031 – Pamela Caughey – Knocking Back WILD COLOR – Cold Wax and Oil – Part 2 ❤️👩🏻‍🎨

031 – Pamela Caughey – Knocking Back WILD COLOR – Cold Wax and Oil – Part 2 ❤️👩🏻‍🎨

– I started this painting yesterday, and, as you can see, I used
a lot of primary colors, secondary colors, and, that was the idea, was to just play and have fun. I did start with some
mark making at first. And, today is another day. So, what I do when I
have a painting like this that has so many garish colors, and, it’s kind of hard to look at right now. When I put the piece back
on the wall, I started to work into areas like this that had larger areas that were
more grayed-down color. What I want to do today is, just continue to play, and work on some of these
areas that are really still very bright and saturated, knock back some of that saturation. So, I hope you enjoy this video. Thank you. This can be kind of messy, so, I’ve got my gloves. (paper rustling) And, this paper that I’ve been using, I started to use it
yesterday, and I use it a lot. You can get it at any hardware store. Just brown paper, comes in different size rolls, like I’ve got this size roll, and I’ve got this shorter size roll. There are a couple other sizes as well. I believe carpenters use
these just to cover, maybe the floor they’re walking on. I’m not really sure
what they use them for. But, anyways. (paper rustling) I’m just gonna mix some colors. Add, I’ve got a gray here. (paint sloshing) (paintbrushes clattering) Again, I’m still working in acrylic. Sometimes I’ll add this airbrush, golden airbrush medium, to the mixture of acrylic, just to get it thinner. It’s better than adding
water, you don’t want to add water to your acrylic, because, it will compromise the adhesive qualities of your paints, you don’t
really want to do that. (paintbrush clicking) Then I just want to get, again, I’m just adding more paint, number one. I’m continuing to play, number two. I’m not liking these blatantly white areas. They’re just kind of intermittent, and, I don’t want these small shapes, because they make my eye go crazy, so I’m just going to try and block some of those off. I want these drippy
areas, that’s why I added the airbrush fluid, just to
give it a little bit more of that runny quality. I can still add a little bit more. And, when I add a color like this, it’s a grayed-down orange, as you can see. Hopefully you can see that. And, it’s a grayed-down color. And, it’s a little bit transparent, because I’ve added that airbrush medium. So, you know I can do that, covering up these white areas. Makes it a little easier for the eye to look at this painting. But it’s far from, far from easy enough to
look at this painting. It’s certainly not anywhere near what I’d like it to be. That’s okay. That’s not my goal, so far. And, I do have two panels
going on right now. I’m just going to treat
them as if they’re one. And these little areas
that have a lot of color, I’m just going to let those go, because I don’t mind, as long
as there’s not a whole lot of white in there. I know that some people say,
well, why would you start a painting with so much color, when you’re gonna then
go and cover it all up? Well, as you’ll see from my closeup, when I zoom in on that, you can see that when I scrape back, in areas like this, or here, you’re not gonna get
that variegated color, unless you’ve done
something pretty dramatic in those early stages, so that’s why. It’s because, it’s there. Even though it’s covered
up, it is there, and, if you take sandpaper,
or an orbital sander, and you want to reveal, later on, well, if you want to reveal
something kind of exciting, surprising, interesting, you can’t reveal that unless you did it in the earlier stages. So, that’s the answer to why, people say, well why are
you wasting all that paint? You know. Because you’re covering it up now. Well, remember, it’s still there. It dried, it’s still there, and, it can be excavated. It’s kind of like archeology when you think of it in terms of, you buried this wonderful color, and then it got buried in all these other layers of color. And you feel like, well, yeah, it’s still there. So, if anything, it allows you to be really free. It’s a great way to start a painting, because you’re not
worried about things and, it’s really fun to play with this color. It helps you to remember what it was like when you were really
young, and you didn’t have to worry about anything. Just getting into that mode of thought is so valuable, that, even if that was the
only thing that happened, by starting in that way, and let’s say that you couldn’t reveal
this paint later on, to me, that in itself, would be worth it. To feel like that child again. Not feel any intimidation, inhibition, to be completely spontaneous, as you were as a child. That’s invaluable. So I’ve now put a lot of this grayish-orange on here, and, I’m trying to be, I’m not really standing
back at this point, but I do have a sense of
how much I’m moving around the overall, square footage, or inches of this piece. I’m trying to be an equal opportunity
painter for this color. I don’t want to only have it on one side, and not the other, or, only on the top and not on the bottom. Only on the edges and
not in the middle, so, at this point, I’m just adding paint. Kind of all over. I like to think of it as a
bee pollinating a garden. And actually, kind of like
this color that’s going on, so I’m gonna actually add, I’m gonna switch a little bit. I’m gonna continue to use orange. Add a little bit of gray. But I want to shift in the color, so, anytime that I’m mixing
up new paint, I mean, I have to ask the question, why would I do the same thing twice, when you have all these
wonderful colors, and, it’d be boring to just
have that one value, that one gray, when it can be something else. So I always try to, when I go back into changing the color, or
if I ran out of color, and I’m gonna mix some more, I’m certainly not gonna try
and match what I just had. I’m gonna try and change it. So now, you’ll see that what I’ve mixed is slightly more red, and I actually want it even a
little bit more red than that. I just don’t want the very same value and hue. I want it to be a little different. And you’ll see the difference here. Here’s the difference, okay? So, and it’s drippy. I added more airbrush medium. Again, that’s what
makes things interesting to me is using this, using gravity. I like all these drips, because, later when I go back to sand things, these drip marks are thicker. They’ll always be thicker than when I smoothed it out with the brush. They’re just, by nature, thicker. So, I like to make these drippy marks, so that I have a sense of that texture later on. And, you can do things with your brush to encourage it to drip, number one, making it
of course, more drippy with the airbrush medium. And, again, I’m not standing far enough back to even see what I’m
doing, and that’s kind of, at this stage, that’s what I want. If I was trying to be
