Having spent a bit of time finding out how different mediums behave in this post, I wanted to see how claybord would suit my purpose in creating an abstract landscape.
I had a vague idea around creating some translucent loose abstract landscapes – and because of this ruled out oil paints. Really, I wanted to try watercolour or very thin acrylic.
Here’s the first:
In parts of this painting I used gum arabic to even the flow of pigment – the pooling is pretty but getting an even wash is a challenge I think. In other parts I used neat vodka to create blooms and movement, as well as tilting and turning the claybord. Not cheap stuff either, but now we’re not thirty anymore, we just don’t drink it, so it’s been sitting around for many years ( I also use it for wetting in pastel underpaintings – it works great!).
I really didn’t like this when I painted it, so wiped it…..now I wish I hadn’t as there’s quite a bit I do like about it now – the colours, the movement, the darker marks of paint bottom right.
I also tried thinned down acrylic (flow release, water and air brush medium):
I began to fiddle a bit with this, so sprayed the whole thing and gave it a swirl. I might go back to this and add either additional thin layers or see what opaque marks I can make without loosing some of this early layer.
In conclusion, Claybord is an interesting support to work on, though I suspect it comes into it’s own for very detailed, carefully controlled and not too wet techniques. The beauty of it is how much easier it is to lift out highlights. It also takes pen and ink, and graphite.
Trying to create something in between, e.g. a loose and splashy abstract landscape is perhaps asking too much me, rather than the claybord!