I rarely use a paint brush – even for base coating. I prefer to use wallpaper smoothers as I get a better and more even finish. Plastic tumblers are used to decant the paints and for mixing the chemicals in.
I then use a series of smaller vessels for decanting further still as this helps me get a finer pour line as the vessel size decreases.
I have to make that decision on pour density and flow rates before I can commence painting. If a mix is too dense it will not come out fast enough; this causes issues with line wavering as the natural movements in my wrist cause it to deviate.
Too runny and it pools as soon as it hits the canvas. It is also less easy to control the thinner it is so getting the initial mix right is fundamental.
Drip and drop application techniques
I use an array of wrist sweeps and movements both forwards and backwards in each stroke. This way I can control where the first wave of paint goes (typically 75% of the volume on the tool) and just as importantly apply the same principal on the way back with the remaining 25% of the paint.
Sometimes this is in the same direction as the first and sometimes it is in a different one. This helps me get a double sweep for every single application of movement (gesture).
I control the angle relative to the canvas, the sweep of the wrist, the height above the canvas (which varies greatly), volume of paint per gesture and where on the canvas the gesture is heading. I make decisions in a split second as to where the paint is to be placed relative to all the other paint on the canvas at that particular time.
As the painting dries it changes. This is a very cool thing as the painting takes on an organic tone – it grows and morphs into a single mass as it develops. I often sit back and watch as complex neural pathways and junctions form as the paint cures.
By carefully applying linear and balanced gestures I can create a complex layering of paint that forms interlacing sections.
Puddling, marbling, coagulation and rippling are ever present in my compositions, often only visible when you get up close and personal with the piece. I control as much as I can but there is always some kind of uncontrolled movement as the paint vapours evaporate.