bringing a clear voice to your work and functions as
a complement to the more energetic and poignant areas of your art.
MATERIALS
small, primed canvas (e.g., 11" × 14" [28 × 35.5 cm] or smaller)
acrylic paint, in a variety of colors
large tube of white or off-white acrylic paint
flat and round paintbrushes, in a variety of sizes
several containers of water to clean paintbrushes quickly
several household items used to create texture and interest, such as
• sponges
• scrub brushes (Old toothbrushes work well.)
• scrapers/palette knife
• spray bottle
• old rags
• drop cloth or old sheet for floor protection

TIP Hardware and home improvement stores are great places to find
inexpensive plastic containers to use for cleaning your brushes. I also recycle old
jars and gallon (3.8 L)-size paint containers.
prepare
First, protect your work area with the drop cloth or sheets. Have several
containers of water nearby to clean paintbrushes right away to keep the
process moving quickly.
create
Often when I begin to paint, I just start and don’t try to overthink it. This is what I want
you to do here.
I almost always paint on the ground or on a flat surface, so the paint doesn’t run or drip.
Vary your color selection and brush size periodically, but other than that, have fun
experimenting.
This is a great time to practice different techniques, such as the following:
Pick up the canvas on one side and allow the paint to run down.
Use your wrist to fling paint and make energetic marks.
Hold the brush high above the canvas and allow the paint to drip onto the surface.
This exercise is about creating interesting negative space. So allow your paint to dry
completely and then use your solid white or off-white paint to apply a new, thin layer. Be
sure not to cover all areas of interest, leaving two to three sections uncovered. These will
“peek-a-boo” through the white, creating interest, texture, and depth.
I chose white for this exercise because white effectively highlights and accentuates the
brighter colored areas, making it more vibrant and contemporary. But you can create
more open areas using any color.
Apply more coats of white (or other colors) using your household items to scrape into the
wet paint. For example, you can employ scrub brushes to create texture. Use spray
bottles of water and rags to rinse, smudge, or wipe away certain areas. All of these
techniques create visual effects that allow for breathing room while also engaging the
attention of the viewer. In other words, these sections are not dull or flat, but complement
and enhance the focal points of your work.
 EXERCISE FOURTEEN

finding your focal point

emphasize an area with complementary colors

i
t is important to have a central focal point, whether your art is abstract or
representational. Even though the painting may have several areas of
interest, it still needs to have one area of emphasis and visual impact where
the viewer’s eye can rest. In realistic art, this practice is relatively
straightforward, but for abstract paintings, creating a focal point is not as
obvious and calculated. By focusing on color, contrast, placement, shapes,
and lines, you will begin to build a visually concentrated area of interest.
This area will develop into your work’s prime focus.
There are no concrete rules when it comes to focal points in abstract art.
Various artists, such as Jackson Pollock and Andy Warhol, chose to have
the entire piece of artwork be the center of attention. Pollock’s action
paintings were made up of drips and splatters that carried your eye over the
entirety of the painting at once. Warhol’s iconic screen-printed portraits
created a pattern that made no one section more relevant than the next. It is
possible to create successful works without any real focal point; however,
as the saying goes, you have to learn the rules before successfully breaking
them.
Because there are so many variables to consider when creating a focal
point, I want to focus on only color in this exercise. Color, discussed in
chapter 8, can have a language and life all its own. This exercise will help
you celebrate it, study it, and learn how to elevate it to the center of
attention in your artwork.
MATERIALS
a well-protected work surface
a 10" × 10" (25.5 × 25.5 cm) primed canvas
flat and round paintbrushes, in a variety of sizes
acrylic or watercolor paints, ink, or other pigment, in a variety of colors
several containers of water for cleaning brushes
one piece of 8" × 10" (20 × 25.5 cm) 140 lb (300 gsm) cold-press watercolor paper
prepare
Select three main colors that you would like to highlight as your focal point. Then choose
a variety of shades of these colors. You can include inks, pigments, watercolors, etc., just
be sure they are in the same color family.
Cut or tear the watercolor paper into three strips to use for your color testing.
create
Gather your three main colors and use the paper strips to test each of them (dedicate one
strip to each color).
Look at the strips, choose one color that speaks to you the most, and have it become the
focal point for your painting.
To highlight your chosen color, use its complementary color as you paint.