critical of this painting, I’d be standing halfway across the studio, but I’m not doing that. And, I am just at close range, trying to close gaps, and, gaps, by gaps, what I mean is, the whitish areas. (paintbrush scraping canvas) (paper rustling) Of course, the biggest
advantage to starting off a big painting like this
with acrylic, is drying time. If I had done this in cold wax and oil, I wouldn’t be able to make the painting progress as quickly. And, there is a time and a
place for everything. And, in this case, by
starting with acrylic, I can at least get, like I
said, a lot of paint here. A lot of things to work with. But, it’s not that I, I like acrylic. When you work this big
though, it’s sometimes hard to continue to work, because
of the fact that acrylic, unlike oil and cold wax, dries so quickly. So, sometimes you just need more time. And that’s when it’s really a good thing, if you enjoy cold wax and oil, that would be, that’s a
great advantage of being able to work in both mediums. You can use them both to your advantage, when the time is right. I mean, the value right now is predominantly this mid-tone medium, to mid-tone dark. And I’m really happy with
that, because I’m pretty sure I wanna go lighter later. And so, this is the perfect thing
to go underneath that, because, there will be a nice contrast, where I decide to let it peek through in that lighter, higher value later. So, again, trying to make these areas of white smaller. I can cover a lot of ground
fast, because the paint has been thinned, and, I’m not trying to
cover all these areas of high intensity, high saturated areas. I like some of them, I just don’t want as many of them, and also, again, like I said, these whites are kind of
like headlights to me. They are so, so bright. They just really stand out. I wanna be very selective
where I let those whites shine through, and that is more of an end game decision. It’s not anything that I need to decide now. Right now, what they serve as is an annoyance. And that’s why, you know, not that I’m trying to
plan this out too much or anything, I just know that in order for me to evaluate
this painting, and, move forward with enthusiasm, and excitement, I need to allow my eye to see the painting without all these constant headlights shining in my face. Sometimes that can shut
you down, you know. You don’t know what’s
wrong with your painting. But then you notice that you’ve
got all these white areas that can be quite blinding. They actually are blinding. And, again, when I changed this color from what was pretty, an orange-gray to now
more of a red-orange-gray, I am pushing the painting in the direction of a warm dominance. That doesn’t mean it’s
gonna stay that way, it just means that for now, even these grayed areas, like here, and, this green is a warm green. This gray here is a very dark reddish, reddish-gray, and those are warm
colors so, in some ways, I’m also setting up, at least for now, a temperature dominance. Again, that’s not something that I’m gonna be too concerned about at this point, I’m just making an observation
and telling you that, it is something I’m aware of. And if you’re aware of it at a stage when you’re playing, get used to being aware of it at a stage when you’re playing, then, the reason that’s helpful, is that when it matters, you will have practiced so
much on these early layers where it didn’t matter,
that when it does matter, you’ll still have, you will have increased your ability to see that way. And that’s, again, why I spend time making
marks on every layer, because, again, every time you do something like that you are improving your ability, your practicing that ability. You’re adding to those 10,000
hours of mark making that, we all know you need to have, in order to own it. In order to, marks that are yours, or marks that you’ve
done so many times, and, whenever you have an
opportunity to continue to make marks, why not make them so that it always feels as normal and natural as possible. So here I have my marks,
my mark making tools. I’ve got this tray of different things. These are all my favorite
mark making tools. Some are dark, some are. I’ve even got a white woody here. Some are thick, some are thin. Again, why not come in and make marks now? Just because the paint’s wet, if I was three years old, I wouldn’t care if the paint was wet. And in the same way, I
don’t care if it’s wet now. (wood scraping canvas) So I am just playing. (wood scraping canvas) This is my way of being able to play. I’m not standing back. I’m not being critical. And I don’t even really care (wood scraping canvas) how thick the, the edge of my tool is, I’m just trying to (wood scraping canvas) practice my mark making, in a way. Or play, I should say, play with my mark making. The other thing is that. (wood scraping canvas) You know, you can also use an eraser, which is really cool. Okay, so I’m gonna show you a closeup of what I’m doing here. This is the eraser. And, this paint is wet, and it’s acrylic. But, you can see how, you see how, when I pull
that eraser through, I’m revealing the color underneath. And, that is also a very
different kind of mark. And again, if I hadn’t
played with all these crazy psychedelic colors, and
then look what happens down here, I mean, it’s not just, this is, I’m creating
these lines and shapes, but look at this interesting thing that’s happening down here. I move over here, you know,
this is a very wet paint. You can see it glistening, again, just remember that mark making is, it can be added to, but it can also be, in
this case, subtracted. I can even add somewhat of a pattern. (wood scraping canvas) I commonly, during the painting process, will take photographs, still photographs so that I can put together a file later on, sometimes a PowerPoint, or whatever, and document the more dramatic
changes in a painting. And I find it to be really helpful. Why? Because, sometimes, you know, we get so stuck with our work, and, we can start to lack confidence,
and say to ourselves, well I’m really stuck, and
I don’t know what to do. Well, when you document
progression like this, you can almost always find some stage that your painting was in,
where you were equally stuck. Or, maybe more stuck. And then, maybe you
finished this painting, and you’ve got the final thing, but to be able to look back, weeks, months, years, before that painting was finished, when it first got started,
and you remember all the times when you were really stuck, it’s very helpful to have
images that show that. So, (camera phone clicks) like, by the time this
painting’s finished, I might have lost all this intense color, except for maybe tiny, tiny little bits. But, it will show me that,
yes, it was important to start that way, because I couldn’t have
gotten this effect now, if I hadn’t done that. So I’ll just basically
go around and take shots of, different parts of the painting. I’ll do closeups. I’ll do shots that are kind of far away. And, throw them into a file, on my computer, on the hard drive. And, just, (camera phone clicks) as reference, it’s kind of fun. (camera phone clicks)


