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Exploring experimental mixed-media painting and surface treatment techniques can be a wonderful way to change up your working process and approach. When you change your tools, media and surface, you add to your visual vocabulary in intriguing ways. I would like to share with you the process behind a recent piece I did as a live step-by-step demonstration for Studio Bridge through Visual Arts Passage, exploring experimental mixed-media techniques onto a multidimensional surface.

Creating a Multidimensional Surface Using Collage¶
When I am working, I often begin by creating a unique surface in which to work. In my mixed-media painting entitled Bela, I employed collage techniques using various papers to build a multi-dimensional surface. Every paper has a different weight, thickness, color, opacity and surface texture. Each of those characteristics provide a different surface quality when paint and other materials are applied on top. When they are used in combination, interesting painted passages across the surface begin to happen.

For Bela, I used a paper selection that ranged from text to cover weight, including newsprint, drawing paper, toned paper, watercolor paper and printmaking paper. Each of the surfaces boasted a different treatment. Some were ripped while others were cut or punched. Changing an edge or cutting into a working surface can add unique design elements throughout the composition. To further add a strong graphic element, I cut into the entire surface with an X-Acto knife and pulled out a recessed inlay on the left side. Once the entire collage was complete, I sealed the surface with acrylic matte medium, priming it for acrylic painting.

Adding the Subject
To properly position my subject in a way that would work in tandem with my background design, I used graphite pencils and a blending stump, establishing where I was going to put my figurative character. Once I had an idea about the look and feel of the figure, I used a photo reference of my daughter with the right lighting and head position I was looking for. Because my design had its own visual linguistics, I altered the original reference while I was drawing. This is important because you always want to incorporate the figure with the existing visual language that is already present in your background. In regards to the structure of the figure as it relates to the reference, I made slight changes in the shape of the eyes, I changed up the nose a bit and of course the headpiece is completely different. Photography is great but, for me, it's only something to refer to. I typically will use black-and-white over color reference because I love to invent my own color schemes.

Establishing the Underpainting
Once I had a basic sketch of where I was going with the figure, I sealed the drawing with matte medium and began to paint with acrylics to establish an underpainting. Since there is an existing color scheme within the multidimensional collage environment, I needed to incorporate that with my choices. When I am establishing an underpainting, I often use white gesso to bring back the lights and an acrylic ivory black mixture to establish the darkest darks. From there, I am thinking about warm and cool tones.

Experimental Painting Techniques
Once the underpainting painting tonal range has been established, I began to employ various pops of color and metallics. I love using surface shine and iridescence as a unique quality that an original work has over a reproduction. I always use them even though they are very hard to paint volume with and photograph just right. I began the painting process using brushes and sponges to establish the hot red in the background. Gesso was applied with a painting knife in the lower areas to create texture. I used various acrylic colors mixed to simulate the palette of the collage-based environment. When painting, I will often put on heavier strokes and use blotting materials like paper towels to create visual texture. A wide painting knife was used to apply black down the right side. Once that was dry, an eyedropper was employed to drip paint down on top of the dark environment. Palette knife painting was also used around the headpiece and neckline of the figure.

Check out a video compilation from my live step-by-step demonstration of Bela that I did for Studio Bridge. a subdivision of Visual Arts Passage. It shows my painting process, where I use brushes, painting knife, eyedropper, sponges and the like to create my mixed-media work entitled Bela. The full version of the video is two hours long and covers my process from ideation and design, collage and gluing strategies to mixed-media painting.

You can see the full version of my process along with 6 additional hours of live video content, ranging from lectures on working in an exploratory process to step-by-step demonstrations in mixed-media here at Studio Bridge. I was a presenter for the month of April 2021, where I lectured and demonstrated every Monday for the entire month. Studio Bridge invites members to step inside the studios of industry leaders from every corner of the visual arts industry. From artist spotlights to getting fast-paced feedback on your artwork from working pros, Studio Bridge offers artists a space to grow, learn, and connect with a community of passionate and focused professionals.

