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Stephen Quiller is a member of the American Watercolor Society, the National Watercolor Society, Rocky Mountain National Water Media,
National Society for Painters in Acrylic & Casein, Watercolor West and is an American Watercolor Society Dolphin Fellow. He has written six books on water media and color all published by Watson- Guptill Publications, New York and has done twelve educational painting videos for Crystal Productions and the Jack Richeson Company.
He has been painting full time since 1972 and has a home gallery in Creede, Colorado. He does a few selected workshops annually in the United States and overseas.
www.quillergallery.com
Autumn Patterns, Our Mountain is painted in acrylic as water media on aquabord, a product that is made for water media. It is 12" X 12".
The first few paintings on my website are done on aquabord with acrylic in the same methods.
Tips & Techniques
Sculpting With a Brush
by Stephen Quiller, AWS DF, NWS
Autumn Patterns, Our Mountain, by Stephen Quiller
October 11, 2011-- These days I see myself almost as much a sculptor
as a painter. Although I am working two dimensionally and in the various water media, I am removing as much paint as I put on. I put color on, then lift the color off that is around the positive form -- or I paint a solid opaque negative shape around the form, and then work back and forth. In this way I am thinking and seeing the negative shape and much more aware of the abstracted composition. And in so doing I am also aware of different ways to create a feast of various visual qualities. I can create hard shapes, soft shapes, transparent glazed tones or juicy opaques. I am concerned with surface texture.
Recently I have been working with aquabord, an Ampersand product. It is a textured kaoline clay that is laminated on a hardboard support. Using the acrylic medium on this panel gives me a host of different possibilities for applying the paint. I can work transparent, translucent and opaque. I can glaze or work impasto. I can remove the paint when damp with a stiff, damp, clean brush. When dry I can lift with rubbing alcohol. And finally when the paint is dry I can carefully scrape the painted surface with pocket knife, razor blade or some such tool and take it back to a solid white. Then I can paint a transparent tone in this area or leave it as desired. So I am constantly pushing and pulling the paint, adding and removing the paint -- SCULPTING!
by Stephen Quiller
Get Ready, Get Set, PAINT!
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