  • Evelyne David says:

    This is fabulous painting ! Can’t wait for part 3. Happy holidays.

  • LouiseLamirandeArt says:

    Thanks for sharing your process. It is very interesting.

  • Mark Bernal says:

    Pamela, while I subscribe to several YouTube art creators, your videos describing your painting process have brought me the most joy! The creative energy you put into your compositions has helped unlock my own exploration into the expressionistic side of my art. I am now combining my own expressions with my enjoyment for figurative work in an effort to find my artistic voice going forward. Thank you for the inspiration you have provided to me and undoubtedly others!

  • Diana Connolly says:

    You are amazing. You make it look so easy and watching you made me understand that the intuitive process must include a measure of trust. You trust your process. Hurry, hurry and do part III. I had lunch with Jamie today and we talked about you. Were your ears burning?

  • Shirley D says:

    I learn so much from your videos.  Thank you so much for sharing your experience, knowledge and commitment.

  • crissea grovenor says:

    Opening up the pathways..I love your description of the process, it is so clear and so stimulating and freeing. I love the depth of your videos and the importance of mark making at any point along the journey. I cannot wait to explore another acrylic underpainting.

  • victoria sheldon says:

    You are so generous to let us share your process, thank you! This painting is fun and joyful

  • runway12 says:

    I also love the drips and dripping of the thinner paint, it gives the painting a kind of spray paint from a can look to it. Cool.

  • Brenda Ross says:

    Appreciate the running commentary. Great to be involved in what you are thinking as you work. Very helpful. Thanks.

  • Lynda Kuntyj says:

    This was great! I watched it over and over!!!! Your work is amazingly beautiful!

  • Joanne Maioli says:

    The way you explain your process is so very helpful and answered many questions I have been asking myself. May I ask how you mount your panels/canvases on the wall while you are working on them? Any tips? I will be moving into a very small house and a wall mounted system would be preferable to using an easel. Again, thank you for generously sharing your knowledge with us here on Youtube.

  • H Max says:

    the best suggestion to me is the idea of taking photos of parts of the work. doing so can reveal an entire new painting out of a small section.

  • Don Moon says:

    its masking paper, fits on a gun that has a serrated blade and a roll of tape…as you pull the paper off it applies tape to the edge..

  • Heather Quaine says:

    Thank you!! The Best teacher! Have you ever used house paint and if so how well does it work? Thank you again. Peace and mark making!!

  • Rude John says:

    The early yellow matrix gives it a very quilt-like appearance. Abstract of a quilt of an abstract? Possible thematic exploration for a series? Have to think about this. Thanks for the ideas. Peace.