Adding Relief Details
Using acrylic matte gel medium, I designed a decorative headpiece for the figure. The surface was built up and then debossed to create an interesting pattern. It was dry-brushed and sponged using acrylics to create a unique patina. In addition, I added a decorative accent along the neckline to suggest a costuming element. Throughout the process, I continued to add color and texture to unite the figure with the environment. For those of you who are interested in in Working in Relief, I have avideo series that will show you with all the basic techniques. To read more on my exploratory process mixed media check out this article called Exploring Mixed Media Painting Techniques!

If you are interested in learning more about working in relief on the painted surface or working in experimental mixed-media techniques, check out my Masterclass on patreon!
https://www.patreon.com/lisalcyr
Masterclass is a unique approach to learning, where each artist works on their own projects, whether that be standalone works or works in a series. Unlike a workshop or an assignment-driven class, this online atelier supports each individual artist's intent on creating works that they really want to pursue.

There are approximately SEVEN Live Events every month. The Masterclass Saturday sessions (usually held on the first Saturday of the month) are from 11:00am to 1:00pm EST and the In the Studio sessions are from 2:00pm to 3:00pm on the same day. In addition, there is a monthly Paint, Draw + Create Together event (once a month) on Tuesday from 11:00am to 1:00pm EST and the weekly Sketchbook Meditation + Exploration Social events (3 to 4 times a month) are on Tuesday from 7:00pm to 8:30pm.

Behind-the-Scenes Access:

The artist brings you into her studio through live behind-the-scenes access and weekly posts and videos to current projects and creative endeavors.​

In addition, you have early access to the artist's upcoming Shows and Exhibitions.

Discussions regarding artistic growth and development, nurturing the creative spirit, developing personal content, embracing a multidisciplinary mindset and creating message-driven art are also explored as ways to assist artists on their own creative path.

Throughout this online workshop experience, artists discover a multitude of ways to ignite creativity, opening the door for the artistic spirit to shine! Check out the testimonials above from artists around the globe!

Get weekly access to the Rediscovering Your Creative Self weekly podcast which focuses on developing a relationship with the creative spirit that resides within and making daily lifestyle changes that enhance creativity, building a more creative and playful mindset.

Throughout the audio program, topics such as battling the inner critic, handling creative block, working through anxiety and self-doubt and interrupting the patterns that bind are explored. Managing fears, seeing mistakes as rites of passage, knowing when to open and close doors, riding the wave of triumphs and tribulations, avoiding distractions and coping with naysayers that keep one from seeing the light that resides within are covered.

Every month on the Navigating the Labyrinth of the Creative Mind site, there is new Sketchbook Challenge prompt and directive, allowing artists to discover alternative ways in which to practice art that is more personal. Art created from this endeavor is shared on the private Community Chat with other artists.

Sketchbook Meditation + Exploration Weekly Social

Every Tuesday night from 7:00pm to 8:30pm EST, you can attend an open sketchbook night social event called Sketchbook Meditation + Exploration. We discuss the Rediscovering Your Creative Self podcast episode of the week, setting an intention for our work and making daily lifestyle changes that enhance creativity.

Artists use the Sketchbook Meditation + Exploration weekly get-together as a time to commit to working in their sketchbook, experimenting and discussing with other artists topics that will help in developing a relationship with the creative spirit that resides within. Recordings are available for Masterclass artists if they miss a session!

Be a part of a creative tribe, interacting with artists and enthusiasts from all around the world who have shared interests in art. This is an opportunity to create a robust artistic community, broadening your horizons as a creative person.

Your membership also includes private access to the Community Group, where patrons share art and works-in-progress, post the monthly Sketchbook Challenges as well asthe weekly Sketchbook Meditation + Exploration Social art and work from the Paint Pictures with Words Writing Club. They also share inspiration, discuss new artistic tools, products and equipment as well as interesting and informative books on art and so much more!