Complementary colors are colors that are found directly opposite one
another on the color wheel, such as red and green; yellow and purple; and
orange and blue. When used in correct proportions, each can highlight and
accentuate the other.
For this exercise, I decided to focus on orange and its complementary
color, blue. When used in small amounts and alongside each other, they do
their jobs perfectly and complement each other.
Start by painting a small amount of your complementary color on the canvas.
Then begin to layer on the different varieties of your focal point color.
Be sure to allow a small pop of your complementary color to peek through.
As the layers build, you can begin to see a visual dialogue happening among the color
variations and overall harmony and focus beginning to develop. Pause between each
layer and step away from the work in order to see if more needs to be added and
where. How many layers to add and knowing when the piece is finished can be personal
and intuitive decisions. Sometimes your layers will be quite small and more of an accent,
and other times, they might cover an entire section.
 CHAPTER SEVEN

IMPROVISING WITH ACRYLICS

“All intervening steps, scribbles, sketches, drawing, failed work models, studio
thoughts, conversations, are of interest. Those that show the thought process of an
artist are sometimes more interesting than the final product.”
—SOL LEWITT

b
eing capable of improvising while you paint is a learned practice, but can
save you time and frustration. Acrylics, unlike oils or watercolors, are a
very forgiving medium. You can easily and quickly paint over areas you
dislike when you can’t find a solution. Or you can lightly sand the surface,
gesso over the entire piece, and begin on a completely fresh canvas. There
are so many variables that occur as you paint that it is hard to be in
complete control the entire time.
Feeling a little more comfortable in handling these unplanned events will
help you to take chances. Art is a lot about taking chances and
experimentation—with new materials, concepts, techniques, and so on. It is
inevitable that during experimentation, unexpected things will happen. It is
how you react and improvise that will build your knowledge and
confidence.
 EXERCISE FIFTEEN

reacting with confidence

overlapping colors to create something new

r
eacting with confidence in painting, as in life, has a lot to do with being
prepared and feeling in control. If you are prepared, you will feel more
certain in your decision-making as you create. Experience is the clearest
path to confidence, but it cannot be achieved without making many, many
mistakes. It is through these mistakes that knowledge is gained.
For this exercise, I would like you to create, make marks, experiment
with materials, and, above all, feel uninhibited and unrestrained. You will
learn the most about painting here from the process itself rather from the
final outcome.

MATERIALS
one primed canvas, 12" × 14" (30 × 35.5 cm) or smaller
flat and round paintbrushes, in a variety of sizes
acrylic paints, in a variety of colors
watercolors, inks, and other pigments of your choosing
choose at least two items from the unconventional materials list in chapter 5 (see here) to
experiment with on this project.
prepare
Work on a well-protected surface.
Prepare a well-ventilated area to work in if you are planning to use spray paint or other
toxic materials from the unconventional list.
Have several clean water containers for cleaning brushes. You should also have all your
supplies ready and nearby to facilitate the process.
create
This exercise is all about learning and experimenting. If you don’t experiment and try out
new ideas, then you will never know which ones are going to produce the best results in
your work. There are always different paths to explore.
Begin by applying large areas of color to cover the canvas. It’s a good practice to think
of the canvas as a whole while you work and to add more detailed focal points as you
progress.
Allow for each application of paint to dry before applying the next. This helps to keep
colors true and avoids unintentional mixing, which can lead to muddied colors.
After adding each layer, take note of your results. Ask yourself:
Are the relationships between the materials working or fighting against one another?
Do certain materials complement one another or lead to confusion?
Notice how certain color combinations are created through layering, color washes, and
transparencies. Transparencies and color washes refer to overlapping translucent colors
to create new colors and add depth.
Do the marks and lines make interesting textures and defined areas?
Were your choices from the unconventional materials list a success?
Would you use them again in future projects and paintings?
 EXERCISE SIXTEEN

