With small works in series there is greater freedom to experiment and err. Combinations and variations abound within each small work and within the greater series. A feeling of letting go, of "winging it," brings out our innate inventiveness.On the whole, I'm very inclined to agree with him - and yet there can be frustrations to.
I have a new Small Work which has been very challenging during the course of its production. It's currently on its 4th incarnation. So far it has been developed twice on Canson Mi Teintes (CMT) paper, #1 on black and #2 on red earth. Neither of these versions quite seemed to work the way I visualised it. So the third attempt was on Arches Hot Press watercolour paper and the neutral creamy white background seemed to help with the colours of the corn - but the drawing had got tighter and the overall impact still wasn't right.
And so back to the original idea of using black CMT and a slightly different approach - and this time the colours are working better and the more painterly effect I was aiming for seems to be there. The paper however is now completely saturated with the oil and wax from the artist coloured pencils I use and has developed a really interesting texture! I think it's trying very hard to become an oil painting!
I've included a link to Painters Keys - Robert Genn's website - in the links under "Drawing and Painting Resources". I read past newsletters on the site before subscribing to this completely free resource - and didn't hesitate to sign up. It's usually thought provoking - and some weeks it can provide that extra bit of insight needed to turn the corner on a project or painting.