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Exploring experimental mixed-media painting and surface treatment techniques can be a wonderful way to change up your working process and approach. When you change your tools, media and surface, you add to your visual vocabulary in intriguing ways. I would like to share with you the process behind a

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Adding impasto gel medium to thicken my paint and create lush rich texture in my mixed media application

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Adding impasto gel medium to thicken my paint and create lush rich texture in my mixed media application

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Learn to use Acrylics - with Impasto gel.

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This page in specific is kind of mixed with both initial ideas and research. Using pictures of the artists own artwork is a great start. They briefly analyse each one and discuss aspects such as style, period, medium etc. Additionally, they have taken it upon themselves to recreate a piece, utilisting similar styles, and techniques. Not only is it eye-catching, it also develops your skills as an artist.

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understanding and utilising colour theory, and its different aspects such as hue, tint, tone and shade

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understanding and utilising colour theory, and its different aspects such as hue, tint, tone and shade

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I really like the layout of these pages, as you get to see both the final artwork and their response. It's both visually pleasing to look at and accessible.

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This photo came out a little blurry, but you get the idea. Having a page like this at the beginning of your book would be extremely beneficial to not only show your understanding of the brush types, but to also have as a reference for yourself when painting. Even doing a similar thing for each painting medium, (watercolour, acrylic, oil) to see how different brushes react with different paints.

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a tool for both your comparative study and artist research pages!!

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a tool for both your comparative study and artist research pages!!

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A way to analyse each step of your process in the moment, and then coming back at the end for a final reflection; with access all that past thinking.

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same image repeated multiple times with different medias

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same image repeated multiple times with different medias

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copying other artists work to inform my own

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copying other artists work to inform my own

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The examiners like to see you look at other artists work and attempting to replicate what they have created; this can show you understand them in a creative way.

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Talking about the colour theory will help to establish the emotions and affects through the colours.

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This page specifically relates as it is experimentation with colour and brush strokes. How using different textures create different affects and overlapping colours make the reader feel.

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This page specifically talks about the ideas and research the artist had. The artist reasearched one artist that uses lots of colours for layering to make shapes and dimension. It is a very eye catching technique and is very useful.

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study of how a certain artist uses texture, replicating and then analysing the effects of this use

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Follow these steps and learn how you can form a complete and cohesive art analysis of your own.

Observe Before You Analyze. Before analyzing artwork, you first need to observe it in its entirety. ...

Determine Subject Matter. ...

Analyze its Composition. ...

Interpret the Subject Matter. ...

Make Your Analysis.

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Exploring different themes through mind maps is a brilliant visual depiction of your thought processes. Adding images and experimenting with different mediums, shows that you have practiced and taken time developing your art. Photos vs drawings shows development of skills. ADD COLOURS they're so beautiful & draw attention to important ideas

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experimenting in how different multimedia approaches to an artwork can effect the end products, using different seperate mediums

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research into a specific image that creates an emotional effect and a specific composition.

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Some things to ask yourself when look at artworks including your own choices in art making.

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Some things to ask yourself when look at artworks including your own choices in art making.

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What is the artist’s background? Is it relevant to the artwork you are analysing, if so, how is it relevant?

What is the title of the artwork? Does the title have any significance?

When and where was the artwork made?

Did the artwork serve a purpose? A purpose could be commercial, decorative, self expression, political, etc…

Does it fit into a particular genre? For example, religious, landscape, still Life, fantasy, etc…

Was the art part of a particular movement? Cubism, Impressionism, Pontalism, Futurism, American Abstract Expressionism, Surrealism?

Has finding out about the context of the artwork changed your response to the artwork in anyway?

Now it’s time to move onto looking at the style and the visual elements of the artwork. You may find that the style and visual elements connect with what you have discovered about the artwork, the artist and your own responses.