adlibbing in art
improvising with poured paint

f
or this exercise, I want you to be an active participant in facilitating a
situation in which you must improvise. This will help you learn to be more
open and mindful when creating art and learn how interact with your
materials. This practice also aids in sharpening your eye and mind to think
and see intuitively and allows for your gut reaction to take over.
Painting Tip
Acrylic is a fun and versatile paint to work with. Once watered down, it can almost work like
watercolor, or if combined with the right mediums, such as extenders, it can work similar to oils while
being much less toxic.
MATERIALS
12" × 16" (30.5 × 40.5 cm) or smaller primed canvas or heavy mixed-media paper of the same
dimensions
acrylic paints, in a variety of colors
paintbrushes, in a variety of sizes and shapes
containers with water for mixing

prepare
Before you begin, make sure that you have a well-protected work area.
Choose a variety of colors for this exercise. Try to vary them in value because it will help
in seeing the layers as you create them and will add interest to the overall composition.
Pour a small amount of acrylic paint into a cup and add an equal amount of water. Mix
them together until they are well combined. The added water helps to increase the
viscosity of the acrylic.
create
Slowly pour the paint and water mixture onto the flat surface. This will allow chance to
play a significant role in the outcome of your composition.
Let the paint dry completely—for several hours or overnight—without manipulating it in
any way. Because of the added water, it will take longer to dry. The time will also vary
depending on whether it is on prime canvas or paper. If using paper, the time will be
shorter as some of the water will be absorbed into the paper itself. Also, humid or wet
conditions can significantly extend drying time.
Observe what forms and shapes the paint created. Study how it pooled, spilled, and
dripped on the surface. Turn and observe it from different perspectives and decide which
angle interests you the most.
This is where the improvisational part of the exercise comes in. Often when making art,
your materials act in unexpected ways. It is up to you to accept and embrace these
events and incorporate them into your work.
Add more colors, one layer at a time. Allow each one to dry completely before adding
the next one. Sometimes mixing colors can cause them to become muddy and lose their
original vibrancy.
Leave some of the unexpected and visually interesting drips and pooling you initially
started with.
As you add each new color, use the drying time as an opportunity to step back a few
feet (or a meter) and simply observe and reflect on the work as a whole.
Let your instinct guide your decision-making. Add more layers, cover certain parts, or
simply leave it alone.
This short practice will help you to become comfortable committing to
decisions. You will begin to see which parts are and are not important to the
composition. Most importantly, this exercise helps you learn restraint.
Practicing restraint is an important aspect in creating art, particularly
abstract art.
In realism, the viewer can easily understand a painting. There’s no
guesswork in what they are seeing. Our minds automatically recognize
certain objects, colors, and shapes. Abstraction has to be contemplated and
dissected by both artist and viewer. Restraint plays a part in this for the
artist in regards to the successful comprehension of a work. A piece that is
overworked, saturated, overcomplicated, and/or muddy will leave the
viewer confused and unfulfilled.
Learn to Push, Pause, or Start Over
Many artists find it difficult to make the choice to let go and start
over. They feel as if they have already invested so much time and
effort in this work that they don’t feel like it is a choice to give it up.
When I was first starting to paint, I would often leave work
unresolved and unfinished. I would be unsure, confused, and frustrated
with how to complete it—or even know when it was completed! In
hindsight, I should not have wasted so much time and energy in this
state of insecurity. Learn from my mistakes!

This is a challenging concept, but in the end, by learning, accepting, and

ultimately making decisions, you’ll gain confidence. Your time, and even
more important, your sanity, will be saved by allowing yourself to be
the only one held accountable for your artwork. Your work is your
personal vision, and it is you who holds the power to either push
through times of indecision and frustration, pause, and come back to your work with fresh eyes or
simply start over. Artists evolve and develop in tandem with their work, and sometimes what you
painted only yesterday is not who you are today.

An artist friend once told me, “In art, nothing is precious.” You might
think, like I have, that you will never be able to make those same
marks again or mix that exact color another time. Although both these
thoughts might be true, the knowledge you gain while creating these
works will not be lost. Your newfound knowledge will most certainly
carry through to your next painting.