  • rebell arts says:

    I like your way of creating, l do not know, if it is spontaneous or conditioned. Where simply your way of finding inspiration is rare that l like all the painting of the same artists, except Basquiat and other great artists it rarely happens to me that you try to make it gestures daily or differently thank you forgive my bad English, l 'm French thank you ✌️

  • Jackie gray says:

    You are so brilliant and generous giving all this free teaching THANK YOU !!!

  • Jeanne Heywood says:

    Do I have to use a clear gesso before I switch over to oil and c/w?

  • david gonzalez says:

    Your art is amazing!

  • Barb Gilroy says:

    Thank you so much for sharing your process Pamela – love it.

  • james mcdowell says:

    The rolls are masking paper …used by painters to protect floors …..etc.

  • Darcy Gray says:

    You like the Airbrush Medium, I am using Matt Medium to thin out my acrylic to get drips, but I think the Airbrush Medium holds more color, especially when sanding down afterwards. Great lecture, thanks for the part about being stuck, I take photos of my work in progress also…..Mahalo Pamela.

  • MTW1108 says:

    Really helpful to see your process. Thanks for posting this.

  • Christian Mildh says:

    What kind of acrylic is the air brush medium mixed in with…liquid acrylics or tube?

  • Paula Sefchok says:

    subscribing!!!!  You are and excellent teacher!!!

  • Art & Success - Pamela Caughey Art says:

    https://www.artandsuccess.com/p/pdpc   Create Your BEST ART!  ❤️🎉🍿🎈🥂🍾🐝

  • Colleen Gutschenritter says:

    What a great video! I wish I had seen this before I threw away so many ugly paintings … they could have been underlayers to something wonderful. How would you suggest getting the drippies for someone without the vertical wall for holding boards or papers? I have to work on a large flat table for now … just keep picking them up after you slosh on the paint? I'm really enjoying your YouTube videos!

  • Karen Kahle says:

    another eye-opening video that i have watched many times! i began several pieces to try this method using only acrylics. they are still in the works. thank you!

  • Joanna van den eijnden says:

    I can not see video 111

  • Joanna van den eijnden says:

    How can I find it please

  • sticharo says:

    Fantastic video….explaining your thought process is invaluable. Thank you!

  • Anna Maria Stone says:

    Very enjoyable and inspiring. Such exciting work!

  • Eydi Lampasona Myers says:

    a fine and generous artist…many thanks!

  • Glen Housel says:

    nice work. I have been enjoying your videos. I have been painting with cold wax for a bit now but never over acrylic. It's an interesting idea. How do you deal with the shine of one vs the dullness of the other?

  • Bill's Paintings says:

    The paper is used by painters in the trades. It is used to protect areas you don't what paint to get on while you are using a spray gun. That's what I used it for anyway when I used a spray gun. Plastic will do the same job.

  • John Delmotte says:

    Thank you so much , is so inspiring

  • Edson Barreto says:

    Pamela Deus trabalhos são lindos quero aprender bote pra quebrar amiga salvador bahia

  • Marcos Silveira Camargo says:


  • lynda holloway says:

    It have been so much more interesting and helpful to have had sound.

  • Derick Van Dusen says:

    The brown roles of paper you use for monoprinting is for professional house painters to mask around windows, hardware, trim, etc… You do beautiful, moving work. I could stare at it for hours.

  • Debbie Garland says:

    Your words have really resonated with me and made me realise how much I actually think the same thing but have never said it out loud lol. You have to be brave and confident to do this style but sticking to the method works, well done, thanks.

  • alda also says:

    Thank you so much for sharing!! You explain so naturally.

  • Dee Donaldson says:

    Hi Pamela – thanks for all your informative videos! I work mostly in acrylic and oil. I’m excited to try the cold wax. My question is can I apply oil paint without cold wax over a cold wax and oil surface once it’s dried ? Many thanks, Dee

  • Aurora Pintore says:

    wonderful !!!

  • Chris Palmer says:

    Which brand Acrylic paints do you use????

  • Angela Lee McIntyre says:

    so helpful to hear you talk about the white areas that come from dripping, pouring, etc.and why you cover them up. and they are blinding! thank you!

  • Angela Lee McIntyre says:

    did you gesso the cradled board before you started? thanks!

  • Gwyn says:

    Wonderful video, I'm learning so much, you are a generous teacher. Thank you!

  • Che Guebuddha says:

    @ 7:28 you say "like a bee pollinating the garden" 😀 Im a natural beekeeper and this means alot to me. So true! I paint the same way … like a bee, a bit here, a bit there, a bit all over 🙂

  • alpha java says:

    I love Pamela. I'm not a two panel, three panel, etc painter though. For me it has to be on one piece of canvas or wood. I do paint 2 or more piece sets but that's a different thing

Leave a Reply

Your email address will not be published. Required fields are marked *