To create the multi-dimensional look of sun-dappled flowers, Anne Abgott controls the paint in two ways: she works flat and paints on dry paper (she uses her brush to wet only the parts of the paper she’s working on). When she drops more pigment into areas she’s working on?to darken value or intensify color, she has a secret: she first removes what she calls “the bubble” of paint from the tip of her brush by touching the brush’s tip to a pad of paper towels. To avoid blooms, she makes sure that the new paint is both thicker and drier than the paint that’s already on the paper.
COLOR AND VALUE
Another important factor is the chromatic possibilities of the paints themselves. After experimenting and testing hundreds of tubes of paint, Abgott has carefully chosen her palette: new gamboge (W&N), golden ochre (Schmincke), garance rose (Pebeo), permanent rose (W&N), brown madder (W&N), verditer blue (Holbein), mineral violet (Holbein), cobalt blue (Holbein), Prussian blue (W&N), and ultramarine turquoise (Daniel Smith). She works on 300-lb. paper that allows for a longer working period.
Abgott works to achieve the right value the first time round. Since she really dilutes her paints, they dry two values lighter; thus, she paints each area two values darker than she ultimately wants them to be.
Courtroom artist and art instructor Butch Krieger is a contributing editor to The Artist’s Magazine. He lives in Port Angeles, Washington.