If you are going to create art, then you must take risks. A risk by
definition is to expose something valued to harm or loss. Mistakes will
happen. What molds and shapes you as an artist, and therefore your
art, is the process that led you there. The finished product is the
outcome of the desire to create and experience the process. Mistakes
are inevitable, so allow yourself to accept them, learn from them, and
continue on.
 CHAPTER EIGHT

PERSPECTIVES ON COLOR
“Color helps to express light, not the physical phenomenon, but the only light that
really exists, that and the artist’s brain.”
—HENRI MATISSE

c
olor plays an important role in abstract and contemporary art. Yet with all
the factors that involve the use of color, such as chroma, saturation, hues,
complementary colors, and color mixing, the use of color can be a daunting
one. Even if you are a fan of neutrals or monochromatic colors and tones, it
is important to practice and appreciate the use of all colors and what they
can evoke in the viewer.
The next two exercises give a basic introduction to the language of color
and a bit of history on some of the masters who prominently showcased
color in their work.
 EXERCISE SEVENTEEN

the language of color

using contrast to learn about color

o
ne cannot deny the weight that simple color can carry in abstract art and
painting. It evokes emotions and memories. Color conveys messages and
can even create a particular state of mind. In every culture, different colors
symbolize a variety of things. When talking about color as a visual
language, using cultural symbolism is one way to relay a message.
Another way is by homing in on the emotions and sentiments that colors
can generate. In Western cultures, red typically represents passion, love, or
anger. Blues often symbolize water or sky and produce a sense of calm and
well-being. For this exercise, I want you to choose three colors from the
following list of six.
MATERIALS
several small- to medium-size round and flat brushes, such as sizes 4, 6, and 8
three 12" × 12" (30.5 × 30.5 cm) sheets of heavyweight mixed-media art paper
1" (2.5 cm) wide painter’s tape
white and black paint
your three color choices
 12" (30.5 cm) ruler
no. 2 mechanical pencil

Color choices:
Red
Orange
Yellow
Green
Blue
Purple

TIP Mechanical pencils are handy when sketching out ideas. The lead is fairly
hard, which makes a light line. It also creates a line of constant width without
having to keep sharpening a standard drawing pencil.
TIP Painter’s tape can sometimes be tricky to use. If you press down too hard
in order to keep the paint from bleeding, it can tear the outside paper when you
peel it off. To prevent this, once you peel off the piece of tape you will use,
lightly touch the sticky side to your clothing a few times before firmly pressing it
into place. Having tiny pieces of fabric lint on the tape provides a barrier
between tape and paper. Also remember to peel the tape off slowly and away
from you. This prevents tearing and ensures a clean line.
prepare
On your three pieces of paper, measure off a 10" × 10" (25.5 × 25.5 cm) square in the
middle. Use the painter’s tape to tape off the square, pressing firmly.

create
Once you’ve prepared the paper, lightly draw fifteen to twenty geometric or organic
shapes on each piece. Vary them in size. Each square will be dedicated to one of your
color choices.
You’ll use the white and black paint to adjust your colors, making them lighter or darker
to suit your preference. This is a very basic technique of changing a color’s contrast, but
it is instructive in better understanding the “language” of your base color. You can
certainly make blue-greens, orange-reds, and other combinations, but in doing this, you
are altering the pure quality of the original color. By using black and white, you only
vary the contrast—or value—of the color as opposed to changing its foundation.
Now fill all of your shapes while varying the contrast of each one with different amounts
of black or white. You will begin to see and feel how the original color can be
manipulated to represent its unique language.
TIP In terms of composition, keep in mind that lighter colors recede from the
eye and darker color advance toward the eye.
 EXERCISE EIGHTEEN