4. Examine the style and the visual elements of the artwork

Style

‘Style’ is the approach taken by the artist to portray a subject matter or express an idea / concept. It is the process and decisions made by the artist, the techniques used and the way the artist has used colour, line, light, composition, etc… It could have been influenced by an art movement the artist was involved in or have been influenced by something else. You may well have discovered this earlier in your analysis but try to answer the following questions / prompts the best you can…

What is the style of the artwork?

What does that style suggest about the artist’s point of view or place in time?

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an analysis of the effects of the way that they have depicted their theme through their medium 'gestural figure drawings of my mother'

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This provides research and personal opinion into specific artists - what works or doesn't work, and how elements can be incorporated into a final piece

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Including images of yourself practicing art is a visual representation of your development of skills 

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Analysing visual elements: Questions that may help

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Analysing visual elements: Questions that may help

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Colour

What are the main colours used? / Is there a lack of colour?

What mood do the colours, or lack of colours, evoke?

If colours are used what do they traditionally represent?

Are the colours flat, smooth, aggressive or expressive?

Line

Are the lines definitive and hard? Irregular? Indistinct? Broken?

Do objects in the artwork blend into the background or do they stand out off the canvas?

Light

What is the effect of light in the artwork?

Does light illuminate a scene, object/s or character/s in the artwork?

Does light shadow a scene, object/s or character/s in the artwork?

Does light / dark unite or divide in the artwork?

In what direction is the artist trying to direct your gaze by the use of light / dark?

Composition

Do the colours, poses or objects have any impact on the composition?

Are objects harmonious with one another or at odds?

Do the objects equally share the viewer’s attention?

Where does the composition lead the eye to?

Do other elements make up the artwork’s composition? For example, shape and space.

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research into inspiration from looking at an artist impacts how the final piece looks

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reflection on the drawings that a person had done, highlighting what they did and observing its effects

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This page shows an understanding of the medium of watercolour and how different techniques can be used in an artwork

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different brushes work for different looks on the canvas

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Use our easy step by step tutorial to create a DIY abstract heart painting on any canvas size. Lots of inspiration to help you choose colors.

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This page researches the beginning topics of abstract expressionism and explores how different artists interpret the style. 

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These pages show the experimentation and the development of ideas that led up to a final artwork

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Analysing your own work/ideas to determine how you can improve - through mind maps, annotations etc.

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This page explores the artist, Francis Bacon, an abstract/figurative focused artist

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page shows artistic techniques in painting

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studies of other artists- critical analysis and recreations

ideation/experimentation, specifically concerning my artwork that is many drawings

thumbnail sketches of sculptural pieces

diagrams/comparisons of my work and others

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This page gives an overview of how one could go about analysing an artwork

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Mind maps for ideation, themes, materials, styles, direction, focus.

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Mind maps for ideation, themes, materials, styles, direction, focus.

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reflection page of the drawings exploring the potential of the art

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This page could be used to help prompt a reflection

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Laying your pages out one page process, other the final work. Shows how your skills have developed, easy to analyse and reflect on :)

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shows the development process

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studying artworks, analysing what you've already done an exploring other mediums outside of your comfort zone.

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This journal page explores themes of self portraits by using unique coloring, the page itself helps the readers easily understand what is ocurring.

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Mood boards and thumbnail sketches help with ideation of artworks - incorporate elements of artists or artworks you like

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https://youtu.be/gYTuKZ3TbMk?si=JwsFamp4jOTMKmp4

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Spend time to create varied conceptual responses to your theme and ideas

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This image explores the color and technique as explicitly stated.

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Your own art making timeline or important influenceable art movement research, historical context...

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a checklist you can use to complete your art journal and works

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Practicing on side profiles and anatomy and presenting specifically how you were able to learn this skill

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Connecting your own artworks and themes to other artists through color, angle, theme, etc

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Connecting your own artworks and themes to other artists through color, angle, theme, etc

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4 ways to reflect on your artistic practice

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4 ways to reflect on your artistic practice

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How a PP page looking at analysis might look

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How a PP page looking at analysis might look