By Jane Urquhart
In Rochester, manhattan, a seventy-five-year-old artist, Austin Fraser, is making a new sequence of work recalling the main points of his existence and of the lives of these people who have affected him--his odd mom, a tender Canadian soldier and china painter, a primary global conflict nurse, the well known American painter Rockwell Kent, and Sara, a waitress from the wasteland mining cost of Silver Islet, Ontario, who turned Austin's version and mistress. Spanning greater than seven many years, from the flip of the century to the mid-seventies, The Underpainter--in diversity, within the sheer strength of its prose, and in its fantastic depiction of panorama and the geography of imagination--is Jane Urquhart's such a lot finished novel so far, with probably the most strong climaxes in modern fiction.
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If you have used lines, do they vary in thickness? Have you varied your edges? Or are you deliberately going for a hard-edged or soft-edged look? Does the work hold together as a unitthrough color harmony and shape repetition? Assuming you were aiming for balance, does the painting seem unbalanced, one aspect dominating with no counterbalance? For example, a large shape in a neutral color might need to be balanced by a small touch of a bright color. A p PRO A C H ES T O A BST RACT D E SI GN I 49 Step-by-Step Painting This project takes you through the different steps involved in creating a layered abstract painting.
Fine corrugated cardboard pressed into paint makes Q grid pat- tern when printed both horizontally and vertically. The circles are printed with a cork. E X PE R I ME NTS I N TE X TURE 1 61 Ways To Produce Two-Dimensional Texture Many different media lend themselves to creating fau x texture. Crayons and pastels provide depth by adding lines and dots in a patterned or random fashion . Light and dark colors can be mixed to create a three -dimensional effect. Recycled materials. such as bubble wrap .
Here are some quick tips for painting composition: KEEP IT LIVELY Combine photos with hand -drawn marks, even creating your own graffiti. Repetition is effective, but don't let it become mindless. Break the rhythm every now and then. Repeat an image, but alter it subtly in color, size, or orientation. PLAYING IT SAFE Don't place large distracting shapes at the edges. Keep a balance between lights and darks (values). Avoid too much detail that might compete with your main image. Keep color harmonious-cool or warm.