learning how colors work

together
imitating two color masters

josef albers and mark rothko

As this chapter is about color, I wanted to talk about Josef Albers (1888–
1976) and Mark Rothko (1903–1970), two modern abstract art masters,
who dedicated their lives to the study of color and its function. Their
careers were long and successful, and even though both men were prolific,
they focused on one certain style and series later in their careers.
Rothko was always interested in the study of color, but only through
significant evolution in his work did he start to create his well-known color
fields. These vertical large-scale paintings were composed of rectangular
blocks of complementary colors that were meant to overwhelm and envelop
the viewer. In some of his work, the colors almost seem to vibrate, and in
others, he creates an optical flicker through his use of color. I love this
quote from Rothko about color as a language of art:
“[I’m interested] only in expressing basic human emotions—tragedy,
ecstasy, doom, and so on. And the fact that a lot of people break down and
cry when confronted with my pictures shows that I communicate those
basic human emotions… The people who weep before my pictures are
having the same religious experience I had when I painted them. And if
you, as you say, are moved only by their color relationship, then you miss
the point!”
Albers began a series in 1949 that explored chromatic interaction and
was called Homage to the Square. He worked on this particular series for
more than twenty years and created each piece using basically the same
format. They consisted of three to four squares nested inside of each other,
yet not overlapping. He executed this by using a palette knife to apply the
paint as thinly as possible onto wood panels. His color choices were meant
to evoke different moods and visual effects similar to Rothko.
This next exercise focuses on Albers’ Homage to the Square series and
calls for you to create your own studies. The simplicity of his compositions
and repetition of the same format helps in focusing on the color
combinations and seeing how they relate and interact.

MATERIALS
one sheet of 140 lb (300 gsm) hot-press watercolor paper or smooth mixed-media paper
 mechanical #2 pencil
1" (2.5 cm) painter’s tape
15—20 matte acrylic paints
two or three flat synthetic short hair paintbrushes

prepare
Albers created his Homage to the Square series on panel and by using a
palette knife. Both these materials require some practice, and this exercise
is focused on learning about color relationships, not about mastering certain
paint tools. So I decided it was best to stick with paper and brushes.
Cut or tear six 8" × 8" (20 × 20 cm) pieces of your chosen paper
Tape off and size your paper into a 6" × 6" (15 × 15 cm) square.
Lightly draw three or four squares inside of your 6" × 6" (15 × 15 cm) frame. Use one of
Albers’ designs and be sure not to overlap them.
Albers’ paint choices were flat and matte, devoid of any shading or visual brush strokes
or texture. So choose paint colors that you will be using directly from the tube with no
mixing, blending, and so on.
I recommend using small, short, flat brushes for this exercise. The shorter the bristles, the
easier it will be to control your lines. I also prefer synthetic hair brushes, as they typically
allow for easier blending and your goal here is to make each color square uniform.

TIP Go ahead and draw all six square compositions because you will be
rotating through them as you go. As one square dries, you can work on another
and so forth in order to maintain a fluid process.
create
Once all your squares are drawn, choose a color and begin to paint a square in each
one. Alternate between them as others are drying. You may either do this freehand or use
your painter’s tape to tape them off individually.
Experiment with your color choices for each square. For one, stick with monochromatic
colors, and for others, strongly vary your usage of color.
Create at least six squares so that you can begin to appreciate and see the different
relationships among your color choices in the repetition.
TIP To tape off the inside section of a square using your painter’s tape, place
the tape on the inner square. Then press your thumbnail onto the corner of the
square and tear the tape at a downward angle. Continue doing this with each
corner and you will have a clean square.
 resources

supplies
Cheap Joe’s Art Stuff
www.cheapjoes.com

Dick Blick Art Materials

www.dickblick.com

Ultrecht Art Supplies

www.ultrechtart.com

Fredrix Artist Canvas

www.fredrixartistcanvas.com

Sax Arts and Crafts Supplies

www.saxarts.com

Golden Artist Colors

www.goldenpaints.com

Binders Art Supplies and Frames

www.bindersart.com

Moleskine
https://us.moleskine.com/home

Dr. Ph.Martin’s
www.docmartins.com

Sam Flax
www.samflax.com

INTERNATIONAL RESOURCES

FRANCE
Rougier & Plé
www.rougier-ple.fr

GERMANY
Boesner
www.boesner.com

UNITED KINGDOM
Jackson’s Art Supplies
www.jacksonart.com
 acknowledgments

i
first must thank my editor, Mary Ann Hall. She believed in me and helped
to guide me through this exciting endeavor of writing my first book. This is
certainly a task I never dreamed I would accomplish. I will say, though, as
the project began to unfold, and after a lot of inner reflection and focus, I
realize there was actually a lot about art and being an artist that I wanted to
share. I am so grateful that Mary Ann had the foresight to notice this
because writing this book has been a blessing to me professionally and
personally.
I could not have undertaken this project without the help of the
extremely talented photographer, Christina Wedge. This is a visual book,
and her skill and artistic vision are seen on every page. I think of this book
as a collaboration between the two of us, and I could not be happier that our
paths have crossed.
I must thank my loving and supportive family. They have never
questioned my desire to become an artist, even though, as I mentioned
before, this career choice can be a risky one. My parents enrolled me in
private art classes when the public schools offered nothing and always
exposed me to the arts and art culture. My supportive husband typed the
entire manuscript for the book. He has been one of my most devoted and
sincere fans and believed in me even when I did not. I feel like a lot of
artists, including myself, are their own worst critics. So to have the outside
support of my family has led me to where I am today.
Last, but certainly not least, I wanted to mention my beautiful son Bay.
He has brought joy and happiness to my life that I would never have
imagined possible. Every day he allows me to see the world in a completely
new and vibrant perspective. Seeing his imagination at work and viewing
life through his young eyes has gifted me as a human, a mother, and
profoundly as an artist.
 about the author

Eva Magill-Oliver is a professional artist currently living and working in

Atlanta. She received a B.F.A. from the University of Georgia in Athens.
Following her degree, she worked as an in-house artist and designer for a
fine arts publishing company in Atlanta before pursuing a career as an
independent artist. She is represented by several galleries nationwide and
has been part of several art and design collaborations with prominent
established brands and companies, including Anthropologie, Sylvie Thiriez,
Schoolhouse Electric, Clémence, Seaworthy Jewelry, and Laura Cooke
Ceramics. She has also had her work published in several national
publications, including Flow, Jezebel, House & Garden, HGTV, and
Topiary (Stanford University literary journal).
 also available
FROM QUARRY BOOKS

The Paintbrush Playbook

978-1-63159-046-7
Figure Drawing for Artists

978-1-63159-065-8
If You Can Doodle, You Can Paint

978-1-63159-289-8
for my family
© 2018 Quarto Publishing Group USA Inc.
Text © 2018 Eva Magill-Oliver
Photography © 2018 Quarto Publishing Group USA Inc.

First Published in 2018 by Quarry Books, an imprint of The Quarto Group,

100 Cummings Center, Suite 265-D, Beverly, MA 01915, USA.
T (978) 282-9590 F (978) 283-2742 QuartoKnows.com

All rights reserved. No part of this book may be reproduced in any form without written permission
of the copyright owners. All images in this book have been reproduced with the knowledge and prior
consent of the artists concerned, and no responsibility is accepted by producer, publisher, or printer
for any infringement of copyright or otherwise, arising from the contents of this publication. Every
effort has been made to ensure that credits accurately comply with information supplied. We
apologize for any inaccuracies that may have occurred and will resolve inaccurate or missing
information in a subsequent reprinting of the book.

Quarry Books titles are also available at discount for retail, wholesale, promotional, and bulk
purchase. For details, contact the Special Sales Manager by email at specialsales@quarto.com or by
mail at The Quarto Group, Attn: Special Sales Manager, 401 Second Avenue North, Suite 310,
Minneapolis, MN 55401, USA.

Digital edition: 978-1-63159-597-4

Softcover edition: 978-1-63159-596-7

Digital edition published in 2018

Library of Congress Cataloging-in-Publication Data

Magill-Oliver, Eva Marie, author.

Paint alchemy : exploring process-driven techniques through design, pattern, color, abstraction,
acrylic, and mixed media / Eva Marie
Magill-Oliver.
ISBN 9781631595967 (trade pbk.)
Painting--Technique.
LCC ND1473 .M334 2018
750.28--dc23
LCCN 2018027957

Cover Design: Kelley Galbreath

Cover Image: Christina Wedge Photography
Interior Design and Page Layout: Stacy Wakefield Forte
Photography: Christina Wedge Photography, except images on pages 30–31, 66–67, 96–97 by Eva
Magill-Oliver and page 44 via Shutterstock.